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piano from “riders on the storm” by the doors | ToneDB

riders on the storm

the doors

piano

95% ai confidence

Tone Profile

A mellow, slightly melancholic electric piano sound with a distinctive, slow, and deep stereo tremolo, creating a watery, atmospheric texture reminiscent of falling rain.

Signal Chain

Instrument: Fender Rhodes Mark I Suitcase 73 Electric Piano

Amp: Fender Rhodes Suitcase Peterson Stereo Amplifier (80W, built-in)

Microphone: Neumann U67 (pair for stereo miking the cabinet speakers)

Processing: Built-in Peterson Stereo Tremolo (Vibrato), Studio Plate Reverb (e.g., EMT 140)

Other: The stereo tremolo is crucial, panned for width. Played with a gentle touch. The rain sound effect is a separate layer, not part of the piano's direct signal chain.

Recording Notes

  • Recorded in late 1970 or early 1971 at The Doors' Workshop, 8512 Santa Monica Boulevard, Los Angeles, for the L.A. Woman album.
  • Engineered by Bruce Botnick, co-produced with The Doors.
  • Ray Manzarek performed the Fender Rhodes part. According to engineer Bruce Botnick, his Fender Rhodes Suitcase model was miked in stereo from its own amp/speaker unit using Neumann U67 microphones.
  • The iconic tremolo effect was integral to the Rhodes Suitcase model's Peterson preamp, set to a slow, deep sine wave.
  • The rain and thunder sound effects were from an Elektra Records sound effects library (Sound Effects, Vol. 4), overdubbed by Jim Morrison and Bruce Botnick.

Recreation Tips

  • Use a high-quality Fender Rhodes emulation (VST/sample library like Spectrasonics Keyscape, Arturia Stage-73 V) or a real Fender Rhodes (preferably a Suitcase model).
  • Apply a smooth, sine-wave tremolo with a slow rate (around 2-4 Hz, e.g., 120 BPM dotted quarter note which is ~2.67 Hz) and significant depth. Ensure it's stereo if possible, with noticeable panning between left and right.
  • Add a lush plate or spring reverb with a medium decay (2-3 seconds) to enhance the atmospheric quality. Plugin options like Valhalla VintageVerb or UAD EMT 140 are excellent.
  • Play with a light to medium velocity to achieve the characteristic bell-like tone without excessive 'bark' or harsh overtones.
  • The original part is played sparsely, focusing on sustained chords (e.g., Em, A, Em7, Am7) and melodic fills that complement the melancholic E Dorian mood of the song.

Sources