#1
here are the effects john uses on each song


“Dani California”
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.
“Snow (Hey Oh)”
During the outro section I used an Electro-Harmonix POG, which adds multiple octaves and makes the guitar sound like an organ. Towards the very end of the song I created an articulated arpeggio using three distorted guitar parts, each playing one note of the arpeggio recorded onto a separate track. Normally if you tried to play that sort of line with a distortion pedal, you’d get frequency beating and the notes would be indistinct. But this way each note is clear, while giving the impression of being a single guitar. I also played the same parts on a synthesizer, tucked so low in the mix that you can’t really hear them, but you can hear them, and it sounds really different without them there.
“Charlie”
The lead guitars are on the left with a slap-back delay on the right.
“Stadium Arcadium”
On the solo, we flipped the tape over and ran the sound through a vintage EMT 250 digital reverb, recording the reverb onto a separate track, so that when the tape was flipped back over the reverb would be reversed and begin just ahead of the guitar. Then, we ran the reverb sound through a low-pass filter—which lets you nail any sound down to the tiniest little sliver of a frequency—so that you not only hear the notes coming up ahead of the unprocessed guitar, they are swirling around, and the sound seemingly comes out of nothingness. Also, on the second verse, we slowed down the tape and I picked some triads really fast, then we ran that sound through the EMT 250, which made them sound like futuristic mandolins from outer space.
“Hump de Bump”
There were no overdubs.
“She's Only 18”
The delay effect on the verses and solo were inspired by Hendrix’s “If 6 Were 9.” They were processed with the Effectron II, set to a quick delay with a little bit of modulation to provide movement. The engineer also created a really good backwards reverb for the vocals on the choruses.
“Slow Cheetah”
On the instrumental bridge section, I created swells with the guitar’s volume control, which we ran through the EMT 250 set on its largest and longest setting, creating a sound like stars shooting through space.
“Torture Me”
A few harmony parts were overdubbed.
“Strip My Mind”
The melodies in the second verse are two guitars playing in harmony, processed through an Analogue Systems Phase Shifter, which unlike a typical phase shifter has a really wide range, as well as a Resonance control. When you run two or more harmony lines through it, and adjust the resonance really slowly by hand, at one frequency it will favor one note and its harmonics, and at another frequency it will favor another, with the whole thing moving in a circular fashion. And, sometimes when three notes are playing together, a fourth “note” is created out of the combined frequencies and harmonics. I did the same thing on
“She Looks to Me,”
but there it was with chords rather than single notes. On the solo I used Electro-Harmonix Big Muff Pi fuzz and Holy Grail reverb pedals. Rick Rubin really cranked the first note of the solo to give it a thunderous quality when it comes in.
“Especially in Michigan”
For the harmony guitars that come in halfway through the second chorus, I used an Electro-Harmonix English Muff’n distortion pedal, which I really love. It has an incredible amount of upper midrange and highs, and it can be obnoxiously bright, so I turned my tone knob all the way down and used the middle pickup to have the deadest and blandest sound possible coming out of the guitar, which produced a sweet, Cream-era Clapton-like sound. It’s one of my favorite tones that I’ve ever gotten. Omar Rodriguez from the Mars Volta played the solo. [Frusciante appears on the new album by the Mars Volta as well.]
“Warlocks”
There’s a cycle of two bars at the top of the second verse where I used a technique inspired by David Byrne and Brian Eno. You put notes in little spaces where you think, rhythmically, that there’s a hole for a note, on four or five separate tracks. And though there is no conscious intent, all the notes taken together create a pattern. Then, I ran those parts through the MuRF, which randomly emphasized certain notes, making them sound as if they are just breathing out, and not being picked. I really love that moment.
“C'mon Girl”
I used basically the same English Muff’n sound as on “Especially in Michigan,” and the same reverse reverb/filter effect as on “Stadium Arcadium.” The solo at the end was cut live.
“Wet Sand”
I played through a Leslie in the A section. The engineer also used a technique, having to do with putting the signal slightly out of phase with itself, to make the guitars seem to project out in front of the speakers. At the end of the song there’s an arpeggiated guitar part created by slowing the tape down and playing harmonies a third up, on the treble pickup, which made it sound exactly like a harpsichord. I’m convinced that’s what Hendrix did on “Burning of the Midnight Lamp.”
“Hey”
No overdubs. I probably had the Holy Grail reverb pedal on throughout the song.
#2
“Desecration Smile”
The harmony guitars are treated with the same phasing effect used on “Strip My Mind.”
“Tell Me Baby”
Although there’s only a single rhythm guitar part, the processing varies continually throughout the song, which changes the over-all atmosphere and provides development. For example, on the first verse there’s a super-fast, light filter thing going on that makes the guitar sound kind of outer-spacey. Later, there’s a slap-back echo, then a reverb where there wasn’t one before, etc. The solo was run through the MuRF.
“Hard to Concentrate”
The basic guitar part uses simple volume swells, but there are high harmony parts outside the range of the guitar created by slowing the tape down when recording, and then speeding it back up. I used an Electro-Harmonix Electric Mistress Flanger on the bridge.
“21st Century”
The solos were overdubbed, with a main solo and two harmony parts on the outro.
“She Looks to Me”
The three harmony guitars at the end were done using the English Muff’n, and then run through the Analogue Systems phaser and mixed to two tracks panned hard right and left. Normally when sounds are moving from speaker to speaker you hear exactly where they are at any given moment, but with this process certain notes come out on the left that might or might not come out on the right. Because the frequency of the phasing is moving so slowly, it creates a calming effect. Also, the two-note phrases on the verses were done by recording each note on its own track, then flipping the tape and adding reversed reverb to just the first note of each phrase. There’s also an organ-like sound on the second chorus that’s done with the POG.
“Readymade”
The harmony guitar parts were overdubbed, with layered feedback at some points. I also treated Chad’s drums with a comb filter during the bridge, and placed reverb on certain snare hits, which made them sound like gunshots.
“If” Flea’s bass line was sufficient and really didn’t need a guitar, so I just added a simple slide part.
“Make You Feel Better”
The overdubs on the final verse and chorus were played on a Les Paul, with the original panned left and a slightly out-of-time echo on the right. This was one of the last overdubs on the record, but I felt that it took the ending up to another level.
“Animal Bar”
The main part is done with volume-knob swells, a wah, and a chorus pedal—but I used the wah pedal exactly the opposite of how it’s normally used. I raise the volume while the wah is in the full treble position, and then close the wah to its full bass position. Then I lower the volume and repeat the move on the next chord. It’s unusual for a guitarist to use a wah that way, but it is the way a synthesist would think. The chorus effect is maxed at some points, as is the Holy Grail, which is set to the Spring sound. The solo is processed with the stereo phasing effect from the Analogue Systems Phaser.
“So Much I”
The harmony guitars were overdubbed.
“Storm in a Teacup” We used the same envelope-filtering effect as on “Dani California” for the rhythm parts.
“We Believe”
We used the Doepfer’s LFO controlling its filter on the main guitar part, and there are also some harmony feedback tracks run through the MuRF on the opening to the second verse. I doubled Flea’s bass line at the end with a Les Paul. The solo at the end was done using the English Muff’n, and treated afterwards with a DOD Analog Delay, the feedback knob of which I turned manually to get a controlled echo feedback thing.
“Turn It Again”
I recorded a lot of guitar tracks towards the end and mixed them all myself. I just creatively organized them in my brain and mixed them, having one guitar come in here and another guitar come in over there.
“Death of a Martian”
We were rehearsing at the studio for about a week before we actually started recording, but they were just letting tape roll, and we wound up using a few of those takes, including this one, and they have a more relaxed feeling to them than the other songs. The main guitar part was played through a Leslie, and the “Martian” sounds were made with a filter that was modulated super-fast. There are three lead guitars on the outro, but they are mixed very quietly. On early Funkadelic albums, George Clinton would mess around with the volume of things, and not just have the parts fit into a perfectly balanced unity the way most producers do. On one track there would be really loud lead guitars, and on another super-loud bass, or quiet lead vocals, etc. The band and our producer were not into that as a general direction for the album, but this is one of the few spots where I'm doing that sort of thing.


