Fender Rhodes and wah pedal was a very popular combination early 70s (Pink Floyd, Alan Parson project spring to mind but there were many others), Chorus pedals have been used extensively with keyboards from electric pianos and early synths which didn't have in-built effects. Phaser was one Jean-Michael Jarre used a lot especially on the emininet string synth to give the sweeping effect on his early albums.
Tony Banks used a Fender Blender fuzz during the prog days with Genesis. They just reissued the Fender Blender, so there's a good option. The Big Muff is not a good match for a keyboard, but other dirt can be. A Strymon Deco has subtle tape overdrive that sounds wonderful on keyboards, as does the drive circuit in rotary sim pedals like the EHX Lester K. So any other low-gain effects like that will sound better than a sloppy-sounding Muff.
@@LeifNelandDk You reminded me of the first iteration of The Misfits. A rare instance where a punk band had no guitarist, but a fuzz keyboard played by singer Glenn Danzig. ruclips.net/video/RCAtTQf5T1E/видео.htmlfeature=shared I wonder what fuzz he used though, as it actually doesn't sound half bad, even with the crappy recording.
A lot of Canterbury-based bands like Caravan, Soft Machine (and other bands that couldn't afford synthesizers in the 70s) used electric organs/pianos with fuzz and wah pedals hooked into guitar amps. It makes for a really unique sound that would be great to hear again. Guess it became a lot more convenient to gig with a synthesizer than a big setup with an organ + amp.
This is basically the entire spiel behind “Is it any wonder” by Keane: Just a singer, drummer and heavily distorted electric piano. They use it to great effect; it’s a very unique sound 🙂 Just from the title, that song was my forest thought, and I had to pause this video to relisten… Also, the video is simple, but awesome! I love that song, but the point is not the effects… They’re cool and all, but it’s the artistry that matters!
@luke5100 I was actually with Keane for part of the Hopes and Fears tour and I’m not aware of them using any effects pedals, at least on the CP-70B. They did use a number of piano effects on Under the Iron Sea. I’m happy to be corrected though.
Keane, and especially their _Under The Iron Sea_ album, was my first thought after watching the video, since they use such a unique piano sound for it that it left a pretty big lasting impression on me. Very glad to see others bringing them up here too! I did find a video on the making of _UTIS,_ and about 7 minutes in they show Rice-Oxley experimenting with the sound for _Is It Any Wonder?_ with a ton of effect pedals stacked on top of the piano, adjusting some individually and then combining them all. It's quite a fascinating process that I'm a little disappointed that I never looked into sooner. Listening back to the _Hopes and Fears_ album, it seems like there are a few tracks that do more minor distortions to the piano, but none of it is as extreme as _UTIS_ and they usually stick to a clean piano sound instead.
Fun fact, Keane's entire album Under The Iron Sea (2006) was deliberately recorded using piano/synth and guitar effects, making it completely different to their debut album Hopes and Fears. It has this otherworldly quality to it, what sounds like an electric guitar suddenly has overtones because the chords are built differently to guitar chords.
Nice David! Would love to see a part 2 on this focusing on modulation pedals i.e. chorus, phase, flanger, tremolo, vibrato, uni vibe, etc Some fantastic sounds to be had with those, and more suited to keys 😊
The Wah pedal was originally imagined as an effect for organs which (I think) generally take effects better than a piano. If you want a great example of how an organ can sound with something like the Big Muff you should check out the version of 'Speed King' by Deep Purple on their Made In Japan Album. Admittedly Jon Lord is running his Hammond B3 into an overdriven Marshall guitar amp but the effect is pretty similar.
It was a pot circuit taken from a Vox amp. The engineer was playing with the sweep using his fingers on the pot. It was suggested to mount it into a volume pedal. So they did and used it on a guitar. The leader of the company said it sounds like a trumpet with a mute and wanted to sell them for trumpet players. He couldn't be convinced by the inventors it was a guitar product. He even got Clyde McCoy (a then popular) to put his name on it to sell more units. So a trumpet player who never used it, got a commission for each one sold, which was almost exclusively used on guitars.
@@kentl7228it’s funny because the original Maestro Fuzz was marketed as “make your electric bass or guitar sound like a brass instrument”. It was a FLOP until Keith Richards used it on “Satisfaction”(and he was actually using it to mimic what he thought would be replaced with an actual trumpet!)
@@kentl7228 One of my favourite parts of music/instrument history is that there's so many examples of people trying to make one instrument sound like another that end up becoming staples of either a particular genre or instrument for completely different reasons, the first overdrive pedals were marketed towards making b sax or brass sounds, as were the wah, and the early uni-vibe, which was the precursor to chorus, phase and flange pedals, was apparently marketed to make your guitar sound like a sitar, hell, the entire synthesizer industry is built upon trying to emulate various instruments and not doing a very good job. I think some of what is missing in modern music creation is that aspect of failed emulation leading to new and interesting sounds. Kinda hard to mess around with a half-assed trumpet sound and get something new when you've got 100's of genuine trumpets available at a click.
There's a pedal called the Screen Violence by Old Blood Noise Endeavors which was developed for the group CHVRCHES for their last album. It's a stereo modulated delay and reverb into a distortion (or the reverse, you can change the order), very shoegazey, and sounds incredible with keys.
I've played around with this before and got some pretty good results out of it. Tim Rice-Oxley from Keane is well-known for using guitar effects with keyboards, and I believe the intro of 'Forever Chemicals' by Placebo is a distorted piano. Also, I've tried using wah and whammy at the same time on guitar. Can confirm I couldn't get them to work well.
Guitar player here. There are no hard rules for pedal order; do what sounds good to you. However, Wah-wah is usually better earlier in the chain, especially before fuzz/distortion. With the Big Muff first, it generates all those high fuzzies and static-sounding frequencies then the wah-wah sweeps those as well as the fundamental tones of the instrument. If you, instead, put the wah first, it sweeps the instrument tone, then the fuzz is applied to that sound. It’s hard to describe, but just try swapping the order of the pedals around to see what you like. No wrong answers if you like what you’re getting. 😎
@@zantetsuken-zero EQ at the end of the chain does a perfectly valid nice thing… as does putting it at the front of the chain. It just depends on personal preference and what your goals are.
@@jeffmansfield914EQ at the end gives the most control. The point of an EQ is to sculpt/filter the final output so that any frequency you want less or more of can be adjusted accordingly. Granted an EQ at the start of the chain or between two pedals in the chain can help achieve interesting effects but the intended use is most effective if placed at the end of the chain.
