I was just thinking how keyboards are a bit inhibited (hushed My mouth!).

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. kzfaq.info/get/bejne/iKlxp7eCy5u4YXk.htmlfeature=shared I wonder what fuzz he used though, as it actually doesn't sound half bad, even with the crappy recording.

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 ​@@user-du1yk7uk9v

very daft punk also

I’m glad I found this comment. It reminds me of the album A moon shaped pool!

Incubus - Stellar.

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

Haha…YES. BUT would also be great for “Spirit In The Sky”. Often imitated, never duplicated. 😅

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

⁠@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.

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.

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 KZfaqr 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”.

Yes, chorus pedal specifically would be interesting.

I like your profile picture and banner as well

A Keane observation 🙂

And when he doubled with Hackett it was wonderful, wasn't it?

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.

Smashing pumpkins use it in every song

Thank you 😊

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 😂

Hudson used a”Mutron”.

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