Velocity Fort Collins CO

The loudness of the note depends on how hard you strike the key. But even in the piano, quite a lot of technology (in the form of carefully balanced levers) goes into producing that effect.

Vanessa Felhauer
818 Balsam Ln
Fort Collins, CO
Instruments
Piano
Styles
Blues, Classical, Electronic, Jazz, Kids, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$38
Years of Experience
10 Years

Data Provided by:
Wendy H.
(877) 231-8505
Cathys Loop
Peyton, CO
Subjects
Guitar, Piano, Singing, Speaking Voice, Music Performance, Music Theory
Ages Taught
5 to 99
Specialties
Classical piano is my strenghts; however, I can teach any style from christian to contemporary to jazz. Vocal styles are basic classical, modern, and christian. Guitar styles include basic instruction on learning to play guitar, chording, fingerpicking, using different positions on the finger board. I can teach beginning to college level music theory.
Education
Nazarene Bible College - Music Ministry with emphasis on piano certification - 2003-2008 (Bachelor's degree received) Riverview Collegiate Institute - H.S. Diploma - 1971-1974 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Wendy H.
(877) 231-8505
Academy Boulevard North
Colorado Springs, CO
Subjects
Guitar, Piano, Singing, Speaking Voice, Music Performance, Music Theory
Ages Taught
5 to 99
Specialties
Classical piano is my strenghts; however, I can teach any style from christian to contemporary to jazz. Vocal styles are basic classical, modern, and christian. Guitar styles include basic instruction on learning to play guitar, chording, fingerpicking, using different positions on the finger board. I can teach beginning to college level music theory.
Education
Nazarene Bible College - Music Ministry with emphasis on piano certification - 2003-2008 (Bachelor's degree received) Riverview Collegiate Institute - H.S. Diploma - 1971-1974 (High School diploma received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Brandon N.
(877) 231-8505
E Summit Road
Parker, CO
Subjects
Music Theory, Acting, Bass Guitar, Guitar, Piano, Classical Guitar, Music Performance, Songwriting, Music Recording
Ages Taught
1 to 99
Specialties
I generally can play any style of music that I hear. I enjoy rock/pop music and enjoy learning various finger-picking style of music. Most of my practice takes place on the acoustic guitar for finger strength and then I will apply that to electric guitar. I love blues music as well as R&B and have written several pieces in every genre.
Education
University of Colorado - Bachelors of Science in Music - 2002-2003 (degree received) Polk Community College - General Associate of Arts - 1999-2001 (degree received) Lake Region High School - Tri-Music Honor Society - 1997-2001 (degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Carol Smith
9074 W. Center Ave.
Lakewood, CO
Instruments
Chorus, Piano
Styles
Classical, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$40
Years of Experience
17 Years

Data Provided by:
Vanessa Felhauer
818 Balsam Ln
Fort Collins, CO
Instruments
Piano
Styles
Blues, Classical, Electronic, Jazz, Kids, Rock - Alternative, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$38
Years of Experience
10 Years

Data Provided by:
Dr. Catherine Millis
908 Snowberry St.
Longmont, CO
Instruments
Piano, Violin
Styles
Blues, Classical, Electronic, Jazz, Kids, World
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
25 Years

Data Provided by:
Sarah D.
(877) 231-8505
Robbie View
Colorado Springs, CO
Subjects
Music Performance, Music Theory, Piano
Ages Taught
5 to 15
Specialties
My preferred curriculum for private lessons include: Faber Piano Adventures, the Celebration Series, and Julie Johnson Theory. I specialize in working with children / young beginners.
Education
TELOS Institue International - Biblical Counseling - 01/2000-08/2000 (not complete) International Academy of Music - Music - 01/2001-02/2001 (not complete) Berklee College of Music - Music Theory - 09/2007-11/2007 (not complete)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Mary F.
(877) 231-8505
S Devinney St
Denver, CO
Subjects
Music Performance, Guitar, Piano, Organ, Banjo, Classical Guitar, Singing, Music Theory
Ages Taught
5 to 105
Specialties
classical guitar and piano
Education
Alleman High School - - 1963-67 (High School diploma received) St Ambrose University - music education - 1979-81 (Bachelor's degree received) Northern Illinois University - music - 1994-96 (Master's degree received) Art Institute of Colorado - graphic design - 2007-09 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
Mary F.
(877) 231-8505
Simms St
Arvada, CO
Subjects
Guitar, Classical Guitar, Piano, Organ, Music Theory, Music Performance, Singing, Banjo
Ages Taught
5 to 105
Specialties
classical guitar and piano
Education
Alleman High School - - 1963-67 (High School diploma received) St Ambrose University - music education - 1979-81 (Bachelor's degree received) Northern Illinois University - music - 1994-96 (Master's degree received) Art Institute of Colorado - graphic design - 2007-09 (Associate degree received)
Membership Organizations
TakeLessons Music Teacher

Data Provided by:
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Velocity

If you’ve ever played a piano, the process seems perfectly natural: The loudness of the note depends on how hard you strike the key. But even in the piano, quite a lot of technology (in the form of carefully balanced levers) goes into producing that effect. Other keyboards, such as organs and the first generation of synthesizers, don’t respond in that way. Play lightly, play hard — it makes no difference.

Just about all synthesizer keyboards today respond the way a piano does. There will be subtle differences, but the speed with which the key travels downward is sensed by a mechanism of some sort, and the information coming from the sensor is used to affect the sound of the synth.

The speed of the key as it descends toward the keybed is called its velocity. Each key has its own velocity sensor. And because just about all keyboards transmit MIDI, the velocity data is always encoded in the form dictated by MIDI. MIDI defines messages called note-on and note-off, and each note-on message includes velocity. (Note-off velocity — the speed with which the key is allowed to rise at the end of the note — is also defined by the MIDI Specification, but it’s rarely used.)

Because the velocity is embedded in the note-on event, the velocity of a note can’t change while the note is sounding. The value transmitted by the velocity sensor remains the same from the start of a given note to its end. Manufacturers of consumer keyboards sometimes blur this distinction by referring to velocity as “pressure.” MIDI defines a separate type of data called pressure, or aftertouch. When a keyboard senses pressure (not all of them do), you can send a control signal by pressing down harder after the key has reached the keybed. But that control signal has nothing to do with velocity.

MIDI defines velocity as a data type that can have values ranging from 1 to 127. A velocity of 1 is extremely slow (produced by very light playing), and 127 is extremely fast (produced by very hard playing).

USING VELOCITY TO CONTROL SOUND

The most common use of velocity is to control the loudness of the notes. As on a piano, when you play harder, the notes will be louder. On a synthesizer, this is accomplished by using velocity to modulate the amplitude of the audio signal. If you roll up your sleeves and do a little voice programming, you’ll probably find a parameter called VEL or Velocity in the Amplifier, AMP, or VCA area of your synth. If you turn this parameter down to zero, the velocity-to-loudness effect should go away: All notes should be equally loud.

If you listen closely to a piano, you’ll hear that the louder notes also have more sound energy in the upper frequency range. In other words, they’re not only louder, they’re also brighter. This effect is modelled in most synthesizers. If your synth has analog-type lowpass filters, you’ll find a parameter with which you can control velocity modulation of the filter cutoff frequency. When the velocity value is higher, the filter cuto...

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