@@NotDingse That last sentence is where you stop making sense. “The intended use is most effective when…” Well… that depends on what the intended use is. If *your* intended use is to shape the final sound, then putting it at the end works great. If, however, someone else’s intended use is to cut some low frequencies coming from a particular guitar before it hits an overdrive pedal which gets a bit mushy with too many lows, then having the EQ near the front of the chain makes sense. In that scenario, low frequencies might cause the overdrive to break up a certain way that highs and mids don’t, and simply taking the lows out at the end of the chain isn’t going to change the characteristics of that breakup. Simple test: if you have access to an EQ pedal and an overdrive pedal, hook just those two pedals up and run 3 or 4 different settings of each pedal. Without changing any knobs or sliders, swap the order and see if it makes a difference, then go to the next settings, play, swap, etc. You’ll find that shaping the EQ before the OD makes the OD respond differently, whereas using the EQ to shape the tone after the OD works in a different way. Neither is wrong. It’s all a matter of your total rig, your priorities, and your preferences. What is “most common” is irrelevant. What a RUclipsr recommends is irrelevant. What *I* say is irrelevant. There is no “most effective”, there’s only “most effective in giving you the sound you want”.
Several people have already mentioned flanger, and I'm a +1. Jan Hammer uses one to get some great timbre controls (not exactly piano I know, but he definitely created the state of the art for keyboards + effects back in the day.)
Great video. I love experimenting with timbre. I once put my Clavinova through my Leslie rotary speaker in an attempt to recreate the piano sound from the beginning of Pink Floyd’s Echoes and it sounded so good. Don’t know why I hadn’t thought of it before!
This is cool, and you've discovered the secret to big effects on keys - play as if it were not polyphonic. I have an entire board set up with a Moog Sub37, which is not strictly monophonic, but it doesn't like playing too many notes at once either. The board started off with "spares" from my main guitar board - OD, delay, trem, Mel9, phaser, yet another delay. Two tips: two pitchy effects in the same chain start to get weird with digital artifacts (esp EHX), the Whammy IV can be touchy but works beautifully to get the "I wish my keyboard had a proper whammy bar" feel - as you played at the end. The dive bomb works nicely in reverse too, which I did on an EP a couple of year ago - start dug in to the centre of a black hole and then haul the tone out into open space. So to speak (!).
The Band's Garth Hudson played a Clavinet fed through a wah-wah pedal on "Up on Cripple Creek" (1969).[1] Keith Emerson played the instrument on Emerson, Lake & Palmer's cover of "Nut Rocker", heard on 1971's Pictures at an Exhibition. Thanks for another great video
5:04 heavy My Bloody Valentine vibes with the distortion going on while holding the keys. Mindblowing video! The Beatles experimented with piano sounds by putting them through an amp. Imagine the possibilities with all the effects pedals out there! There needs to be a second part.
Those were interesting choices for pedals. Wah with keys, especially a Clavinova can sound amazing. I would suggest using an overdrive over a fuzz as fuzz just gets too chaotic. Modulation effects such as chorus, flanger, phaser, and tremolo all sound good with keys. Time-based effects such as delay and reverb also sound good, especially if you get a good modulated delay to use.
@@kentl7228yeah when I first saw the pedal choice in the video it really left me scratching my head since i was thinking reverb delay and chorus are no brainers for piano and those are some of the first kinds of pedals I would think to use for a video like this, idk how he thought a distortion pedal would sound good with a piano, I've tried it a lot in DAWs before and I can guarantee you it never sounds particularly great 😂
One along these lines that you might want to explore is a sound used by Pink Floyd on their song Echoes. They ran an acoustic piano through a Leslie rotating speaker and hit a high note to create something that sounds like a sonar ping in movies involving submarines.
Tony Banks from Genesis ran his piano/keyboards through a Fuzzbox for leads - especially after Anthony Phillips left the band, and Tony had to try to play or cover for some of the missing guitar parts.
So many times when I'm watching your videos I find one little thing that inspires me to produce a song, this time the octave slides at the beginning got me excited and I've just made a project I'm really happy with. Thank you for doing what you do!
The Digitech Whammy would work well for synth leads. You'd simultaneously get the full octave pitch bend, similar to Chick Corea on a Minimoog, at your feet; and half/whole step bends, similar to Jan Hammer, at your fingertips on the keyboard. It's easier to play smaller intervals on the keyboard pitch wheel when the wheels range is a half or whole step. Save giant steps for your feet ;)
When I saw the title I immediately thought of Is It Any Wonder? by Keane. I am sure they used lots of effects on the Under the Iron Sea album, though I'm not sure exactly what technology they used. Your demo of the Big Muff does sound like it though.
I tend to use a Digitech whammy alot with my band I feel like when you pitch shift up it sounds glassy. kind of fragile but when you drop it down it gets really beefy.
I absolutely loved this. The other I was talking with a friend about trying this sort of things with a mic'd sax. I also offered a phaser pedal I have to the keyboard. I absolutely love this kind of experimentation. In fact, I think that creating and trying different things is the fun of music. Congratulations on such a great video! ❤🔥👏
This is the comment I made under one of you videos earlier, praising how me, a guitar player, loves piano-focused lessons... and now this great channel featured something most guitarists can't live without - guitar effects ;)))) One of the very best channels of this type, period. First of all the focus is on content not on the youtuber showing off. The content is very well crafted, prepared and explained in a an easy to follow fashion. The modules are bite size and easy to digest. The actual examples put all the theory into context. For me, a guitarist, it is so refreshing to watch this channel where everything is explained using a piano keyboard. I have always thought piano is the most logically laid out instrument to teach music, where notes and chords all connect in the easiest way possible. Last but not least the author focuses on practical use of the theory he teaches, which is far more important than the theory itself, if it makes sense..... And by the way: whenever I see anything "The Beatles" I click like, therefore I like every video of yours 🙃 Greetings from Poland! I hope for more excellent content in 2024 😍
Distorted piano sound was a very instrumental part of Keane's "Under The Iron Sea" album - songs like Is It Any Wonder and Crystal Ball in particular! Worth a listen for sure
Excellent. There was really good prog on Radio 3 ages ago where I was surprised to learn that medieval musicians added all sorts of things to their instruments to change the timbre. Love the thought that musicians have always looked to change their sound.
love it. personally this is my favourite recent video of yours - and I'm someone who loves the music theory side but also am a guitarist and have pedals
You might get some uses out of things like delay, chorus or tremelo. It would be interesting to run the stereo channels through different effects, like a delay on one side and light overdrive/chorus on the other
The fuzz pedal sounds like NIN! Is that what Trent Reznor has been doing all these years, using guitar pedals with his keyboards (amongst other unknown effects and equipments, of course)? The point being, it's a great idea!
