[Red Hot Chili Peppers] John Frusciante's equipment [Amps, guitars, effects]

John Anthony Frusciante was born on March 1970, 3 in Queens, New York, USA.
He grew up in an artistic household - his father was a pianist and music teacher, and his mother a viola player - and was exposed to music from an early age.

After moving to California with his family, he became fascinated with avant-garde music such as Frank Zappa and The Velvet Underground, while also becoming devoted to guitar heroes such as Jimi Hendrix and Jimmy Page.
By the age of 14, he was already playing guitar and had developed a strong preference for Fender and Marshall equipment.

He was heavily influenced by Hillel Slovak, the first guitarist of the Red Hot Chili Peppers (RHCP), whom he later joined, and independently studied Slovak's tone and stage style.

In 1988, aged just 18, John joined the RHCP as guitarist following Hillel's sudden death.
The band released their first recording since he joined, the album Mother's Milk (1989), and his talent blossomed all at once.

Their follow-up album, Blood Sugar Sex Magik (1991), became a worldwide hit with its unique fusion of funk and rock, and John attracted attention as the "heart" of that sound.
In particular, the "aesthetics of not playing" in songs such as "Under the Bridge" and "Give It Away" would change the values ​​of many guitarists.

But his rapid success took its toll on his psyche.
The pressure of suddenly becoming a star, the fatigue of touring, the disconnect between music and reality...
John left the band in 1992 while on tour.

After leaving the band, John became addicted to drugs and nearly collapsed both physically and mentally.
His teeth had fallen out, he'd lost a lot of weight, and he was no longer the genius guitarist he once was.

But even during this dark time, music remained a constant source of inspiration.
Niandra LaDes and Usually Just a T-Shirt (1994) is a lo-fi experiment recorded at home.
It vividly records his aesthetic sense, which resides within his fragile sensibilities.

In 1997, after undergoing treatment at a rehabilitation facility, he became drug-free.
His passion for music and mental recovery lead to a miraculous restart.

In 1998, John made a surprise return to the RHCP.
In 99, "Californication" was released, and it stunned the scene with a more melodic and "singing" guitar sound than before.

Since then, on albums such as "By The Way" (2002) and "Stadium Arcadium" (2006), he has continued to play a central role in the band, from composing and arranging to equipment.
The style of "clean + chorus + single coil + Marshall" that was developed during this period would later become established as the "John-style guitar sound."

He has also actively pursued a solo career, releasing numerous avant-garde works incorporating electronica, drum and bass, acid house, and other elements.
He evolved into an artist who went beyond the boundaries of a "rock guitarist."

In 2009, he left the RHCP again.
His reason was very musical: "Rather than sharing music with others, I want to deepen my own exploration."

During this time, he moved away from releasing music under the name John Frusciante and released acid house works using analog synths under the name "Trickfinger."
Master MIDI devices, sequencers, vintage rhythm machines, modular synths, and moreCompletely DIY musicianHe showed his true colors.

He loves his guitar more than anyone else, but he even throws it away in order to be true to music.
This was also the time when John's "determination" became apparent.

At the end of 2019, the world suddenly erupted in joy when it was announced that she would be returning to RHCP for the third time.
In 2022, they will release "Unlimited Love" and "Return of the Dream Canteen" in succession, and will resume live tours on a global scale.

The guitar playing is softer and more spacious than ever before.The coexistence of "beauty of white space" and "depth"We are reaching new territory.
What you see here is a guitar that could only be played by the Frusciante of today, not the Frusciante of the past.

The stage where synths, fuzz, Moog, filters, analog delays, etc. are freely manipulated is trulyThe Sound MagicianThat itself.

The trajectory of this artist has been broken once, returned to and reconstructed many times.
This is one answer to the fundamental questions of "What is a guitar?" and "What is music?"

