Cherub Rock Amp Settings
Cherub Rock showcases Billy Corgan's legendary wall of sound — dozens of guitar tracks layered through Marshalls, Mesas, and Big Muffs to create an overwhelming sonic cathedral. It's the most guitars ever stacked on a rock record.
What Makes This Tone Iconic
Corgan layered an insane number of guitar tracks to create Cherub Rock's massive sound. Each track used a different amp and settings — JCM800s, Dual Rectifiers, Plexis — all blended together. The Op-Amp Big Muff provides the smooth, sustaining fuzz, while the multiple amps add width and depth. Live, it's more stripped-down, but the studio version is an exercise in sonic maximalism that still sounds huge.
Key Tone Elements
- Multiple Marshall and Mesa amps layered in the studio
- EHX Big Muff (Op-Amp version) for smooth, sustaining fuzz
- Dozens of guitar overdubs creating the 'wall of sound'
- Strat-style guitar for brighter, cutting tone through the fuzz
- Mix of clean, crunchy, and fuzz tones layered together
Original Recording Settings
Original Gear
- Guitar
- 1988 Fender Stratocaster (#2 Strat, black over candy apple red)
- Pickups
- DiMarzio (specific model not confirmed, hotter than stock Fender) (bridge for rhythm and solo)
- Amplifier
- Marshall JCM800 2205 (modified with KT88 tubes)
- Channel
- Low sensitivity input, master volume cranked, preamp volume barely on
- Tuning
- Eb Standard (half step down)
- Pickup Selector
- bridge
- Strings
- Not specifically documented for Siamese Dream sessions
Billy Corgan's signature recording technique: Big Muff plugged into the LOW sensitivity input of the JCM800, with the MASTER VOLUME on full and the PREAMP VOLUME barely on. The amp was modified with KT88 power tubes (replacing stock EL34s), which Corgan credited with transforming the amp's sound. Corgan stated that '98% of all guitar parts on the first two albums were done through this amp.' Producer Butch Vig helped refine the approach.
Amp Settings
Effects Chain
Playing Technique
The key to the Siamese Dream sound is LAYERING — Corgan and Iha recorded guitar parts 4 to 6 times each (not standard double-tracking). This creates the massive wall of fuzz that defines the album. Individual playing uses medium-heavy pick attack with full chord voicings. The solo features expressive bending, vibrato, and the phaser's slow sweep adding dimension. Palm muting is used sparingly — the fuzz tone is generally left open to breathe.
Sources+
- Billy Corgan in Guitar World 'Guitar Geek USA' series (August 1995-February 1996): 'I developed a technique of plugging my Big Muff pedal into the low sensitivity input of a 100-watt Marshall JCM 800, with the master volume on full and the preamp volume barely on at all'
- Billy Corgan blog (2009): confirmed the Big Muff was a vintage late-1970s Op-Amp model
- Equipboard.com — Billy Corgan (confirms #2 Strat for Cherub Rock solo and Today intro, KT88 mod, Big Muff)
- Corgan in Reverb sale listing: '98% of all guitar parts on the first two albums were done thru this amp'
- Andertons Blog — 'Sound Like Smashing Pumpkins' (Corgan's Big Muff into low gain input, master cranked technique)
- Gearspace forum — Siamese Dream session details from engineer Jeff T (tape flanging on Cherub Rock solo, ring modulator on Rocket)
Get This Tone on Your Gear
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