I actually really love the sound of some of these and could imagine using them to great effect in a song, not just as a fun goof on the internet. The way you're using the whammy and wah-wah was interesting because a few of the pieces you played with each (and both) reminded me of the sort of manipulation hip-hop producers do to samples for trap music. They use a lot of that kind of "hey, there's something wrong with the record" tweaking with effects to give samples a weird vintage, distorted, dissonant, and/or glitched vibe. As far as other pedals for future videos, I don't have any particularly good ones jumping out of my brain at the moment (I just recovered from a nasty case of the covid and am running on only about half my cylinders presently), but I'd love to hear you try to use the whammy pedal again (by itself or in conjunction with the other pedals) in a more targeted way to get the effect a good guitarist gets when playing a soulful solo. Y'know, bending the notes in a more meaningful way/time/distance rather than just sort of dropping it in as a rhythmic accent or glitch-moment like you were doing. Something like the way David Gilmour might play a guitar solo, for instance. I think you could get some real bluesy vibes going and bring emotion to a piano piece in a different way than you might normally. Anyway, great video! I love this kind of "experimenting with unusual equipment combos" type stuff.
The Big Muff was the first guitar pedal I bought back in 2016 when I was 17 because my band at the time was playing Today by the Smashing Pumpkins and I wanted to get closer to Billy Corgan's guitar tone (since he's one of the best known users of those pedals) and it's still one I love using but this was still incredibly cool to watch nonetheless, the fuzz and Whammy setup was definitely reminiscent of Jack White's sound since he used both of those extensively with the White Stripes and the wah by itself instantly made me think of Money by Pink Floyd since that was what Richard Wright used for his keyboard part. If you decide to try this again I'd love to see it with modulation pedals like chorus, phaser, flanger, tremolo/vibrato or delay and maybe a different kind of gain pedal like an overdrive because fuzz can get pretty harsh, but great vid as always David, and it was super cool getting to catch the premiere as well
Canterbury bands like Caravan and Soft Machine among others used electric organs paired with fuzz pedals, wahs, guitar amps to get a really cool tone in the 70s. The big muff was a great useful pedal when I played keys in a band too!
@@GNVS300there’s not much difference between guitar and ‘bass’ effect pedals, usually just one capacitor swapped out to respond better to lower frequencies. The best thing to do for your bass is get an EQ pedal and put it before the rest of your pedals
Props to you for playing the expression pedal with your left foot ! That is hard enough, haha. Sean Lennon has a song ("on again, off again") where the piano solo is played with a delay and a heavy chorus.
One notable use of keyboards with guitars was Tony Banks. Before Steve Hackett joined Genesis. Tony would cover lead parts with his electric piano by running it to a fuzz pedal. He even had a RMI Electra Piano modded to have a Fender fuzz pedal and MXR Phase 100 hardwired to the piano's electronics. The MXR was to be an alternative to bringing a Leslie speaker. During the lockdown, I've mucked around with my Yamaha DX7 running through a Line 6 POD HD500X. Playing the famous E.Piano 1 preset through the POD's chorus or rotary speaker gives it that 80s touch when tweaked right.
Thanks for your videos David. The theory stuff is always fascinating and well presented. This video is a bit different, which is good, and got me thinking which of my guitar pedals might work well with my Nord. Thanks.
One of my favorite effects for keyboards is the talk box. Not necessarily a guitar pedal, but usually considered a guitar effect. It sounds great with an organ!
I think some time-based effects or modulation effects could be cool too: delay, chorus, flanger, tremolo, etc. Reverb is probably a bit too basic. I think we've all heard a piano with reverb on it.
ideally you’d want any sort of pitch effects at the very beginning of the pedal chain. just pitching up the original signal and effecting it, instead of pitching up all of the effects before it too
The closing theme proves that the whammy mainly enhances solo tunes rather than chords just as with the guitar in whose case manipulating chords is the rare exception compared to colouring soles and single-tone riffs. On the other hand, the wah is cool for both purposes.
My band in high school LEGACY boasted an organ player who had a Wulitzer with a Leslie. He somehow got a big muff fuzz pedal introduced into the electronics of the organ and when hed hit it that organ would scream!
Sounds exactly like similar effects applied via guitar rig on Maverick sample library. Beatles achieved a great sound of putting a piano through a leslie speaker on Birthday.
When using guitar pedals for keyboards, you aways should have in mind, that guitar pedals are built for guitar line levels, which are significantly lower then "normal" line levels. When adding an overdrive/distortion/fuzz to a keyboard you are starting with a relatively high gain, resulting in more "effect". I use my Reface CP (Rhodes/Wurli kind of keyboard) with a self built Blues Driver Clone where I reduced the input gain before the circuit. It's my "always on" pedal when playing a Rhodes Sound, giving just the pinch of analog saturation I want.
You should try a more "civilized" overdrive pedal like the Boss Blues Driver and really play around with the gain settings on it. It shouldn't shred up chords as much as a big muff and the actual amount of distortion is more heavily dependent on playing dynamics, going from almost crystal clean to quite distorted if you play soft enough at a high gain setting. Also when playing multiple notes, avoiding intervals other than perfect 5ths makes for clearer chords, and taking it a step further, you can get some cool and very thick distorted chords by stacking another perfect fifth for a 5add9, like in the chorus of Even Flow by Pearl Jam. Another cool pedal would be a Chorus or a Flanger. Some flangers can also be dialed in to sound exactly like a chorus pedal, or are an included setting of a chorus pedal like the TC Electronic SCF Gold.
I have the EQD Afterneath permenantly dedicated to my piano. A phaser pedal is often put just before the reverb for a bit(or a lot) of funk. You found some Funk of your own...
I think the Whammy is one of those pedals you really need to write parts in mind with to get the most out of- Some of the harmonies besides just octaves are really musical, but it's not something you can just throw on a part like other effects. I've written some pieces using it to slide harmonics played on the bass around, which sounds incredible and would be totally impossible otherwise.
