64 Sentences With "sustain pedal" | Random Sentence Generator

There is an input for a sustain pedal as well as a few output jacks for headphones and that's about it.

It also comes with pitch bend and mod wheels, variable glide, an expression pedal to CV out, and a sustain pedal in.

She reads and reads until her teeth are vibrating from the sustain pedal of the tragic news cycle; the horror feels bottomless.

When I was learning the keyboard and practicing I went for months without using the sustain pedal because it helped perfect my rhythm.

You can play them over the top of each other, and it just sounds like the piano is holding down the sustain pedal.

Then they put screws and playing cards between strings, put duct tape over the dampers, put bricks on the sustain pedal, and other sorts of odd customizations.

Without using the sustain pedal, he would hold chords, minor seconds and thirds, with his right hand, then pop single notes really hard with his left hand in the lower registers of the piano.

Mr. Sansano acknowledged that the turntable, at least in the traditional sense of the word, is not an instrument, but "much like the invention of the sustain pedal on a piano enabled Chopin, the turntable enabled a genre, as well as a global culture" to grow out of our backyard.

He has refined a technique of using the piano's sustain pedal and his attack in order to bring out the upper partials of a note, so that when he strikes a key, he can control the "cross-talk" between two notes, throwing into relief what he calls "the entire shape and bloom of a note," from its inception to the moment when "it ceases to be audible and becomes imaginary" — ghostlike, you might say.

With the modern piano, a player can avoid having to learn finger substitution on a sounding note by using the sustain pedal to prolong the note while the hand lifts and prepares for a new chord or melody note. While the sustain pedal can replace finger substitution and create a legato sound, piano teachers tend to frown on this use of the sustain pedal because it prevents the player from using the sustain pedal to control the tone and dynamics of the instrument.

All notes played with the sustain pedal ring until the player releases the sustain pedal (or until the note completely decays). With the dampers not applied, octave, fifth, and other overtones vibrate sympathetically, producing a richer sound. Most electronic keyboards also have a sustain pedal that holds notes and chords, but only high-end digital keyboards reproduce the sympathetic vibration effect. Electromechanical keyboards and electronic keyboards offer a range of other expression devices.

None of the above instruments have the facility for a sustain pedal. A close copy of the Cembalet is the "Weltmeister Claviset," also marketed as the "Selmer Pianotron." This has electromagnetic pickups with a battery-powered preamplifier, and later models have multiple tone filters and a sustain pedal.

Piano pedals from left to right: una corda, sostenuto and sustain pedal Pianos have had pedals, or some close equivalent, since the earliest days. (In the 18th century, some pianos used levers pressed upward by the player's knee instead of pedals.) Most grand pianos in the US have three pedals: the soft pedal (una corda), sostenuto, and sustain pedal (from left to right, respectively), while in Europe, the standard is two pedals: the soft pedal and the sustain pedal. Most modern upright pianos also have three pedals: soft pedal, practice pedal and sustain pedal, though older or cheaper models may lack the practice pedal. In Europe the standard for upright pianos is two pedals: the soft and the sustain pedals.

This may be marked with senza sordini ("without dampers"), or similar wording. In General MIDI, the sustain pedal information is controlled by Control Change number 64 (CC 64).

The Allmusic review by Ken Dryden states "Even with Tyner's fierce attack at the keyboard and his heavy use of the sustain pedal at times, the sound is remarkably clear".Dryden, K. [ Allmusic Review] accessed February 24, 2009.

When a piano key is pressed, the damper for that note is raised and a hammer strikes the string. Unless the sustain pedal is depressed, releasing the key allows the damper to return to place, damping the note.

The pianist does not touch the keys but produces noises by opening and shutting the piano lid three times, with the sustain pedal depressed. The piece is intended to be performed directly after The Wonderful Widow of Eighteen Springs.

Appropriate use of the pedal is often left to the musician's discretion, but composers and music editors also use pedal marks to notate it. A common symbol for this is a horizontal line below the grand staff, which lifts up and down with the pedal. An alternative (and older) notation is the use of 20px indicating where the sustain pedal should be depressed, and an asterisk 15px showing where it should be lifted (see Für Elise for a famous example). Occasionally there is a general direction at the start of a movement instructing that the sustain pedal be applied continuously throughout.

