If it starts with her welcoming the viewer to an AOL Sessions thing, it's probably the same recording of Dirty Little Secret (I can't see the video at the itunes location...)
It's the same piano as on Adia, but played differently. She uses a wider range of touch in Adia, really pounding the piano at times. (One soft passage with the pedal down actually doesn't work so well.) Fewer lossy format problems on the Adia video, too. Too bad that aol restricts the site. And one can't purchase or download the videos, as far as I can tell.
Has anyone from outside the US been able to reach the site?
I, too, hear the comparatively dry sound of the fxp. But is it dry, in the sense of needing more room? (I'm still experimenting, and I hope other people will take a hand at revisions or similar sounds.)
About the eq'ing. I've learned two things in working on this fxp--1. How to use the eq to bring in upper freqs and to cut them fast by raising the Q-factor. 2. How to use the soundboard's Cut-off freq to further control the rate of the cut-off. Raising the Cut-off means that higher, less prominent freqs must first get cut, so it takes a little longer for the Q-factor slope to be noticeable---in other words, the Cut-off freq, if you raise high freqs in the EQ pane that could make the sound too bright if held too long into the decay, acts almost like a delay for the Q-factor, making it seem less abrupt. Lets you get in the high freqs and cut them fast, so they register mainly in the attack, but not too fast. Enormous amount of control available in the way these two parameters can be made to interact with small tugs on the sliders.
Of course, this situation is true for all of the presets--it's just much more noticeable if you raise high freqs to unnatural amplitudes in the EQ pane to brighten the attack.
Last edited by Jake Johnson (03-09-2009 21:24)