An aspect of why the distortion effect you received sounds so harsh is because a typical guitar speaker isn't as high fidelity as the line out that you're using. If you wanted to bring it under control I would recommend applying an impulse response to the signal chain, at least when the pedal is activated. Another issue is that you're putting out a line voltage signal, which is many times higher in strength than a guitar pickup. In terms of addressing that, you're going to want to have something step down the voltage considerably and then run the attenuated signal through the pedal before re-amplifying it. That will have the potential to make the pedal a bit more reactive to the dynamics of your playing because as it stands you're hitting the input with so much signal that it's like you're stacking multiple pedals in front of it. That sound can be really cool, but it's often better to have a bit more headroom and then use another pedal to bring the volume up on the input signal situationally. In terms of other pedals to try, you should definitely do something with a delay pedal, especially if it has tap tempo and reverse settings. Other effects from guitar that could be interesting to play with would include a volume pedal for doing swells and the Boss Slicer (alternatively a more traditional tremolo pedal would sound nice, but the slicer has a lot of interesting patterns that filter different parts of the frequency spectrum.) You could get something similar to the Slicer by purchasing a vocoder pedal and then triggering it with some drum loops. You would also get to make your piano talk (or beatbox if you're feeling up to it) You could also look to find a pedal that has a step filter mode and see how that works for you EDIT: you could also try an envelope filter (basically a wah effect that sweeps through the range of the filter based on the volume of the signal put through it) and a bit crusher (will make your piano sound really grainy and busted, which can have some interesting applications)
The grand piano sound through the Big Muff reminds me of the sounds that Jon Lord (Deep Purple) would get by using a distorted Marshall amp in conjunction with the organ. “Space Truckin’” is a good example of what I’m talking about.
A fun thing for piano folks who have no experience with synthesizers and their associated filters, envelopes and other gadgets. Instead of the 'whammy' pedal, I'd go with a tremolo pedal; as many pianos will have a portamento/glide control anyway. The 'muff' being a fuzz pedal was always going to be too harsh; far better to use an overdrive pedal, which is much more subtle and controllable (my biases: BOSS BD-2 Blues Driver). Autowha pedals, while not giving the control, can be good for the initial (filter sweep) attacks of the 'chuck-a-whucka' sound of a manual wah. As sortof alluded to, making your 'keyboard' sound like a guitar is definitely a 'thing'... and I always go to Jan Hammer's "Miami Vice" theme for a good example of it... and again, he used the Fairlight CMI for some of the sounds (go Oz!)... ruclips.net/video/dEjXPY9jOx8/видео.html
This was pretty interesting, but something I'd like to see is the use of an envelope filter such as the ElectroHarmonix BassBalls pedal. That as well as a phaser pedal would be pretty interesting to see. I love the sound of the BassBalls pedal when its turned down super far, so I'd like to see how that translates from bass to piano.
I think using a Big Muff-style pedal with a mix knob would work better on piano. That way you could blend it in in parallel and still have the clean signal underneath. I know my Bass Big Muff has a mix knob. I imagine others do too, especially when you consider the hundreds of Big Muff knockoffs made by other companies.
![KAYTRANADA - Witchy (feat. Childish Gambino) [Official Video]](http://i.ytimg.com/vi/jGK3YVmGZ3Y/mqdefault.jpg)
I would love to see more sound design sort of stuff on this channel!
I was just thinking how keyboards are a bit inhibited (hushed My mouth!).
Fender Rhodes and wah pedal was a very popular combination early 70s (Pink Floyd, Alan Parson project spring to mind but there were many others), Chorus pedals have been used extensively with keyboards from electric pianos and early synths which didn't have in-built effects. Phaser was one Jean-Michael Jarre used a lot especially on the emininet string synth to give the sweeping effect on his early albums.
Tony Banks used a Fender Blender fuzz during the prog days with Genesis. They just reissued the Fender Blender, so there's a good option. The Big Muff is not a good match for a keyboard, but other dirt can be. A Strymon Deco has subtle tape overdrive that sounds wonderful on keyboards, as does the drive circuit in rotary sim pedals like the EHX Lester K. So any other low-gain effects like that will sound better than a sloppy-sounding Muff.
What floyd songs use it?
The big muff just make the keyboard sound like an electric guitar, which doesn't make sense to do, unless you don't have a guitar (player)
@@NBrixH First one that comes to mind is Money during the sax solo
@@LeifNelandDk You reminded me of the first iteration of The Misfits. A rare instance where a punk band had no guitarist, but a fuzz keyboard played by singer Glenn Danzig. ruclips.net/video/RCAtTQf5T1E/видео.htmlfeature=shared
I wonder what fuzz he used though, as it actually doesn't sound half bad, even with the crappy recording.
The whammy pedal with the piano has such a magical sound. It’s reminds me a lot of Thom Yorke’s music, especially “Pink Section”
I’m glad I found this comment. It reminds me of the album A moon shaped pool!
Incubus - Stellar.
A lot of Canterbury-based bands like Caravan, Soft Machine (and other bands that couldn't afford synthesizers in the 70s) used electric organs/pianos with fuzz and wah pedals hooked into guitar amps. It makes for a really unique sound that would be great to hear again. Guess it became a lot more convenient to gig with a synthesizer than a big setup with an organ + amp.
In The Land Of Grey And Pink, Rotters’ Club and Soft Machine’s Third are my favourites
@@CentipedeMKDS You took the words straight out of my keyboard. I prefer "Fourth" to "Third", though
*Mike Ratledge has entered the chat* 😂
Oh man I love Caravan so much.
Richard Sinclair is my favorite bassist
This is basically the entire spiel behind “Is it any wonder” by Keane: Just a singer, drummer and heavily distorted electric piano. They use it to great effect; it’s a very unique sound 🙂 Just from the title, that song was my forest thought, and I had to pause this video to relisten… Also, the video is simple, but awesome!
I love that song, but the point is not the effects… They’re cool and all, but it’s the artistry that matters!
@luke5100 I was actually with Keane for part of the Hopes and Fears tour and I’m not aware of them using any effects pedals, at least on the CP-70B. They did use a number of piano effects on Under the Iron Sea. I’m happy to be corrected though.
Keane, and especially their _Under The Iron Sea_ album, was my first thought after watching the video, since they use such a unique piano sound for it that it left a pretty big lasting impression on me. Very glad to see others bringing them up here too!
I did find a video on the making of _UTIS,_ and about 7 minutes in they show Rice-Oxley experimenting with the sound for _Is It Any Wonder?_ with a ton of effect pedals stacked on top of the piano, adjusting some individually and then combining them all. It's quite a fascinating process that I'm a little disappointed that I never looked into sooner.
Listening back to the _Hopes and Fears_ album, it seems like there are a few tracks that do more minor distortions to the piano, but none of it is as extreme as _UTIS_ and they usually stick to a clean piano sound instead.