When you think of John Frusciante, this is the first thing that comes to mind.A 1962 Fender Stratocaster (Sunburst). This vintage Stratocaster with a rosewood fingerboard is John's trademark and is the foundation of almost every song on RHCP.It has been used as the main guitar for the 1999 album "Californication." Since acquiring it during the production of the album, it has become an indispensable part of the band, like meat and potatoes, during recordings and live performances. John especially likes the thick, warm tone of this guitar, and it supports the songs with its expressive tone, from clean to crunch. The pickups are not original, but areSeymour Duncan SSL-1I've replaced it with a new one, and my favorite thing about it is the mellow sound that this vintage single coil produces.

The charm of this '62 Strat is the superb resonance of the body and neck that develops over time. The paint has peeled off over the years of use, and there are countless scratches and dents, but even so, it is a one-of-a-kind instrument for John.Fender Custom ShopA limited-edition signature model "John Frusciante Stratocaster" that faithfully reproduces this guitar has been released since, with faded lacquer and countless scratches recreated in a truly exceptional piece (it's currently hard to come by, but a coveted model for fans). John himself continues to use the actual vintage guitar, and in live performances he mainly uses this '62 Strat for a wide range of roles from rhythm guitar to lead. In response to the question, "Why does John use this guitar so much?" current guitar tech Henry Trejo also offers the following answer:Because this '62 is the flesh and bones of all the sounds." He explained that he only uses the other guitars for solos or special sounds.

Another one that John especially loves isIt's a 1955 Fender Stratocaster (Sunburst). It's a vintage Stratocaster with a maple fingerboard, and it's also the first guitar I picked up when I returned to the band in 1998.

This '55 Strat has a mellower, more subdued tone.It is characterized by its soft tone and is used in songs that do not require an intense lead. For example, in live performances, he switches to this guitar for slow, atmospheric songs like "Don't Forget Me," and plays arpeggios and backing with a gentle, sweet tone.Drop D TuningHe also uses this guitar on the band's heavy new song "These Are the Ways," taking advantage of the resonance of the thick bass strings.

Although it is used as a sub guitar in two or three songs a night during live performances, it is an indispensable guitar for John.He was accidentally knocked down by Anthony Kiedis (the lead singer of the RHCP).There was also an episode where the guitar was damaged and a large chip appeared on the fingerboard. The chip was later repaired, but John is fond of this guitar, even with the damage.

It's hard to find a '50s Stratocaster on the market today, but FenderAmerican Vintage IIThere are models with similar specs available in the series (50s Strats with maple fretboards). If you're looking for a mature tone like John's '55, the key is to choose a vintage-style Strat and a single coil like the SSL-1, which has a lower pickup output.

For John, who mainly uses vintage Stratocasters, "unusual" guitars like the Jaguar are useful for special purposes.
One of the most famous is a vibrant Fiesta Red 1960s Fender Jaguar.

This guitar was used prominently during the By the Way era, and in live performances it appeared on songs with tricky chords and arpeggios, such as "Scar Tissue" and "Parallel Universe." The Jaguar's short scale and low output pickups create a tight tone that provides a sharpness that a Strat can't produce.

In addition, by making full use of the unique switches and bridge structure, it is possible to produce a slightly unstable but human-like sound. For John, the Jaguar occupies an important position as an option for expanding the range of his sound.

Although it is not well known among John's guitars, this Telecaster Custom certainly has a strong presence.
This guitar was made in the 1960s and features a cool combination of a black pickguard and sunburst body.

It is highly likely that this Telecaster was used in the intro of "Under the Bridge" and the clean arpeggio of "Snow ((Hey Oh))" during the live performance. Compared to the Strat, it has a higher high and a faster attack, so it meshes well with the rhythm section.

It is sometimes included in the current board and functions as a sub-guitar that can be switched to as needed. In John's guitar philosophy, the Telecaster is merely a "spice to add a specific flavor," and although its appearance is limited, it certainly works.

Although it is not widely known, John also used a Gibson Les Paul Custom in the early days of the RHCP.
It was particularly heard on the 1989 Mother's Milk tour and in studio recordings of funk-influenced songs, in situations that called for a fuller, rounder tone.

The thickness and sustain of the low-mid range peculiar to the Les Paul adds weight that the Strat can't produce. Although it was not used frequently in live performances, it was used to achieve explosive lead tones by combining it with distortion pedals such as fuzz and DS-1.

