Velocity Salinas 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.

Michael L.
(877) 231-8505
Santa Monica Blvd
Los Angeles, CA
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Drums, Music Performance, Percussion, Piano, Songwriting
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5 to 99
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I am very accomplished on Drumset. I play and study all styles Jazz, Latin, Rock, Funk, Fusion, Big Band, World and all drumset concepts Linear, Compound stickings, Ghost Notes, Rudiments and rudimental application. Rhythm/Timing, Physiology Soloing, Ostinatos, Odd Meters, Odd Note Groupings, 4 way co-ordination,
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Musicians Institue - Drumset Percussion/Honors - March 1987-March 88 (Degree received) Southern NH Univ - General - Jan 2005 July 2006 (not complete)
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Austin Y.
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South Main Street
Milpitas, CA
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Piano, Guitar, Music Theory, Drums, Songwriting
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5 to 99
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Specialize in fervent, lively music playing. Styles: all-around. Genres: Christian, contemporary, mellow/peaceful, and rock.
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San Jose State University - Kinesiology - 2010 (not complete)
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Deneice H.
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Brockton Avenue
Riverside, CA
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Music, Piano, Organ, Keyboard .
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J. W. North Riverside.CA - Business Education - 1967-1969 University of California, Riverside - Political Science - 1969-1973 University of Wisconsin. Whitewater - Counseling & Guidance - 1975-1977 San Francisco Theological Seminary - Theology and Music - 1982-1986
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Nick O Rogers
San Franscico, CA
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Classical, Rock - Alternative, World
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Advanced, Beginner, Intermediate
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$30
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3 Years

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Jennifer Wilcove
7781 Archibald Ave. (same)
Rancho Cucamonga, CA
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Audio Recording, Chorus, Composition, Conducting, Ear Training, Ethnomusicology, Music Therapy, Musicology, Piano, Recording, Theory, Voice
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Other, Rock - Alternative, World
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Advanced, Beginner, Intermediate
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$25
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10 Years

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David W.
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C Ave
Coronado, CA
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5 to 99
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Music, Piano, Theory Classical, Pop, Rock, Jazz, Swing
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SFSU - Music/Business - 1993-2004
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Bryan B.
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Pentecost Way
San Diego, CA
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Piano, Music Theory, Speaking Voice, Singing, Theatrical Broadway Singing, Music Performance, Opera Voice, Acting
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5 to 99
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I know the Alexander Technique, The Body Mapping Method, and can teach Proper Musical Theatre Belting. I can also teach proper technique for Classical singing which applies in the Classical, Musical Theatre and Pop worlds. I have a great stage presence and am able to teach my students proper song interpretation and acting skills. For piano, I work on building a strong techinique and linking exercises and warm ups to musical line and musicality.
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SDSU - Music Performance - 2007-2010
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Hahmin S.
(877) 231-8505
Tetley Street ****STARTING IN NOVEMBER*****
Hacienda Heights, CA
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Piano
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5 to 99
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I was trained classically in piano. I have taught many different styles of music from Jazz to Contemporary to help student's realize their true passion for the piano. I use many varieties of piano methods that best fits the student. Material I use: Piano Adventures, online pieces, adjusted material to benefit and enhance the student most efficiently.I love to interact with the students so they may have a strong passion and desire to capture the material and to develop a stronger sense of the …
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Governor's School - Program for the Piano - 2005 (Degree received) James Madison University - Piano Performance major / Finance Minor - 2006-2008
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RockStars Music Studios
18582 Beach Blvd, Suite 214
Huntington Beach, CA
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Blues, Classical, Electronic, Folk - Country - Bluegrass, Jazz, Kids, Rock - Alternative, World
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Advanced, Beginner, Intermediate
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$130
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10 Years

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Benjamin C.
(877) 231-8505
Lincoln Street,
Carlsbad, CA
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Bass Guitar, Guitar, Piano, Music Recording
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1 to 99
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Modern/Classic/Acoustic Rock Pop Hip Hop Ballads Punk Metal Industrial Electronic
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Sunflower Christian - General - 1989-1993 (High School diploma received) Palomar College - General - 1990-2000 (not complete) Cedarville College - Communications/audio/video - 1994-1996 (not complete) Cal State Bakersfield - Communications/audio/video - 1997-1998 (not complete)
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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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