Fun fact, Keane's entire album Under The Iron Sea (2006) was deliberately recorded using piano/synth and guitar effects, making it completely different to their debut album Hopes and Fears. It has this otherworldly quality to it, what sounds like an electric guitar suddenly has overtones because the chords are built differently to guitar chords.
Nice David! Would love to see a part 2 on this focusing on modulation pedals i.e. chorus, phase, flanger, tremolo, vibrato, uni vibe, etc
Some fantastic sounds to be had with those, and more suited to keys 😊
As a guitarist who dabbles in piano I've long thought it an interesting idea to make a solid body electric piano. Imagine the pickups on that sucker!
Very nine inch nails with the Big Muff
And like Muse with the arpeggios
I was thinking either Muse or My Morning Jacket
Very SHIT sound indeed
ooh look at me, I'm so much better than you because I don't like things @@Kouros-t6d
very daft punk also
The Wah pedal was originally imagined as an effect for organs which (I think) generally take effects better than a piano. If you want a great example of how an organ can sound with something like the Big Muff you should check out the version of 'Speed King' by Deep Purple on their Made In Japan Album. Admittedly Jon Lord is running his Hammond B3 into an overdriven Marshall guitar amp but the effect is pretty similar.
All a whammy is an middle EQ pot so you can get the same affect scooping the middle on any amp.
It was a pot circuit taken from a Vox amp. The engineer was playing with the sweep using his fingers on the pot. It was suggested to mount it into a volume pedal. So they did and used it on a guitar. The leader of the company said it sounds like a trumpet with a mute and wanted to sell them for trumpet players. He couldn't be convinced by the inventors it was a guitar product. He even got Clyde McCoy (a then popular) to put his name on it to sell more units. So a trumpet player who never used it, got a commission for each one sold, which was almost exclusively used on guitars.
@@kentl7228it’s funny because the original Maestro Fuzz was marketed as “make your electric bass or guitar sound like a brass instrument”. It was a FLOP until Keith Richards used it on “Satisfaction”(and he was actually using it to mimic what he thought would be replaced with an actual trumpet!)
@@kentl7228 One of my favourite parts of music/instrument history is that there's so many examples of people trying to make one instrument sound like another that end up becoming staples of either a particular genre or instrument for completely different reasons, the first overdrive pedals were marketed towards making b sax or brass sounds, as were the wah, and the early uni-vibe, which was the precursor to chorus, phase and flange pedals, was apparently marketed to make your guitar sound like a sitar, hell, the entire synthesizer industry is built upon trying to emulate various instruments and not doing a very good job. I think some of what is missing in modern music creation is that aspect of failed emulation leading to new and interesting sounds. Kinda hard to mess around with a half-assed trumpet sound and get something new when you've got 100's of genuine trumpets available at a click.
I love that piece at the end, sounds a bit like tape-flutter. Very beautiful.
Compressor, phaser and chorus pedals are also worth experimenting with. And echo of course :)
Yes, chorus pedal specifically would be interesting.
There's a pedal called the Screen Violence by Old Blood Noise Endeavors which was developed for the group CHVRCHES for their last album. It's a stereo modulated delay and reverb into a distortion (or the reverse, you can change the order), very shoegazey, and sounds incredible with keys.
David actually had to put shoes on for this one
Or he just wears his shoes but never actually shows them in videos because there's no need to for most of the time
@@tlazohtlalia Frankly weird if that's the case
i actually loved how the big muff and the wah pedal interacted
At 4:48 it almost sounded like you were going to play the electric version of Neil Young's "Hey Hey, My My (Into The Black)" cool sound!
Haha…YES. BUT would also be great for “Spirit In The Sky”. Often imitated, never duplicated. 😅
I think the wah wah pedal would be really interesting to play with just for the two different tones
I love this channel. Thanks for teaching me stuff I never knew existed!👍❤️
I like your profile picture and banner as well
I've played around with this before and got some pretty good results out of it. Tim Rice-Oxley from Keane is well-known for using guitar effects with keyboards, and I believe the intro of 'Forever Chemicals' by Placebo is a distorted piano.
Also, I've tried using wah and whammy at the same time on guitar. Can confirm I couldn't get them to work well.
A Keane observation 🙂
Guitar player here. There are no hard rules for pedal order; do what sounds good to you. However, Wah-wah is usually better earlier in the chain, especially before fuzz/distortion. With the Big Muff first, it generates all those high fuzzies and static-sounding frequencies then the wah-wah sweeps those as well as the fundamental tones of the instrument. If you, instead, put the wah first, it sweeps the instrument tone, then the fuzz is applied to that sound. It’s hard to describe, but just try swapping the order of the pedals around to see what you like. No wrong answers if you like what you’re getting. 😎
Wah after muff is at least for me, someone who is into garage rock, almost like the correct way to do it.
you should put your equalizer at the end of your pedal chain though
@@zantetsuken-zero
EQ at the end of the chain does a perfectly valid nice thing… as does putting it at the front of the chain. It just depends on personal preference and what your goals are.
@@jeffmansfield914EQ at the end gives the most control. The point of an EQ is to sculpt/filter the final output so that any frequency you want less or more of can be adjusted accordingly.
Granted an EQ at the start of the chain or between two pedals in the chain can help achieve interesting effects but the intended use is most effective if placed at the end of the chain.
@@NotDingse
That last sentence is where you stop making sense.
“The intended use is most effective when…”
Well… that depends on what the intended use is. If *your* intended use is to shape the final sound, then putting it at the end works great. If, however, someone else’s intended use is to cut some low frequencies coming from a particular guitar before it hits an overdrive pedal which gets a bit mushy with too many lows, then having the EQ near the front of the chain makes sense. In that scenario, low frequencies might cause the overdrive to break up a certain way that highs and mids don’t, and simply taking the lows out at the end of the chain isn’t going to change the characteristics of that breakup.
Simple test: if you have access to an EQ pedal and an overdrive pedal, hook just those two pedals up and run 3 or 4 different settings of each pedal. Without changing any knobs or sliders, swap the order and see if it makes a difference, then go to the next settings, play, swap, etc. You’ll find that shaping the EQ before the OD makes the OD respond differently, whereas using the EQ to shape the tone after the OD works in a different way. Neither is wrong. It’s all a matter of your total rig, your priorities, and your preferences. What is “most common” is irrelevant. What a RUclipsr recommends is irrelevant. What *I* say is irrelevant. There is no “most effective”, there’s only “most effective in giving you the sound you want”.
