#1
What effects pedals are used in the new RHCP song Dani California? I know there's a wah-wah and maybe a flanger or phaser, but John Frusciante seems to use this fuzz like distortion and also a harmonizer in the song...
#2
get a piece of poo ...and shove a cable from your geetar into one end...and nother cable from the amp into it.... but seriously .. WAHWAH is all i can think of.
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#3
Sounds like a boss hi-band flanger in the solo to me.
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#4
wah wah (in the part at the end of the verse)
distortion (in the chorus, Boss DS2 most likely)
for the solo he probably turns on his Electro Harmonix Big Muff (or I've got a feeling it might be a Zvex Fuzz Factory) for that fuzzy tone

theres no harmonizer, things have been multitracked
#5
Verse - clean + wah (probably Ibanez, but a Crybaby will do)
Chorus - Boss DS-2 distortion
Solo - Big Muff with the occasional flanger
Fast part at the end - ibanez wah, flanger and Big Muff


Hope that helps.

EDIT: crap, Seljer beat me to it!
#6
Quote by ##_Guitar-newb
get a piece of poo ...and shove a cable from your geetar into one end...and nother cable from the amp into it.... but seriously .. WAHWAH is all i can think of.

I like the new album....

So this isn't spam: The only thing I can think of as far as effects is: wah, some sort of cool distortion, and a flanger.
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#8
i think its more than just wah. i think the verse is a low pass filter or maybe a autowah effect. and the end is just wah with some fuzz.
#9
My zone.
“Dani California” I used a straight Strat tone on the first section of the first verse, and on the second section the guitar signal is split and panned in stereo, with the original part on the left, and a part processed using my Doepfer modular synth on the right. Basically, the signal from the tape is used to trigger an envelope generator (or ADSR), which responds to playing dynamics, and uses that information to dynamically control a low-pass filter. Unlike a typical envelope filter pedal, this setup allows me to create many more sounds than mere wah effects. Then, those two sections are repeated, and as I’m hanging on the sustained chord which transitions into the chorus, a Mellotron string part slowly rises behind the guitar. You can hardly hear the Mellotron, but it’s what makes it feel like something really big is about to happen. On the chorus, I doubled the guitar parts, which were played using a Boss DS-2 Turbo Distortion pedal.

The second verse begins with a couple of guitars playing in harmony. After they were recorded, I ran them through a Moog MF-105 MuRF (Multiple Resonance Filter Array) pedal six times, and recorded the results on individual tracks. The MuRF is very unpredictable, and sounded different on each pass. I kept going until I got a take that I really liked, though we actually wound up using all six takes in combination. Otherwise, the processing is the same as on the first verse.

For the bridge, the rhythm guitar is processed with the Doepfer’s LFO (Low-Frequency Oscillator) controlling its high-pass filter, so that the filter opens and closes rhythmically. The drums are also filtered, so that they are small and panned to one side at the beginning, then gradually get bigger and pan out across the full stereo spectrum, which lets you hear the guitar treatment more clearly.

On the third verse I overdubbed an additional rhythm guitar track. Then, on the buildup to the chorus, I added some diminished chords along with several harmony parts. To get the highest harmonies, we slowed the tape down and recorded them at a slower speed, so that they would be pitched above the range of the guitar when the tape was sped back up.

There are lots of additional harmony guitar parts on the second half of the third chorus, positioned in two groups panned to either side. Also, Eddie Kramer came in and showed our engineer how to do ’60s-style tape phasing, which we used on an early mix, and we wound up splicing a section of that mix into the part transitioning out of the chorus.

I played the original solo when we recorded the basic tracks, and then doubled it later, except for the super-fast wah part at the end, which was too difficult to double perfectly, so I put that section through a Delta Labs Effectron II digital delay set to a quick delay with just a touch of slow modulation.

#10
"Guitarist John Frusciante utilized various instruments and effects devices in order to achieve the textures and treatments used throughout the song, including Mellotron, Moog effect pedals, and a Doepfer modular synthesizer, used for the filtering and processing of pre-recorded tracks. Although it is sometimes low in the mix, the main riff, (which is heard primarily in the first verse) plays throughout as an underlying tone. The chorus of the song offers an arena rock-styled chord progression that recalls the band's earlier work."

First thing that came up when I searched Dani California on Wikipedia.

Lazy asshole.
Dickless.
#13
^Why didn't you start a new thread or something?

EDIT:Wow, this thread was started ages ago!
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#15
Quote by Billy-North
He uses distortion, a phaser and a wah.

Necrobump much?

I was going to reply with a serious answer until I saw "New" song Dani California and then looked at the date of the OP.
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#18
It's apparently a yearly tradition to bump this thread
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#21
I use an envelope filter bass pedal with the bp on high, with a strat for the fast solo bit, sounds good
#23
this thread is 7 years old.
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What you really need is a new amp.

(Anything I missed?)



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