Norman has explained in an interview that the title "Sustain" comes partly from his background as a pianist (in reference to the sustain pedal), and that it also relates to the idea that each note in the piece should have its own journey.

It has 192 preset voices and 24 user-programmable voices. It has MIDI capabilities and MIDI in/out and thru jacks. It has a single mono output, a single footswitch jack for a sustain pedal or portamento pedal and a BC1 breath controller jack.

A device similar to the sustain pedal in effect was invented by the piano pioneer Gottfried Silbermann; it was operated by the player's hands rather than a pedal. A later eminent early builder, Johann Andreas Stein, may have been the first to allow the player to lift the dampers while still playing; his device was controlled by a knee lever. Until the onset of the Romantic era in music, the sustain pedal was considered a special effect, used only in particular circumstances. Only with the Romantics did a fairly constant use of the pedal come to be regarded as an essential element of piano sound.

Furthermore, an EBow can also be utilised on a grand piano (with depressed sustain pedal) to create sustained sinusoidal sounds as it was used by Cor Fuhler in De Lamp, de Knijper en het Molentje (1991), Olga Neuwirth in Hooloomooloo (1997) and Karlheinz Essl in Sequitur XIII (2009) for extended piano and live-electronics.

Some of Few's various playing styles were described by Kevin Whitehead: "He can play delicate single-note melodies, roll out lush romantic chords, rap out explicitly Monkish close-interval clanks - though he's a busier pianist than Monk - or roil around in classic free style, using a sustain pedal to shape the density of his sound".

This lets the pianist sustain notes which would otherwise be out of reach, for instance in accompanying chords, and accomplish legato passages (smoothly connected notes) which would have no possible fingering otherwise. Depressing the sustain pedal also causes all the strings to vibrate sympathetically with whichever notes are being played, which greatly enriches the piano's tone.

The sustain pedal (or, damper pedal) is often simply called "the pedal", since it is the most frequently used. It is placed as the rightmost pedal in the group. It lifts the dampers from all keys, sustaining all played notes. In addition, it alters the overall tone by allowing all strings, including those not directly played, to reverberate.

Acoustic pianos have expression pedals that change the response or tone of the instrument. On small upright pianos, the soft pedal moves the hammers closer to the strings. On grand pianos, the soft pedal moves the hammers sideways so each hammer strikes only part of its string group. The sustain pedal prevents individual key dampers from lifting when the player releases the key.

The waltz is in the key of D-flat major and has a tempo marking of molto vivace (very lively). Chopin indicates that the waltz is to be played with the sustain pedal used, and makes frequent use of crescendi and diminuendi. It is in a simple ternary form, as are many of Chopin's compositions. The A section is marked leggero, and the B section sostenuto.

On Diversions Downes played concert, alto, and Chinese bamboo flutes and tenor sax. Five of the eight pieces are trios with double bass (Barry Guy and Jeff Clyne) and drums (Denis Smith). The other three pieces are solos: on "Samurai" Downes played concert and alto flutes into a piano with the sustain pedal pressed down to give a tuned resonance. In 2007 Diversions was re-released by Vocalion.

Tubular bells are sometimes struck on the top edge of the tube with a rawhide- or plastic-headed hammer. Often, a sustain pedal will be attached to allow extended ringing of the bells. They can also be bowed at the bottom of the tube to produce a very loud, very high-pitched overtone. The tubes used provide a purer tone than solid cylindrical chimes, such as those on a mark tree.

Some digital accordions allow the entire instrument to be transposed to a different key and/or change the tuning. The Scandalli EWA has a wireless transmitter and receiver, which means that the instrument can be played onstage without a wired connection to the sound system. External pedals can be plugged into the Scandalli EWA, such as a sustain pedal, or pedals to control transposition or portamento/pitch glide effects.

The sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and then, while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord. Unlike the pipe organ and harpsichord, two major keyboard instruments widely used before the piano, the piano allows gradations of volume and tone according to how forcefully or softly a performer presses or strikes the keys. Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale (C, D, E, F, G, A and B) and 36 shorter black keys, which are raised above the white keys, and set further back on the keyboard. This means that the piano can play 88 different pitches (or "notes"), going from the deepest bass range to the highest treble.