Love the sound of Fender Rhodes with phaser or chorus !
I guess most Rhodes we hear on recordings will have been sent through some kind of effects. Tremeolo/Panning would probably be the most common.
Oh yes! A friend of mine uses a Roland Jazz Chorus amp for his Rhodes. The built-in Chorus of this amp fits perfectly to the Rhodes.
Effects pedals are “inspiration in a box”. Using them can send you into places you might never have thought of. Definitely recommend experimentation!
Several people have already mentioned flanger, and I'm a +1. Jan Hammer uses one to get some great timbre controls (not exactly piano I know, but he definitely created the state of the art for keyboards + effects back in the day.)
That muff sounds the bollocks!! Would love to hear it on an album or live.
Smashing pumpkins use it in every song
Reminded me of George Duke's guitar solo on synthesizer back in '83. Fooled alot of guitarist 😀 And it's all in the phrasing.
Cheers from 🇸🇪
Great video. I love experimenting with timbre. I once put my Clavinova through my Leslie rotary speaker in an attempt to recreate the piano sound from the beginning of Pink Floyd’s Echoes and it sounded so good. Don’t know why I hadn’t thought of it before!
This is cool, and you've discovered the secret to big effects on keys - play as if it were not polyphonic. I have an entire board set up with a Moog Sub37, which is not strictly monophonic, but it doesn't like playing too many notes at once either. The board started off with "spares" from my main guitar board - OD, delay, trem, Mel9, phaser, yet another delay. Two tips: two pitchy effects in the same chain start to get weird with digital artifacts (esp EHX), the Whammy IV can be touchy but works beautifully to get the "I wish my keyboard had a proper whammy bar" feel - as you played at the end. The dive bomb works nicely in reverse too, which I did on an EP a couple of year ago - start dug in to the centre of a black hole and then haul the tone out into open space. So to speak (!).
The Band's Garth Hudson played a Clavinet fed through a wah-wah pedal on "Up on Cripple Creek" (1969).[1] Keith Emerson played the instrument on Emerson, Lake & Palmer's cover of "Nut Rocker", heard on 1971's Pictures at an Exhibition. Thanks for another great video
Hudson used a”Mutron”.
Tony Banks messed around with keyboards through guitar pedals in the past. Phasers and such. They sound very interesting!
And when he doubled with Hackett it was wonderful, wasn't it?
I've always done this , Putting a phaser on an organ sound for dub reggae is perfect !
5:04 heavy My Bloody Valentine vibes with the distortion going on while holding the keys. Mindblowing video! The Beatles experimented with piano sounds by putting them through an amp. Imagine the possibilities with all the effects pedals out there! There needs to be a second part.
Those were interesting choices for pedals. Wah with keys, especially a Clavinova can sound amazing. I would suggest using an overdrive over a fuzz as fuzz just gets too chaotic. Modulation effects such as chorus, flanger, phaser, and tremolo all sound good with keys. Time-based effects such as delay and reverb also sound good, especially if you get a good modulated delay to use.
As soon as he started playing with the wah, I could totally hear Stevie Wonder with a wah and a clavinet.
Absolutely correct. He should have demonstrated a capable delay pedal, but like you said, tremolo, flanger and phaser too. He should do a part two.
@@kentl7228yeah when I first saw the pedal choice in the video it really left me scratching my head since i was thinking reverb delay and chorus are no brainers for piano and those are some of the first kinds of pedals I would think to use for a video like this, idk how he thought a distortion pedal would sound good with a piano, I've tried it a lot in DAWs before and I can guarantee you it never sounds particularly great 😂
Haha! Your enthusiasm and creativity reminds me of when I first got my first Boss flanger and delay pedals back in the 80's.
One along these lines that you might want to explore is a sound used by Pink Floyd on their song Echoes. They ran an acoustic piano through a Leslie rotating speaker and hit a high note to create something that sounds like a sonar ping in movies involving submarines.
Tony Banks from Genesis ran his piano/keyboards through a Fuzzbox for leads - especially after Anthony Phillips left the band, and Tony had to try to play or cover for some of the missing guitar parts.
I am a guitarist and am getting my piano delivered tomorrow. Very excited to dive in and think/hope your course will help me.
So many times when I'm watching your videos I find one little thing that inspires me to produce a song, this time the octave slides at the beginning got me excited and I've just made a project I'm really happy with. Thank you for doing what you do!
The whammy set to the full step bend gets you in the world of pedal steel guitar a very underrated way to use that pedal
The Digitech Whammy would work well for synth leads. You'd simultaneously get the full octave pitch bend, similar to Chick Corea on a Minimoog, at your feet; and half/whole step bends, similar to Jan Hammer, at your fingertips on the keyboard. It's easier to play smaller intervals on the keyboard pitch wheel when the wheels range is a half or whole step. Save giant steps for your feet ;)
When I saw the title I immediately thought of Is It Any Wonder? by Keane. I am sure they used lots of effects on the Under the Iron Sea album, though I'm not sure exactly what technology they used. Your demo of the Big Muff does sound like it though.
Reverb, delay, tremolo, and the Chase Bliss MOOD!
That put a smile on your face!
Both Rhodes piano and Hammond organ are great for use with distortion.
I tend to use a Digitech whammy alot with my band I feel like when you pitch shift up it sounds glassy. kind of fragile but when you drop it down it gets really beefy.
I absolutely loved this. The other I was talking with a friend about trying this sort of things with a mic'd sax. I also offered a phaser pedal I have to the keyboard. I absolutely love this kind of experimentation. In fact, I think that creating and trying different things is the fun of music. Congratulations on such a great video! ❤🔥👏
Effects like fuzz + distortion tend to benefit from the tone shaping of a cabinet or other IR downstream. It gets rid of some of the harshness.
This is the comment I made under one of you videos earlier, praising how me, a guitar player, loves piano-focused lessons... and now this great channel featured something most guitarists can't live without - guitar effects ;))))
One of the very best channels of this type, period.
First of all the focus is on content not on the youtuber showing off. The content is very well crafted, prepared and explained in a an easy to follow fashion. The modules are bite size and easy to digest. The actual examples put all the theory into context. For me, a guitarist, it is so refreshing to watch this channel where everything is explained using a piano keyboard. I have always thought piano is the most logically laid out instrument to teach music, where notes and chords all connect in the easiest way possible. Last but not least the author focuses on practical use of the theory he teaches, which is far more important than the theory itself, if it makes sense.....