There is a strong theory that this was the guitar used to record the muddy power riffs on "Higher Ground," making this a noteworthy instrument when pursuing Frusciante's early recordings.

Of all the Gibson guitars that John used, the one with the most clear records of its use is the 1961 Gibson SG Custom.
It has been confirmed that this guitar was used on the recording of "Otherside" during the Californication period.

The SG's thin body and light response, combined with the thick sound of the humbucker, creates a lead tone that stands out from other guitars. It also pairs well with Marshall, and is the ideal specification for bringing out the "stickiness" just before crunch.

For John, the SG is simply a tool for producing a specific tone. More than its beautiful appearance, it is a silent standby machine that is selected only when that sound is needed.

The famous amp that supports John's guitar sound is the **Marshall Silver Jubilee 2555 (100W head)**. This limited edition model, released in 1987 to commemorate the 25th anniversary of Marshall's founding, features a silver case and is known as a powerful amp that adds modern gain to the classic Marshall sound. After John returned to the RHCP, he used this Silver Jubilee as one of his main amps.Powerful distortion and punchIt features a rich tone, and its true value is in crunch to lead tones rather than clean tones. The thick midrange unique to Marshall gives off a presence without being buried even in funk cutting, and maintains the contours even in John's intense cutting and solos.

John is currently celebrating this Silver Jubilee live.Two-unit amplifier setHe uses it as one of the amps (the other is a Marshall Major, which will be discussed later). In photos of past live performances, a Jubilee has been set up on the left side of the stage, and it appears to be used for crunch rhythms and leads, with the distortion channel providing moderate drive. The Jubilee has a high output of 100W, but John keeps the distortion of the amp itself to a minimum, and often creates additional distortion with pedals (such as the DS-2, which will be discussed later). The reasons for choosing this amp include:A balance of vintage and modernIt combines the warmth of classic Marshall with the high gain performance of 80s pedals, allowing it to handle a wide range of sounds from clean to distortion.

The original Silver Jubilee 2555 is currently difficult to obtain, but a reproduction version from Marshall is available.2555 timesOr the 20W version2525His now on sale. For guitarists who want to get closer to John's sound, this reissue model is a realistic choice. In fact, the thick distortion that John gets from the Jubilee can be easily reproduced with commercially available Marshall amps, and in combination with a pedal boost, it is possible to create a tone close to his sound character.

Another of John's main amps isThis is the Marshall Major (1967W, made in 200). Commonly known as the "Major", it is a legendary model developed by Marshall in the late 1960s, and as its name suggests, it had a roaring 100W output, far exceeding the 200W that was mainstream at the time.It boasts a 100% amp rating. It is famous for being used by Pete Townshend of The Who and Jimmy Page of Led Zeppelin, and is a coveted amp for vintage amp enthusiasts. John has owned this Marshall Major for a long time, and since returning to the band, he has set it up on stage alongside his Silver Jubilee.

With an incredible 200W of clean headroom, the MajorNo distortion even when the volume is turned up, even with clean tonesIt has the advantage that it has a clean sound. It is speculated that John takes advantage of this characteristic by playing the Major at a slightly clean setting and boosting it with a pedal to create distortion. In other words, by blending the distortion of the Silver Jubilee amp itself with the clean crunch of the Major, he achieves a tone that is thick and powerful, yet has a high sense of separation between each string. In fact, there are reports that at a live performance in 2020, he was seen using a variety of crunch sounds, with a Major on the right and what appears to be a 70's Marshall (JMP 2203) head on the left.

The Marshall Major is no longer in production and is extremely expensive even on the used market. If you want the same kind of clean headroom, a current MarshallYou should consider using a Super Lead (such as the 1959HW) or a Hiwatt 200 from another company. A style like John's that uses pedals to create distortionFor him, a clean and powerful amp is ideal. The reason he likes the Major is that it's like a canvas that amplifies the sound of the pedal as it is.Fender twin reverbHe also uses clean amps such as the 1960s, 1970s, 1980s, and 1990s. Songs where the beauty of the clean sound is important (such as the arpeggios on "Under the Bridge") are recorded with Fender Blackface amps, and John uses different amps depending on the song.

