Velocity Stockton 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.

Keyboards & Kindermusik Conservatory, Inc.
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Marc L.
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Lime Avenue
Long Beach, CA
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Piano, Music Theory
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5 to 99
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I am primarily a classical pianist.
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University of California, Berkeley - Music - 2006-2010 (Bachelor's degree received) California State University, Long Beach - Piano Performance - 2010-2012 (not complete)
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Ivan C.
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Riverside, CA
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European classical method both for the music theory and piano
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rio hondo community college - general education/music - 2000-2003 (not complete) riverside community college - piano/music - 2003-2006 (not complete) california state university, fullerton - fine art - 2006-2010 (not complete)
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Caroline Cecile P.
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Dolan Avenue
Downey, CA
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5 to 13
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Using Alfred's piano or Bastien's. classics popular tunes, movie/musicals.
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Academie of Renaix/Belgium - piano - 09/68 to 06/69 completed the 2nd in 1976 in Brussels/Belgium (Bachelor's degree received)
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Paul T.
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Charnock Road
Los Angeles, CA
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Music Theory, Music Recording, Songwriting, Piano, Guitar, Singing
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5 to 55
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I excel at popular music genres such as pop, blues, R&B, rock, and jazz. I am also trained classically and enjoy the challenges of standard repertoire from Bach to Chopin. I began studying music as a student of the Suzuki method. However, today I find that my own practice resembles most closely, the Kodály, Dalcroze, and Orff-Schulwerk methodologies in philosophy and application.
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Santa Monica College - General Ed., Music - 08-1999 to 06-2001 (Associate degree received) UCLA - Ethnomusicology (World Music) - 09-2002 to 08-2004 (Bachelor's degree received)
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Jonathan M.
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Andrew Street
Tracy, CA
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UC Berkeley - Political Science - 2005-2010 (Bachelor's degree received)
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Inna G.
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Rocklin rd
Rocklin, CA
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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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Joseph T.
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Spazier Ave
Glendale, CA
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Classical
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Northridge Cal.State - Music,Piano - 1983 to 1986 (not complete)
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Andy S.
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E 7th St
Los Angeles, CA
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Music Performance, Percussion, Drums, Guitar, Music Theory, Piano
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5 to 99
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My percussion knowledge is vast and I can teach any genre My guitar knowledge is considerably less, but I can teach from beginners to intermediate levels. My piano knowledge is beginner to novice level
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Berklee College of Music - Professional Music - 9/1991-5/1995 (Bachelor's degree received) New York University - Music/Composition - 9/1995-5/1997 (Master's degree received)
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Marzena N.
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Tuller Avenue
Culver City, CA
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Music Theory, Bassoon, Piano
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5 to 20
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piano, bassoon, music theory Children 5 thru 7 - Prep Course of Alfred's piano method (lesson, theory, technic, notespeller) Children 7 thru 8 - Alfred's basic Piano Library Method ( piano, technic, theory and notespeller) Children 8 and up - Keith Snell's Piano Rep., Fundamentals of Piano Theory and Technic.
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University of Southern California - Advanced Studies in Music Performance 1998 - 2002 Wroclaw Music Academy - Masters in Music Performance 1992 - 1997 Wroclaw Secondary Music School - Music Performance 1986 - 1992
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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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