incase any one cares?
#3
you could have just posted the link to where he wrote it all
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#5
how sad is the person that wrote that
Emancipate yourselves from mental slavery, none but ourselves can free our minds.
#6
^jon frusciante is sad enough.
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On cheating in a relationship...

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#8
john rules! love his sound, its never been better then on Stadium Arcadium
i rock more than gravel
#9
Long story short...You aren't going to sound like him live. Theres so many studio dubs and tricks mentioned in there for him to get his sounds it makes my head spin.
Quote by deg0ey
The best pickups for emo are no pickups at all...


Gear:

1996 Les Paul Classic w/ Alnico II's
Marshall Jubilee 2550
Avatar 2x12..V30 and G12H
Vox V847 Wah
Assorted pedals
#11
Quote by The_0thersid3
^backing tracks with pre recorded stuff?


Theres so many overdubs in that description that its just nuts. Then he describes some reverb things he did that don't even sound possible live. He even says the solo on Dani California was to difficult to reproduce perfectly for overdubs so he had to run it through some delay and lay it over it.
Quote by deg0ey
The best pickups for emo are no pickups at all...


Gear:

1996 Les Paul Classic w/ Alnico II's
Marshall Jubilee 2550
Avatar 2x12..V30 and G12H
Vox V847 Wah
Assorted pedals
#12
For example and simple song like "Hey Oh" sounds really shit live, too boring.. Dont get me wrong I adore the chilis but I think they got too ahead in the studio and cant replicate it live.
#13
i was just testing out the reverb thing that he describes he used in 'Stadium Arcadium' and let me tell you, some interesting stuff there. a bit of a pain to keep reversing things and lining them up correctly, but it sounds pretty nice. im getting a nice violinish sound when its used on a slower solo. i wish i had the gear to try some of that other stuff out. the phaser thing on 'strip my mind' sounds particularly intriguing...
#14
I read that a while ago, it's good.
"Breathe, breathe in the air
Don't be afraid to care"

Fender Strat/Tokai LS80>few pedals>Orange Rocker 30
#17
the reverb thing in snow could be done by having two amp far away on the stage and have the original single on one amp and the reverbed signal on the other side like a wet and dry signal the thing with the reverb being treated with a moog pedal and reveresed is what the line six sweep echo dose alot of the effects he dose in the studio can be copied if you have the time to figure it out.
#18
Well..... still to many Overdubs....
Tone is all ...... well probably 75%, in your fingers.
The rest depends on your wallet's thickness !!

Keep the faith, baby!!
#19
Quote by Oasisy Bob
So, you're saying, Snow is boring live, so they were wrong to make it sound good in the studio?

Yes I am saying that and no I didnt say that. All Im saying if they had the synth playing in the back it would make it a whole lot better, even my band does that like...