The orange compact effect pedal is the core of John Frusciante's distortion sound.BOSS DS-2 Turbo DistortionFrom the early 90s to the present, John has consistently used the DS-2 as his main distortion pedal. It has been used in a wide range of situations, from the thick riffs in Red Hot Chili Peppers' signature songs "Suck My Kiss" and "Dani California" to solo parts like "Snow ((Hey Oh))". The DS-2 is a simple two-knob distortion pedal, but its "TURBO mode" switch gives it two different distortion characters. John has taken advantage of this function to use it for everything from crunch to lead with just one pedal.

What is surprising is thatThese days, John has two DS-2s on his pedal board.You may wonder why there are two of the same pedals, but there is a clear reason behind this. John uses one DS-2Weak distortion settingI use it in combination with the SD-1 and fuzz (described later) to create lead tones. For example, in the solo of "The Heavy Wing," I use a multi-stage boost of DS-2 (weak setting) + SD-1 + Variac Fuzz to create a unique, sticky lead sound.Turbo mode and maximum distortionI set it to 2 and use it to get intense distortion with the flip of a switch during intense riffs and power chords like the chorus of "Dani California." I set it to XNUMX and use it to get intense distortion with the flip of a switch, saving me the trouble of having to adjust the knobs during a song, and allowing me to instantly call up different distortion settings just by stepping on a different pedal.DS-2 Dual WieldingThis is a way for John to recreate a variety of distorted sounds during live performances.

The DS-2 is a classic pedal that is still available in the current BOSS lineup. It is easy to find even new and is relatively affordable, so it is recommended for guitarists who want to imitate John's distortion sound.Keep your amp at crunch level and use this pedal for extra gainThis is John's way of using it. John doesn't keep it on all the time, but rather steps on it depending on the song or part. The DS-2 itself is simple, but John uses multiple units and combines it with a booster to create a distortion with depth.

When talking about the wah sound that is essential to funk rock, John Frusciante’sIbanez WH-10 Wah PedalThe WH-10 is an Ibanez wah released in the late 1980s, and is a little different from the typical Jim Dunlop Cry Baby.Thick bass and deep rangeJohn has been using the WH-10 since he joined RHCP, and he uses it to create some intense wah sounds on funk-infused songs like "Give It Away" and "Sir Psycho Sexy." The groove that is created by the combination of the WH-10's unique biting filter sound and John's picking has become synonymous with him.

The original WH-10 was fragile due to its plastic casing, and John is said to have broken several of them during tours. However, he had a strong attachment to wahs, and continued to use the same model even after they broke. Currently, Ibanez produces an improved versionWH10V3(3rd generation) has been released, and the case has been changed to metal for improved durability. John also uses this WH10V3 for his latest board, andModified by Wilson EffectsAlthough the details of the modifications have not been made public, it is believed that they have been adjusted to faithfully reproduce the sound characteristics of the original WH-10 (for example, by reducing sound loss and tuning the frequency range).

In this way, JohnI love the sound of the WH-10The reason is that it has a wider range and a thicker low range than a normal wah, so you can get a solid wah tone even with a single coil guitar. Especially when combined with his cutting playing style, it becomes a weapon that gives a sense of dynamism to the rhythm. The commercially available WH10V3 is relatively inexpensive, and if you connect it in the order of guitar → wah → distortion like John does, you can get close to that wah sound with a strong presence. John uses wahs a lot in parts of his solos at live shows, and he gets the audience excited every time. If a fan asks, "What wah does John use?", you can confidently answer that it is this Ibanez WH-10.

When talking about John Frusciante's clean tones, one thing that can't be overlooked is the legendary effectorBOSS CE-1 Chorus EnsembleIt is a vintage model released in the 1970s, and has chorus/vibrato effects.Preamplifier CircuitJohn has been using the CE-1 since the 90s, and actually enjoys it more for its chorus effect than for its effects themselves.Built-in preamplifierThe CE-1's preamp gives a unique thickness and shine to clean tones, so John uses the CE-1 as a constant-on clean to crunch booster to shape his own basic tone.

