I recently recorded a few passages of clavinet on a piece I’ve been working on for a while. My Hohner E7 is still in disrepair, so I had to rely on a sampled version of the instrument. I processed the sampled version in a similar way to how I would have processed the real thing.
Generally I tend to try new things rather than rely on previous settings and techniques, however, I almost always starts with compression on the clav. This time, I followed the compression with amp modeling, chorus, and reverb. The context is the key to what kind of processing I’ll use on this versatile instrument.
Fire Diamond Segment
While sorting through dusty clips from live performances I came across an angular Rhodes line that sounded quite odd removed from the context of the original set. 
Here’s another example of audio that was recorded for the purpose of live looping during a performance. 
I came across this sample from a performance on July 13, 2006. It is a delayed synthesizer line that I played and captured as a clip in Ableton Live during the show. What’s interesting to me about this clip is the obvious modulation in pitch on the delay trails. This is not something that I programmed into the patch and I suspect is actually caused by a bug in the Korg MS2000. It’s possible to recreate this bug by enabling tempo delay then sending external sync to the instrument. I rarely experience this glitch anymore because rather than using the delay on the Korg, I usually run it through tempo delay in the software. However, I kind of like the ghostly quality it creates in this short passage.
Today has been a busy day on ACB with new contributor Tom Player’s lovely yacht recording and Nils Westdal’s Christopher Willits remix. So, all I have for you is a quick sound to fulfill my