And by the way: whenever I see anything "The Beatles" I click like, therefore I like every video of yours 🙃
Greetings from Poland! I hope for more excellent content in 2024 😍
Dude, I can’t tell you how much I love your videos
Distorted piano sound was a very instrumental part of Keane's "Under The Iron Sea" album - songs like Is It Any Wonder and Crystal Ball in particular! Worth a listen for sure
This is something I love to do all the time digitally, in my daw.
The wah is really nice to leave cocked. It doesn’t have to always move. If you do that you can use it to reduce the overtones in the big muff
Look again: Big Muff Pie! It was clever. Bought my first in 1977. Lots of pedals give greater variety of effect when hooked to a voltage regulator.
Excellent. There was really good prog on Radio 3 ages ago where I was surprised to learn that medieval musicians added all sorts of things to their instruments to change the timbre. Love the thought that musicians have always looked to change their sound.
love it. personally this is my favourite recent video of yours - and I'm someone who loves the music theory side but also am a guitarist and have pedals
You might get some uses out of things like delay, chorus or tremelo. It would be interesting to run the stereo channels through different effects, like a delay on one side and light overdrive/chorus on the other
I recently used a univibe on my piano and it actually sounded amazing. Ig that's kinda like the thing u tried to do with the first pedal
David, that's an interesting experiment !! I like the Wah/Whammy combo. I think a stereo delay with a ping pong effect would sound interesting!!
The fuzz pedal sounds like NIN! Is that what Trent Reznor has been doing all these years, using guitar pedals with his keyboards (amongst other unknown effects and equipments, of course)? The point being, it's a great idea!
As a guitar player, when i played a digital piano for the first time i was sad to find out none of the foot pedals was a wah wah pedal
When you did the dive bomb with the Digi tech whammy, I recognized its use in Yoshimi Battles the Pink Robots.
I actually really love the sound of some of these and could imagine using them to great effect in a song, not just as a fun goof on the internet. The way you're using the whammy and wah-wah was interesting because a few of the pieces you played with each (and both) reminded me of the sort of manipulation hip-hop producers do to samples for trap music. They use a lot of that kind of "hey, there's something wrong with the record" tweaking with effects to give samples a weird vintage, distorted, dissonant, and/or glitched vibe.
As far as other pedals for future videos, I don't have any particularly good ones jumping out of my brain at the moment (I just recovered from a nasty case of the covid and am running on only about half my cylinders presently), but I'd love to hear you try to use the whammy pedal again (by itself or in conjunction with the other pedals) in a more targeted way to get the effect a good guitarist gets when playing a soulful solo. Y'know, bending the notes in a more meaningful way/time/distance rather than just sort of dropping it in as a rhythmic accent or glitch-moment like you were doing. Something like the way David Gilmour might play a guitar solo, for instance. I think you could get some real bluesy vibes going and bring emotion to a piano piece in a different way than you might normally.
Anyway, great video! I love this kind of "experimenting with unusual equipment combos" type stuff.
You could easily turn this into a series, I'd love to hear a phaser or overdrive on a piano
Yes, this is gonna be very expensive real fast 😂
Phaser on rhodes piano was a super popular sound.
The Big Muff was the first guitar pedal I bought back in 2016 when I was 17 because my band at the time was playing Today by the Smashing Pumpkins and I wanted to get closer to Billy Corgan's guitar tone (since he's one of the best known users of those pedals) and it's still one I love using but this was still incredibly cool to watch nonetheless, the fuzz and Whammy setup was definitely reminiscent of Jack White's sound since he used both of those extensively with the White Stripes and the wah by itself instantly made me think of Money by Pink Floyd since that was what Richard Wright used for his keyboard part. If you decide to try this again I'd love to see it with modulation pedals like chorus, phaser, flanger, tremolo/vibrato or delay and maybe a different kind of gain pedal like an overdrive because fuzz can get pretty harsh, but great vid as always David, and it was super cool getting to catch the premiere as well
Canterbury bands like Caravan and Soft Machine among others used electric organs paired with fuzz pedals, wahs, guitar amps to get a really cool tone in the 70s. The big muff was a great useful pedal when I played keys in a band too!
Big Muffs work great on bass too. Chris Wolstenholme uses 2.
@@wingracer1614 does he use the Bass Big Muff? Because I have the Big Muff Nano and it sounds dreadful with my bass.
@@GNVS300 Probably but i'm not sure to be honest. Could be the old russian greens for all I know
@@GNVS300there’s not much difference between guitar and ‘bass’ effect pedals, usually just one capacitor swapped out to respond better to lower frequencies. The best thing to do for your bass is get an EQ pedal and put it before the rest of your pedals
Some lovely Glitchmob sounds with whammy and big muff. ❤❤❤
The outro piano piece is beautiful
Props to you for playing the expression pedal with your left foot ! That is hard enough, haha.
Sean Lennon has a song ("on again, off again") where the piano solo is played with a delay and a heavy chorus.
One notable use of keyboards with guitars was Tony Banks. Before Steve Hackett joined Genesis. Tony would cover lead parts with his electric piano by running it to a fuzz pedal. He even had a RMI Electra Piano modded to have a Fender fuzz pedal and MXR Phase 100 hardwired to the piano's electronics. The MXR was to be an alternative to bringing a Leslie speaker.
During the lockdown, I've mucked around with my Yamaha DX7 running through a Line 6 POD HD500X. Playing the famous E.Piano 1 preset through the POD's chorus or rotary speaker gives it that 80s touch when tweaked right.
Thanks for your videos David. The theory stuff is always fascinating and well presented. This video is a bit different, which is good, and got me thinking which of my guitar pedals might work well with my Nord. Thanks.
Thank you 😊
One of my favorite effects for keyboards is the talk box. Not necessarily a guitar pedal, but usually considered a guitar effect. It sounds great with an organ!
Bassist/keyboardist in the 1st iteration of Wolfmother played his organ with effects. This just made me think of that.
you should try the big muff with an amp/cab sim. no guitarist will plug a guitar and a distortion pedal straight into an audio interface
I think some time-based effects or modulation effects could be cool too: delay, chorus, flanger, tremolo, etc. Reverb is probably a bit too basic. I think we've all heard a piano with reverb on it.
A polyphonic synth through any of these would also be a world of fun
ideally you’d want any sort of pitch effects at the very beginning of the pedal chain. just pitching up the original signal and effecting it, instead of pitching up all of the effects before it too
7:07 - When I hear this sound, I immediately 'heard 'The Status Quo's 'Pictures of Matchstick Men' from 1968!