It's a well-known fact that the CE-1 is also behind the beautiful clean sounds in the intro to "Under the Bridge." By passing the guitar through the CE-1 preamp, the sound becomes warmer and more compressed, resulting in a richer clean sound than going straight through the amp. You can also add a thin chorus effect to give it more width if necessary. The CE-1 is also important in John's distorted sound. By using the CE-1 as a preamp before the distortion, the distorted sound has a core and a stronger presence.It is difficult to substitute with current digital equipment.This is the wonder of analog circuits.

The CE-1 has been out of production for a long time and is expensive even on the second-hand market, but BOSS is offering a compact reissueThe CE-2W (Technical Craft) is available. However, as users have pointed out, the CE-2W does not have a preamp function.Therefore, it does not fully reproduce John's tone making. John himself still continues to install the original CE-1 unit in his board. Although it is not flashy, the CE-1 plays an extremely important role as the "unsung hero" of the John Frusciante sound.

Between the distortion pedal and the amp, John has a secret weapon that he always keeps on:MXR M133 Micro AmpThe small white pedal, Micro Amp, is a simple one-knob clean booster that boosts only the volume without changing the tone. John has had this pedal on his board since the 90s, and he keeps it pressed down especially when producing clean tones.The sound is taut and powerfulA Strat with a single coil pickup tends to have a thin sound, but by boosting it a little with the Micro Amp, it has more presence and is less likely to get lost in a band ensemble.

The Micro Amp is also effective for distorted sounds. For example, if you place it before a distortion (DS-2) and boost it, the gain and sustain increase, giving your solo more volume. John steps on this booster during solos to increase the volume and distortion at the same time, creating a clear lead tone.Always-on boostUse it asSolo boosterIt seems that they use either one depending on the situation. The Micro Amp is still around on recent boards, and you can see it being incorporated first into the signal chain.

The Micro Amp is still on sale from MXR, and is popular with many guitarists because of its reasonable price. If you use it as the foundation of your sound like John, keep the settings modest. "It's not enough without it, but it's just right when you have it."The trick is to keep the boost to about that level. John values ​​the "aesthetics of subtraction" when creating sounds, and the Micro Amp fits that philosophy perfectly.It functions as a minimal addition**, adding depth to a simple equipment setup.

John has also actively introduced new effect pedals in his new album "Unlimited Love" (2022) since his return. One of the most notable is MXR's latest fuzz pedal, the Super Badass Variac Fuzz (M236). This is a high-gain fuzz released by MXR in recent years, and features a "Variac" switch that lowers the internal voltage to obtain a dull tone like a vintage fuzz. John used this pedal in the recording of Unlimited Love, incorporating a new fuzz sound into the song.

In particular, the thick, sustained lead tones heard on some of the new songs, such as "Black Summer" and "The Heavy Wing," are likely due to the Variac Fuzz.Guitarists who don't use fuzz muchHowever, in the new album, he is also experimenting with fuzz to create different textures for each song. The MXR Variac Fuzz produces aggressive and retro distortion that is different from the traditional Fuzz Face and Big Muff, and has become one of John's favorite pedals.

This pedal is still available from MXR, and is available as a commercial model for general guitarists to try out. John also has a Variac Fuzz built into his live board, using it in combination with the SD-1 and DS-2 as a lead boost. In addition, several models provided by MXR, including this pedal (such as the M78 distortion and M300 reverb, which will be discussed later), have been garnering attention as "John's new standard pedals." This pedal betrays the image that fuzz is old-fashioned in a good way.A fuzz sound that combines the best of old and newThis is what John is using to create his latest sound.

In recent years, John has been carrying a yellow compact pedal.BOSS SD-1 スーパーオーバードライブThe SD-1 is a classic model that produces a mild overdrive with a warm mid-low range. John uses this pedal not for distortion purposes alone, but forCombine with other distortions for boostingFor example, as mentioned above, I turn on the SD-2 when combining it with the DS-1 and Variac Fuzz to enhance my lead tones, adding gain and midrange to make my solos stand out.