The rear panel usually contains 1/4 inch left and right audio outputs and one or more 5-pin MIDI inputs. Some units may have MIDI thru connections, which can be used to chain synth devices. In the 2010s and 2020s, some synth modules have one or two USB connections. Some synth modules may have left and right XLR outputs and one or more pedal inputs (for a sustain pedal and expression pedal).

One of the main differences between the vibraphone and other keyboard percussion instruments is that each bar suspends over a resonator tube with a motor-driven butterfly valve at the top. The valves connect together on a common axle, which produces a tremolo or vibrato effect while the motor rotates the axle. The vibraphone also has a sustain pedal similar to a piano. With the pedal up, the bars produce a muted sound.

All bass pedal units consist of foot-operated pedals mounted in a chassis that sits on the floor. The chassis has buttons on top, also designed to be operated with the feet, which enable the performer to change the sound. Typical buttons include a 16' and 8' button to give a contrabass or bass sound. Some models may have a sustain button; despite the name, it is used differently from an electronic piano's sustain pedal.

So began his career as a vibraphonist, popularizing the use of the instrument in the process. Invented ten years earlier, the vibraphone is essentially a xylophone with metal bars, a sustain pedal, and resonators equipped with electric-powered fans that add tremolo. While working with the Les Hite band, Hampton also occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s, he studied music at the University of Southern California.

For mechanical pianos it is possible to press down the sustain pedal only partially such that the dampers just touch the strings very slightly. This technique for the advanced pianist is called half pedaling and allows a fine variation of the sound. It can be observed that with half pedaling the damping is more effective for the higher tones. An example for a musical piece that is played with half pedaling by some pianists is Beethoven's Moonlight Sonata.

Some Ketron and Orla accordion sound modules also have a programmable drum machine and music sequencer that can play backing tracks in a variety of musical styles. An accordionist with a digital accordion which has an internal sound module can plug the MIDI out into an external sound module to gain access to more sounds or features such as a sustain pedal or separate left hand and right hand outputs, if these are not available on their instrument.

Its ending is a 12-second section in which 1028 notes are player with the sustain pedal held down, sometimes even getting to two hundred notes per second. However, even though it has canonic elements, it is mostly a rhapsodic piece. It was premiered at the Pro Musica Nova festival in Bremen, on 15 May 1976. The Study No. 26 is actually the only study where all voices have no rhythmic differentiation. The canon is 1/1, which means that all the notes have the same tempo.

A digital accordion can have hundreds of sounds, which can include different types of accordions and even non-accordion sounds, such as pipe organ, piano, or guitar. Sensors are used on the buttons and keys, such as magnetic reed switches. Sensors are also used on the bellows to transmit the pushing and pulling of the bellows to the sound module. Digital accordions may have features not found in acoustic instruments, such as a piano-style sustain pedal, a modulation control for changing keys, and a portamento effect.

Three Dollar Bill, Yall features him playing without a guitar pick, performing with two hands, one playing melodic notes, and the other playing chord progressions. His guitar playing has made use of octave shapes, and choppy, eighth-note rhythms, sometimes accompanied by muting his strings with his left hand, creating a percussive sound. Borland has also made use of unevenly accented syncopated sixteenth notes to create a disorienting effect, and hypnotic, droning licks. The song "Stuck" uses a sustain pedal in the first bar, and muted riffs in the second bar.

In 1970, the 73-note Stage Piano was introduced as a lighter and more portable alternative to the existing two-piece style, featuring four detachable legs (used in Fender steel pedal guitars), a sustain pedal derived from a Rogers hi-hat stand and a single output jack. Although the Stage could be used with any amplifier, catalogs suggested the use of the Fender Twin Reverb. The older style piano continued to be sold alongside the Stage and was renamed the Suitcase Piano. An 88-note model was introduced in 1971.

This can begin from as little as three notes, with structure being built around referring back to elements of the units. He starts simply, using basic elements such as major and minor thirds, varies them in turn, and then continues to expand to create larger structures. He uses a combination of his attack and the piano's sustain pedal to draw attention to the upper partials of a note; this allows a heightened contrast between notes to be perceived. Taborn has commented on the similarities and differences in his playing on piano and electronic instruments.

