Velocity Lancaster CA

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.

Gizelle C.
(877) 231-8505
Rock St
Mountain View, CA
Subjects
Violin, Piano
Ages Taught
5 to 99
Specialties
Classical Violin and Piano. Accompaniment Piano. Music History and Theory. Playing games with students while learning. Correct arm positioning.
Education
Kazan State Music College - Violin and Piano - 2000-2002 (Bachelor's degree received)
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Linda C.
(877) 231-8505
Dallas Dr.
Campbell, CA
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Violin, Drums, Viola, Saxophone, Music Theory, Cello, Clarinet, Flute, Trumpet, Piano, Trombone, Upright Bass, Oboe, French Horn, Tuba, Percussion
Ages Taught
5 to 99
Specialties
I have been teaching band, orchestra & choir in public schools for 28 years.
Education
Miramonte HS - - 1972-1976 (not complete) Humboldt State Univ. - Music - 1976-1980 (Bachelor's degree received)
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Janna Virabian
25530 River Bend Dr #G 25530 River Bend Dr #G
Yorba Linda, CA
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Piano, Viola, Violin
Styles
Classical, Jazz, Kids, Other
Experience Levels
Advanced, Beginner, Intermediate
Rate
$50
Years of Experience
30 Years

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Ontario A.
(877) 231-8505
E. La Palma Dr.
Inglewood, CA
Subjects
Music Theory, Acting, Singing, Speaking Voice, Theatrical Broadway Singing, Music Performance, Piano
Ages Taught
5 to 99
Specialties
I specialize in teaching beginners in pop styles. I use a combination of methods and techniques including Mark Harrison,
Education
Louisiana State University - Music and Theater - 06/1999-05/2003 (Bachelor's degree received) Musician's Institute - Contemporary Keyboards - Spring 2008
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Kelley H.
(877) 231-8505
Toscana Way
San Diego, CA
Subjects
Flute, Music Performance, Piano, Singing, Opera Voice
Ages Taught
5 to 99
Specialties
Bel canto (classical technique) singing, Art Song and Opera, Italian, German, French and English diction
Education
Crowder College - Mathematics - 1995-1996 (Associate degree received) Missouri Southern State University - Music Education, Voice & Flute - 1997-2001 (Bachelor's degree received) The University of Texas at Austin - Opera Performance - 2003-2005 (Master's degree received)
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Alexander C.
(877) 231-8505
Shad Ct.
San Mateo, CA
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Piano
Ages Taught
8 to 99
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I teach using the Bastien series and Alfred's Piano Series
Education
San Jose State University - Bachelor of Music: Piano Performance - 2009 - present (not complete)
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Evan Sachs
2162 Avenida Espada
San Clemente, CA
Instruments
Piano, Suzuki Method, Theory
Styles
Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative
Experience Levels
Advanced, Beginner, Intermediate
Rate
$70
Years of Experience
35+ Years

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Carol F.
(877) 231-8505
Autumn Dr.
Oceanside, CA
Subjects
Music Theory, Singing, Piano, Speaking Voice
Ages Taught
7 to 99
Specialties
music theory, voice, singing, speaking, beginning piano, performance skills I specialize in jazz though I don't have much call for that. I'm good with most styles except Rap & Opera. I am a believer in Speech Level singing. I combine methods of Caesari and the methods that both Musician Institute & Los Angeles Music Academy use.
Education
Wheaton North - college prep - 1969-1972 (degree received) Northland College - art - 1972-1973 (not complete) Wisc. College Conservatory of Music - jazz voice - 1973-1975 (not complete) Musician's Institute - voice - 1990-1991 (degree received)
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Priscilla M.
(877) 231-8505
Via Aquario
San Diego, CA
Subjects
Theatrical Broadway Singing, Music Theory, Piano, Singing, Music Performance
Ages Taught
5 to 99
Specialties
Classical music, all periods. Musical theatre, vocal coaching and musical directing. Improvisation on piano, all styles.
Education
Wheaton College Conservatory of Music - Piano Performance - 1980-1984 (Bachelor's degree received) University of Redlands - Piano Performance - 1984-1986 (Master's degree received)
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Inna G.
(877) 231-8505
Segovia Way
Rancho Cordova, CA
Subjects
Music Theory, Theatrical Broadway Singing, Piano, Singing, Music Performance
Ages Taught
5 to 99
Education
Moldova Music School - Music - 1993-2000 (High School diploma received) Sierra College - Music - 2004-2008 (Associate degree received) Academy of Spiritual Music of Moskow - Conducting - 2007-2009 (Associate's degree received)) Sierra College - Music teacher /Transfer to SacState - 2004-2008 (Bachelor's degree received)
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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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