The closing theme proves that the whammy mainly enhances solo tunes rather than chords just as with the guitar in whose case manipulating chords is the rare exception compared to colouring soles and single-tone riffs.
On the other hand, the wah is cool for both purposes.
thanks for the idea I'll try it for sure
My band in high school LEGACY boasted an organ player who had a Wulitzer with a Leslie. He somehow got a big muff fuzz pedal introduced into the electronics of the organ and when hed hit it that organ would scream!
Sounds exactly like similar effects applied via guitar rig on Maverick sample library. Beatles achieved a great sound of putting a piano through a leslie speaker on Birthday.
Wammy and wah together sounds super lo-fi, sounds just like wow and flutter on a tape deck
Yep I use wah and delay on my Rhodes Mark II all the time, it's super fun
When using guitar pedals for keyboards, you aways should have in mind, that guitar pedals are built for guitar line levels, which are significantly lower then "normal" line levels. When adding an overdrive/distortion/fuzz to a keyboard you are starting with a relatively high gain, resulting in more "effect".
I use my Reface CP (Rhodes/Wurli kind of keyboard) with a self built Blues Driver Clone where I reduced the input gain before the circuit. It's my "always on" pedal when playing a Rhodes Sound, giving just the pinch of analog saturation I want.
this was fantastic, please do this regularly!!
You should try a more "civilized" overdrive pedal like the Boss Blues Driver and really play around with the gain settings on it. It shouldn't shred up chords as much as a big muff and the actual amount of distortion is more heavily dependent on playing dynamics, going from almost crystal clean to quite distorted if you play soft enough at a high gain setting. Also when playing multiple notes, avoiding intervals other than perfect 5ths makes for clearer chords, and taking it a step further, you can get some cool and very thick distorted chords by stacking another perfect fifth for a 5add9, like in the chorus of Even Flow by Pearl Jam.
Another cool pedal would be a Chorus or a Flanger. Some flangers can also be dialed in to sound exactly like a chorus pedal, or are an included setting of a chorus pedal like the TC Electronic SCF Gold.
Phaser/chorus pedals are beautiful on a piano
I love running my Hammond B3 (1961) through FX pedals - it's the main reason I added an (all tube) FX loop to that beast! 😎👍
I have the EQD Afterneath permenantly dedicated to my piano. A phaser pedal is often put just before the reverb for a bit(or a lot) of funk. You found some Funk of your own...
4:49 the big muff going through a keyboard was used on the awesome "Stuck on You" by Failure. Apparently it was a big mystery for years!
I wanna see you try some milder overdrives like the Tube Screamer, and maybe some Spring Reverb
The big muff fuzz sound reminded me of the synth sound in The Decemberists' Severed, really nice!
I think the Whammy is one of those pedals you really need to write parts in mind with to get the most out of- Some of the harmonies besides just octaves are really musical, but it's not something you can just throw on a part like other effects. I've written some pieces using it to slide harmonics played on the bass around, which sounds incredible and would be totally impossible otherwise.
The big muff sound almost reminds of Pokémon music on an old Gameboy 😂
An aspect of why the distortion effect you received sounds so harsh is because a typical guitar speaker isn't as high fidelity as the line out that you're using.
If you wanted to bring it under control I would recommend applying an impulse response to the signal chain, at least when the pedal is activated.
Another issue is that you're putting out a line voltage signal, which is many times higher in strength than a guitar pickup.
In terms of addressing that, you're going to want to have something step down the voltage considerably and then run the attenuated signal through the pedal before re-amplifying it. That will have the potential to make the pedal a bit more reactive to the dynamics of your playing because as it stands you're hitting the input with so much signal that it's like you're stacking multiple pedals in front of it.
That sound can be really cool, but it's often better to have a bit more headroom and then use another pedal to bring the volume up on the input signal situationally.
In terms of other pedals to try, you should definitely do something with a delay pedal, especially if it has tap tempo and reverse settings.
Other effects from guitar that could be interesting to play with would include a volume pedal for doing swells and the Boss Slicer (alternatively a more traditional tremolo pedal would sound nice, but the slicer has a lot of interesting patterns that filter different parts of the frequency spectrum.)
You could get something similar to the Slicer by purchasing a vocoder pedal and then triggering it with some drum loops. You would also get to make your piano talk (or beatbox if you're feeling up to it)
You could also look to find a pedal that has a step filter mode and see how that works for you
EDIT: you could also try an envelope filter (basically a wah effect that sweeps through the range of the filter based on the volume of the signal put through it) and a bit crusher (will make your piano sound really grainy and busted, which can have some interesting applications)
The grand piano sound through the Big Muff reminds me of the sounds that Jon Lord (Deep Purple) would get by using a distorted Marshall amp in conjunction with the organ. “Space Truckin’” is a good example of what I’m talking about.
A fun thing for piano folks who have no experience with synthesizers and their associated filters, envelopes and other gadgets.
Instead of the 'whammy' pedal, I'd go with a tremolo pedal; as many pianos will have a portamento/glide control anyway.
The 'muff' being a fuzz pedal was always going to be too harsh; far better to use an overdrive pedal, which is much more subtle and controllable (my biases: BOSS BD-2 Blues Driver).
Autowha pedals, while not giving the control, can be good for the initial (filter sweep) attacks of the 'chuck-a-whucka' sound of a manual wah.
As sortof alluded to, making your 'keyboard' sound like a guitar is definitely a 'thing'... and I always go to Jan Hammer's "Miami Vice" theme for a good example of it... and again, he used the Fairlight CMI for some of the sounds (go Oz!)...
ruclips.net/video/dEjXPY9jOx8/видео.html
dude the jam at the end sounded amazing
This was pretty interesting, but something I'd like to see is the use of an envelope filter such as the ElectroHarmonix BassBalls pedal. That as well as a phaser pedal would be pretty interesting to see. I love the sound of the BassBalls pedal when its turned down super far, so I'd like to see how that translates from bass to piano.
I would love to see more of this. more pedals and especially with an organ or an organ sound on that keyboatd
The piece at the end reminded me a bit of a Japanese Koto. Very nice 👍
I think using a Big Muff-style pedal with a mix knob would work better on piano. That way you could blend it in in parallel and still have the clean signal underneath. I know my Bass Big Muff has a mix knob. I imagine others do too, especially when you consider the hundreds of Big Muff knockoffs made by other companies.
Hell yeah. I've been running my Rhodes through guitar pedal fx for years. Always loved the sound