The tone produced resembles that of the Wurlitzer but brighter and with less sustain, largely owing to the design having no sustain pedal mechanism. The same firm's "Cembalet" uses rubber plectra and separate urethane foam dampers but is otherwise almost identical. Hohner's later "Pianet T" uses silicone rubber suction pads rather than adhesive pads and replaces the electrostatic system with passive electromagnetic pickups similar to those of the Rhodes, the reeds themselves however being magnetized. The Pianet T has a far mellower sound not unlike that of the Rhodes instruments.

Cristofori's new instrument remained relatively unknown until an Italian writer, Scipione Maffei, wrote an enthusiastic article about it in 1711, including a diagram of the mechanism, that was translated into German and widely distributed. Most of the next generation of piano builders started their work based on reading this article. One of these builders was Gottfried Silbermann, better known as an organ builder. Silbermann's pianos were virtually direct copies of Cristofori's, with one important addition: Silbermann invented the forerunner of the modern sustain pedal, which lifts all the dampers from the strings simultaneously.

On the song "Stuck", Borland used a sustain pedal in the first bar, and muted riffs in the second bar. Borland's playing on this album features octave shapes, and choppy, eighth-note rhythms, sometimes accompanied by muting his strings with his left hand, creating a percussive sound. Borland also made use of unevenly accented syncopated sixteenth notes and hypnotic, droning licks to create a disorienting effect. Despite the success of live performances of the band's cover of George Michael's song "Faith", Robinson was opposed to recording the cover, and tried to persuade the band not to play it on the album.

Several key issues are routinely raised by musicians and music scholars, when discussing the performance of Schubert's compositions for piano. These discussions also concern the last piano sonatas. For most of these issues, no general agreement has been reached; for example, to what extent should the sustain pedal be used, how to combine triplets with dotted rhythms, whether to allow tempo fluctuations within the course of a single movement, and whether to observe each repeat sign meticulously.See the references by P. Badura-Skoda, Brendel, Cone, Frisch and Brendel, Hatten, Howat, Montgomery, Schiff, Newman, and Shawe-Taylor et al.

A PCMCIA slot allowed for offline storage of patches and banks. Standard MIDI sockets, a special socket for connecting an EC5 pedal bank, a sustain pedal socket, and a pair of audio outputs occupied the rear panel. Korg made a major breakthrough at the time, offering a low cost expansion card for Trinity users, which incorporated the whole sound engine of the Prophecy into the already powerful workstation. Gone was the arpeggiator and some minor features, but the editing was much improved through the Trinity's big touchscreen, and the workstation's effects processing was a huge improvement over the Prophecy's basic set.

The connectors at the back of the Stage allow the connection of a sustain pedal, a swell pedal for organ, a footswitch to select the rotary speaker emulation speed, and a control pedal to modify effects such as wah-wah. A set of screw-in legs are an available option for the 88 and 76 note models and a custom designed soft case is also available from Clavia. A third party company, Ocean Beach Digital, has manufactured a set of MIDI controlled drawbars for the Nord Stage, for users who prefer to use real drawbars instead of the buttons provided as standard.

"PS-3300 at Korg UK Support's Product Archive, Korguksupport.co.uk" Retrieved 14 November 2016 Each Oscillator, called "Signal Generator" by Korg, has 6 waveforms (Triangle, Sawtooth, Wide Rectangle, Narrow Rectangle, Pulse and Pulse Width Modulation), as do the LFOs, called "Modulation Generators" by Korg, (Triangle, Sawtooth, Ramp, Rectangle, Pink Noise and White Noise). The filters have the usual Frequency Cutoff and Resonance (called "Peak" by Korg) control knobs and the envelopes have Attack, Decay and Sustain control knobs plus an unconventional Release function which can be controlled by a foot switch acting much like the sustain pedal on a piano.

Despite the superficial resemblance to piano keyboards, organ manuals require a very different style of playing. Organ keys often require less force to depress than piano keys. When depressed, an organ key continues to sound its note at the same volume until the organist releases the key, unlike a piano key, whose note gradually fades away as the string vibrations fade away. On the other hand, while the pianist may allow the piano notes to continue to sound for a few moments after lifting their hands from the keys by depressing the sustain pedal, most organs have no corresponding control; the note invariably ceases when the organist releases the key.

