I came across this old late night session of sleepy Rhodes melodies and decided to render about fifty eight seconds of it. It was originally recorded on November 3, 2006 at about 12:53am. I love electronic timestamps.
There are two separate tracks of Rhodes, each running through separate processing. I added auto-panning to each track in opposite phase as a quick final touch before bouncing it down. The tracks are also running through equalization, amp modeling, two separate delays, and reverberation.
Untitled Processed Rhodes
Absolutely nothing is distinguishable in these samples after all the processing that has been applied. My goal was to make a sequence of random samples sound as nasty as possible by applying down sampling, bit reduction, and distortion, then bring it back into something tolerable by applying some resonance filters and reverberation. 
I programmed this beat and ran it through some pretty thick filtering followed by compression with a touch of delay automated in here and there for a few dub effects. Another technique I used to get some different fills going in the pattern was to add a MIDI arpeggiator and turn it on at certain moments to change the feel. The arpeggiator was programmed to randomize the notes in the sequence using specific note durations. I alternated between eighth notes and thirty-second notes. 
I am not, nor will I ever claim to be a guitarist, so please forgive the playing in this example. I do like the sound I have achieved here though. To get it I ran a cheap Fender Squire through VST distortion, thickly modulated chorus, followed by delay, and reverb. It’s very 80s, although I was not necessarily going for that. I does seem to go well in the piece in which it was recorded. 
Here’s the piano from the last entry without the distortion applied. I left on all the other processing including limiting, stereo chorus and reverb. Now you can hear why I was not happy with the original recording. The recording is a bit noisey and although I used a nice mic (AKG c4000b large diaphragm condenser), the piano is quite old and suffers from a thin sound along with knocks and rattles that occur when using the keyboard and pedals. One might hear these features as the instruments character, but that rational only goes so far. I do like how limiting is manipulating the dynamics in the example. Adding the stereo chorus and reverb blends much of the rattling and knocks into the overall sound while the limiter expands the noise as the sound decays.