The good thing about the SD-1 is that even when you distort it heavily, the sound doesn't get too crushed, and the nuances of what you play remain. John must have appreciated that and adopted it. It goes particularly well with old-style tube amps (such as the Marshall Major), adding harmonic components that are pleasant to the ear. The SD-1 itself is a classic among BOSS classics, and is easy to obtain new, and is inexpensive. It was brought back into the spotlight by being installed on John's board, and fans were asking, "Why the SD-1 now?" However, John's intention is thought to be to make delicate distortion adjustments that were necessary for the new songs, and to compensate for the thickness of the mid-range that could not be obtained with the DS-2 alone. After being completely devoted to distortion for many years, the reason he added overdrive may be a reflection of his current state of mind, wanting to broaden the scope of his sound creation.

The SD-1 is a great pedal that is great for crunch rhythms and bluesy leads even on its own, so it's a pedal that can be recommended to anyone, even if they're not a fan of John. If you want to use it like John does,Between the distortion pedal and the ampIt would be a good idea to place the SD-1 in the middle of the mixer and use it as a booster with the gain set low and the level set high.

In addition to the aforementioned MXR Variac Fuzz, John also uses theElectro-Harmonix Big Muff PiJohn has also been using it for a long time. The Big Muff is a classic fuzz/distortion pedal from the 1970s, characterized by its thick sustain and unique harmonics. John has had a Big Muff on his board since his Californication days, andSolos where you want to extend the sustainFor example, it is said that the smooth lead tone in the solo of "Californication" was created with a Big Muff instead of a DS-2, and the sound that resembles a Big Muff can be heard in the long sustained playing of the live version of "Throw Away Your Television."

Also on my current board: EHX Big Muff (USA model)is placed in the most prominent position. John probably doesn't use this pedal alone, but rather in conjunction with the DS-1, and uses different pedals depending on the song. The Big Muff can be difficult to use as the sound can be thick and buried, but in his case, he maintains the definition by raising the treble of his Marshall amp. For fuzz fans, it may be a good thing that John is a Big Muff fan. Current Big Muff models are easy to get, soIf you're thinking, "I want to produce that thick solo sound that John played," then this is definitely worth giving it a try.

John likes the Big Muff for a number of reasons:Long stretch and unique stickinessThe pedal complements the sustained sound and vintage-style roughness that the DS-2 cannot provide. Especially during live performances, he uses the Big Muff at the climax of a song to captivate the audience with a guitar solo that suddenly becomes thicker and more sustained.

The purple pedal stands out among John's effects board.Line 6 FM4FM4 is a multi-effect called a filter modeler, and it has auto-wah, synth-like filter effects, sequencer-like effects, etc.Modulation special effectsJohn introduced the FM2000 to the studio when he was making the album "By the Way" in the early 4s, and used it for the filter feedback sound in the live intro to "Can't Stop" and the electronic sound effects in "Throw Away Your Television."

In particular, the undulating synth bass sound heard on "Throw Away Your Television" is said to be the result of using FM4's signature preset "Synth-O-Matic." John turned it on with his foot during the song, creating a strange filter sound on his guitar. The FM4 alone can produce a special weapon-like effect that cannot be achieved with conventional analog pedals, so John likely adopted it to expand his creativity. The FM4 is also installed on the board for the latest Unlimited Love tour, andUsing two FM2s together(You can actually see multiple units when looking at the board photo.) It's likely that two units are used so that different presets can be used instantly.

The FM4 is still on sale from Line 6. Its unique effects make it stand out among the compact pedals that tend to be placed at the feet of guitarists like John.Accents in musicIt can be a powerful weapon if used as a pedal. The price is a little high, but it is worth it if you consider that this one pedal can fulfill the role of multiple pedals such as auto-wah, filter, and synth sound. John made full use of the sounds he got from this FM1 in the RHCP.A guitar that acts like a synthIt even achieves this.