This layout ensures MIDI sound modules and other MIDI devices faithfully reproduce the designated sounds expected by the user and maintains reliable and consistent sound palettes across different manufacturers MIDI devices. The GM standard eliminates variation in note mapping. Some manufacturers had disagreed over what note number should represent middle C, but GM specifies that note number 69 plays A440, which in turn fixes middle C as note number 60. GM-compatible devices are required to respond to velocity, aftertouch, and pitch bend, to be set to specified default values at startup, and to support certain controller numbers such as for sustain pedal, and Registered Parameter Numbers.

Lubomyr Melnyk at Aarhus Festival, Denmark 2018 Lubomyr Melnyk (born December 22, 1948) is a composer and pianist of Ukrainian origin.Lubomyr Melnyk - Windmills, Dense PromotionsSongs We Love: Lubomyr Melnyk, 'sunset' - NPR, August 1, 2016Lubomyr Melnyk - The Voice of Trees - Hinterzimmer records, 2011 Melnyk is noted for his continuous music, a piano technique based on extremely rapid notes and complex note-series, usually with the sustain pedal held down to generate harmonic overtones and sympathetic resonances. The virtuoso plays rapid sequences thanks to his ability to play up to 19 notes per second (with each hand). These overtones blend or clash according to harmonic changes.

Whereas an electronic piano's sustain pedal is a momentary, non- latching switch depressed to provide sustain, and then released to end the sustained note, a bass pedal unit's electronic sustain is a latching switch, which, when clicked on automatically sustains all notes for a fixed, short period after the pedal is released. The benefit of the bass pedal's sustain button is that it facilitates legato, sostenuto basslines in slow ballads. Some units with sustain also had a rolling dial to enable the setting of the automatic sustain length. A 1970s-era bass pedal is typically monophonic, which meant that it could only play one note at a time.

Piano pedals from left to right: soft pedal, sostenuto pedal and sustain pedal keyboard of the piano Piano pedals are foot-operated levers at the base of a piano that change the instrument's sound in various ways. Modern pianos usually have three pedals, from left to right, the soft pedal (or una corda), the sostenuto pedal, and the sustaining pedal (or damper pedal). Some pianos omit the sostenuto pedal, or have a middle pedal with a different purpose such as a muting function also known as silent piano. The development of the piano's pedals is an evolution that began from the very earliest days of the piano, and continued through the late 19th century.

It has been conjectured that the improvement in Silbermann's instruments resulted from his having seen an actual Cristofori piano, rather than merely reading Scipione Maffei's article. The piano action Maffei described does not match that found in surviving Cristofori instruments, suggesting that Maffei either erred in his diagram (he admitted having made it from memory) or that Cristofori improved his action during the period following Maffei's article. Silbermann is credited with the invention of the forerunner of the sustain pedal, which removes the dampers from all the strings at once, permitting them to vibrate freely. Silbermann's device was in fact only a hand stop, and thus could be changed only at a pause in the music.

The opening was moving, and the way he paced mounting intensity in the last minutes uncovered the best in this work". In a performance of Rachmaninoff's Piano Concerto No. 3 in 2016, John Shulson of The Virginia Gazette commented that Tao's "performance ... was one of the most thrilling to be heard on stage with this symphony. ... Tao was the master of the Rachmaninoff and its many moods, offering inspired lyricism and ponderous power." John Pitcher of Nashville Scene wrote that, in the Grieg, Tao "emphasized the concerto’s showy side [but] there was more ... than mere razzle-dazzle. He was an imaginative tonal colorist who used the piano’s sustain pedal to create a wash of prismatic overtones.

A Korg LP350 electronic keyboard with a music stand on the top of the instrument. On some digital pianos designed for use in a private home or studio, the music rack is permanently installed, but most users of digital pianos do not transport them to rehearsals and gigs, because these instruments often have a number of design features that are not conducive to regular transport (e.g., fixed keyboard legs and a modesty panel and fixed pedals for sustain and sostenuto). Most keyboardists who are regularly transporting electronic keyboards to rehearsals and gigs use stage pianos or MIDI controller keyboards along with a sound module; on these instruments, all of the accessories (music rack, keyboard stand, sustain pedal) can be disconnected.