For John, who loves funk music,Auto-wah/Envelope FilterEffects like this are also important. A representative example of this is theMu-Tron Micro-Tron IVとMoog Moogerfooger MF-101 Low Pass FilterMu-Tron is a famous filter pedal from the 70's with the classic model "Mu-Tron III", and the Micro-Tron IV is a current updated version of that model.Funky quark soundsJohn probably uses the Micro-Tron on the funky cuts on new songs like "Aquatic Mouth Dance," to get that pleasing auto-wah effect that follows the attack of the cut.

On the other hand, the Moog MF-101 is a filter pedal made by Moog, a renowned analog synth manufacturer, and is characterized by an extremely smooth low-pass effect using a ladder filter. John combined the MF-101 with a controller (CP-251) described below to create automated filter sweeps using an LFO, etc.Synth-like effectsFor example, it seems to be useful in situations where you want to recreate a Pink Floyd-style filtered solo on the guitar.

These filter effects may seem plain, but JohnSpices that add expression to the gaps in soundI use it a lot as a filter. Lightly applying the filter during rhythm guitar especially adds groove, so I turn it on and off frequently during live performances. The Mu-Tron Micro-Tron IV is still available as a current product, and is more readily available than the original Mu-Tron III. Moog has discontinued the MF-101, but if you can find it on the second-hand market, you can experience a professional-level filter sound. It's not essential to copy John's playing, but I'll add that in response to the question, "Why is John's clean cutting so funky?", it's possible that these effects are subtly working in the background.

John Frusciante also skillfully uses delay effects to add depth to his sound.BOSS DD-500 Digital DelayIt has a built-in delay time and repeat count that can be preset according to the song by making full use of multiple memories. For example, a slapback delay that adds a little thickness to the solo of "Snow ((Hey Oh))" and a profound ambient delay that can be heard in the live performance of "Don't Forget Me" can be realized with a single DD-500.

John's board also includes a vintage Digitech PDS-1002 (2 second digital delay)MXR Carbon Copy (analog delay),Also included are the Dunlop EP103 Echoplex (a tape echo style delay). Each has a different character; the PDS-1002 is a lo-fi digital delay that has been used since the 90s, such as in the outro of "Under the Bridge," the Carbon Copy is a warm analog echo used for short delays, and the Echoplex is used to recreate the fluctuations of old tape echoes to add depth to solos. John uses multiple delays seamlessly in one song.Sometimes, you can see them skillfully switching positions at their feet.

The reason for having such a wide variety of delays is that different songs require different reverberation. John pays attention to the details of sound creation and chooses the most suitable spatial effects. The DD-500 is a current model that is easy to obtain and covers a wide range of professional quality delay sounds, so if you want to imitate John's delay usage, it is a good idea to start with the DD-500. If you have the budget, you can also combine it with an analog delay like Carbon Copy to express the difference in texture between digital and analog, which is John's style. The answer to the question, "Why is John's sound so thick and spacious?" is the skillful use of these multiple delays in the background.

Surprisingly, John hardly used reverb pedals until the 2000s (just the spring reverb on his amp). But looking at his recent board after his return,MXR M300 ReverbThe M2 Reverb is a high-quality reverb from MXR that comes with six different modes, including plate, spring, and hall. John uses this pedal2 units usedBy doing so, it seems that they prepare different reverb settings for each and switch between them during the song. For example, one might be a plate reverb that adds a short reverb that is always applied, and the other might be a hall reverb that applies a long reverb to solos, etc.

Like the Variac Fuzz mentioned above, this MXR reverb is one of the MXR pedals that John introduced during the Unlimited Love period. It contributes greatly to creating an ambient atmosphere during recordings, adding depth to each song. In particular, in ballads like "Tangelo," the deep reverb is applied to clean tones, creating an emotional space. JohnEffect only when neededHe tends to use reverb in a way that is appropriate for the phrase, but doesn't leave it on all the time. He uses long reverb at key phrases, instantly taking the audience to another world.

The MXR M300 is currently on the market and is a popular pedal with professional-level sound quality and intuitive operability. John's adoption of the pedal has further increased its popularity, and fans have been saying, "John has finally fully introduced a reverb pedal!" The reason for its introduction is likely that it can produce a variety of spatial effects that cannot be fully expressed with the reverb of an amplifier. It will be interesting to see how John will use reverb in the future.