Yepes' 10-string guitar tuning The instrument made it possible to transcribe works originally written for baroque lute without deleterious transposition of the bass notes. However, the main reason for the invention of this instrument was the addition of string resonators tuned to C, A#, G#, F#, which resulted in the first guitar with truly chromatic string resonance – similar to that of the piano with its sustain/pedal mechanism. After 1964, Yepes used the ten-string guitar exclusively, touring all six inhabited continents, performing in recitals as well as with the world's leading orchestras, giving an average of 130 performances each year. He recorded the Concierto de Aranjuez for the first time with the ten-string guitar in 1969 with Odón Alonso conducting the Orquesta Sinfonica R.T.V. Española.

MIDI inputs and outputs connect a digital piano to other electronic instruments or musical devices. For example, a digital piano's MIDI out signal could be connected by a patch cord to a synth module, which would allow the performer to use the keyboard of the digital piano to play modern synthesizer sounds. Early digital pianos tended to lack a full set of pedals but the synthesis software of later models such as the Yamaha Clavinova series synthesised the sympathetic vibration of the other strings (such as when the sustain pedal is depressed) and full pedal sets can now be replicated. The processing power of digital pianos has enabled highly realistic pianos using multi-gigabyte piano sample sets with as many as ninety recordings, each lasting many seconds, for each key under different conditions (e.g.

On some pianos (grands and verticals), the middle pedal can be a bass sustain pedal: that is, when it is depressed, the dampers lift off the strings only in the bass section. Players use this pedal to sustain a single bass note or chord over many measures, while playing the melody in the treble section. An upright pedal piano by Challen The rare transposing piano (an example of which was owned by Irving Berlin) has a middle pedal that functions as a clutch that disengages the keyboard from the mechanism, so the player can move the keyboard to the left or right with a lever. This shifts the entire piano action so the pianist can play music written in one key so that it sounds in a different key.

These limitations, combined with the shortened manuals, make the spinet organ all but useless for performing or practicing classical organ music; but at the same time, it allows the novice home organist to explore the challenge and flexibility of simultaneously playing three keyboards (two hands and one foot). The expression pedal is located to the right and either partly or fully recessed within the kickboard, thus conveniently reachable only with the right foot. This arrangement spawned a style of casual organist who would naturally rest the right foot on the expression pedal the entire time, unlike classically trained organists or performers on the earlier Hammonds. This position, in turn, instinctively encouraged pumping of the expression pedal while playing, especially if already accustomed to using a piano's sustain pedal to shape the music.

Piano pedals from left to right: soft pedal, sostenuto pedal and sustain pedal keyboard of the piano The soft pedal (or pedal, ) is one of the standard pedals on a piano, generally placed leftmost among the pedals. On a grand piano this pedal shifts the whole action (including the keyboard) slightly to the right, so that the hammers which normally strike all three of the strings for a note strike only two of them. This softens the note and also modifies its tone quality. Tone quality is also affected by forcing the remaining two strings being struck to make contact with a part of the hammer felt which is not often hit (due to the whole action being shifted); this results in a duller sound, as opposed to the bright sound which is usually produced (due to the felt being hardened from regular use).

This Impromptu is written in rondo form, A1–B1–A2–B2–A3. The returning A section appears always in the tonic, F minor; the first B section, B1 is in A major, the relative major, whereas B2 is in the tonic. This structure can also be interpreted as a sonata form without a development section, supporting the view of the four Impromptus as movements of a single sonata. The B episodes contain a passage invoking a unique pianistic effect: the left hand presents short melodic fragments in the form of antecedent and consequent, steadily alternating between the upper (antecedent, creating a crossing of the hands) and lower (consequent) registers of the instrument; the right hand accompanies with an even flow of semiquaver arpeggios in the middle register; the sustain pedal further enriches the sonority, and the dynamics are mostly pianissimo, as often in Schubert's music.

Bloc Party before the performance of "I Still Remember" in Sydney on 4 August 2007; Okereke often opted to use a Gretsch Tennessee Rose guitar, which creates a softer sound, in the studio and in concert The band worked by setting up all the instruments with only a single power amplifier. McFall has pointed out that distorted and heavily compressed mics were used to capture some of the room's ambience "to add a bit of grit" to the instrumental tracks; the recordings were often processed further using distressors, special types of compressor noted for their distinctively aggressive sound. The production staff tried other unconventional effects once the basic tracks were recorded. The band sometimes performed while Tong's kit was re-amped and played sections live while a brick was placed on the sustain pedal of a piano to capture the vibrations during the performances.