It seems people have some confusion about "why is he not using a big muff", etc. etc. Per multiple interviews over the years, Corgan and Butch Vig have said that he used a Big Muff in the studio to record the guitars for Siamese Dream, specifically an Op Amp circuit Big Muff, circa 1980's model I believe (That circuit had a very different sound than the normal, modern big muff EHX sells, and at some point they stopped using an op amp circuit and changed the circuit, which gave it a different sound). When The Pumpkins went to go on tour for Siamese Dream, in the beginning they tried using the big muffs live, and they said in gear related interviews they learned really fast that the big muffs were really lacking in mid frequencies, would not cut through a mix live, and the guitar would just become inaudible (I've experienced this phenomenon personally myself, when I was traveling with a band; the first time I went to kick on a big muff for a solo, the guitar just disappeared in the mix). That's when Corgan and James switched to using Marshall JMP-1 preamps, which actually ended up being the main rhythm guitar sound on Mellon Collie later. Ever since, people for years have been trying to get that Siamese Dream sound of the op amp big muff, but it's been elusive and hard to get, because until recently, EHX had stopped using op amp in the big muff circuit. You had to either buy some clone pedal that some other company built of the original circuit or you had to buy a vintage big muff from those years on the used market for a lot of money. However, due to demand, EHX finally started making an op amp version of the big muff (the one Billy made a video with EHX to promote) so people could get that sound. In conclusion, in Billy's own words, you could count on one hand how many live shows they used the big muff on. If you know some basics of engineering and mixing, you'll know exactly what I'm saying, about that sound getting lost in a mix.
Hey. Just adding a few precisions but nothing really major : they played a few shows while they were recording SD, that's when they tried using BMP live and were disappointed. They tried JMP-1s in the studio (Silverfuck's tone is a JMP1) and incorporated them in their live rigs. SO by the beginning of the SD tour they had shifted to JMP1. Fun fact : the jmp1 design is op amp distortion :)
@@LikeigiveAFaboutU I like mine a lot! Compared to the MKiii, the MKii is more mid focused, where as the MKiii is a bit more scooped, but I've found that I can easily get into MKiii territory with an eq pedal if I want... However, I prefer the more mid focused voicing of the MKii, just my personal preference. The MKiii has a built in attenuator, but my cheap Bugera PS1 works just fine for the same purpose, and the benefit of the MKii is you don't have notches on the knobs, so you can fine tune your tone and volume much easier. Another benefit of the MKii is you can tylically find them on the used market for quite a bit cheaper compared to the MKiii, though priced are rising across the board with gear, so who knows what the future holds. I have a Friedman JJ Jr. and I absolutely love it, but I was still left with the feeling that I wants a 50W or 100W head that has that "girth" you can only achieve with high wattage amps with large transformers, and I was also itching for an amp that was more mid focused that could do more of the stoner rock, doom metal thing, and the MKii 100 was perfect, so between the Friedman and the MKii, I feel like I've covered all my amp desires.
I've seen a million of the rig rundown videos, and it's always extremely shocking to me just how little the guitar techs actually know. They're always saying stuff like "I think he uses this amp for that, not sure", or "I'm not sure what pickup he uses for this guitar". It's crazy to me, the guitar tech should know everything. I see it a lot on these videos though.
The Op Amp big muff absolutely is what was used to create that signature fuzz sound in siamese dream. Billy Corgan said in numerous interviews that while it was an amazing studio tool that created that legendary sound, they were near impossible to use live, as its scooped-mids sound unaided couldn't cut through a mix well or be heard at all, so when they toured for Siamese Dream, they transitioned to using Marshall JMP-1 preamps for distortions/fuzz (this sound would be heard by producer, Flood, and then consequently used in the studio for their next album, Mellon Collie). The reissue of the Op Amp Big Muff is for people who for years now have wanted to get that op amp circuit big muff, the same circuit/sound as the 80's era Big Muff pedals Corgan used to record Siamese Dream, but couldn't without buying a clone from another company or buying a real vintage one used for an insane price. They sound awesome and that indeed is the circuit Billy used for Siamese Dream, but they're not a particularly good pedal for live applications. I can confirm this personally, from my days traveling with my band in college and trying to use a big muff live. Unless you pair it with a very specific EQ or a tube screamer or something, it totally gets lost in the mix of a band. It just doesn't have enough mids.
He hasn’t used the Big Muff extensively since 1994. Live he never really used it. It was always Marshall preamps into Mesa power amps then Diezel amps after that.
Listen to his lead work on Gish, his riffs on siamese dream and Mellon Collie, and the textures he created on Machina. Dude did some pretty interesting things on guitar, to put it lightly. For some reason, it seems to me people's measure of a good guitarist is if they do or don't play in a very technical, Steve Vai or Yngwie-esque style, but the truth as I understand it is Billy found a way to combine the psychedelic jamming of Jimi Hendrix, metal riffing of Tony Iommi, the layered guitar orchestrations of Brian May/Queen, and the textural sonic guitar soundscapes of the Cure/Cocteau Twins all at once. People usually don't get that from only hearing the hits, but if you listen to the Pumpkins whole catalogue, you get all these different face of Corgan as a player, and I, like some other big fans of the band, are endlessly fascinated by it.
I wouldn't know what's on his board because he cancelled his show in my town. Apparently he had a case of 24 hour laryngitis. And skipped being contagious. Then took 3 weeks to give me my $380 bucks back. Thanks, Billy. I'll never try and see you again. I can't trust that you'll show up.
![Rig Rundown: The Smashing Pumpkins' Billy Corgan & Jeff Schroeder [2022]](http://i.ytimg.com/vi/s2jExoNQWnU/mqdefault.jpg)
![Rig Rundown: The Smashing Pumpkins' Billy Corgan & Jeff Schroeder [2022]](/img/tr.png)
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It seems people have some confusion about "why is he not using a big muff", etc. etc. Per multiple interviews over the years, Corgan and Butch Vig have said that he used a Big Muff in the studio to record the guitars for Siamese Dream, specifically an Op Amp circuit Big Muff, circa 1980's model I believe (That circuit had a very different sound than the normal, modern big muff EHX sells, and at some point they stopped using an op amp circuit and changed the circuit, which gave it a different sound). When The Pumpkins went to go on tour for Siamese Dream, in the beginning they tried using the big muffs live, and they said in gear related interviews they learned really fast that the big muffs were really lacking in mid frequencies, would not cut through a mix live, and the guitar would just become inaudible (I've experienced this phenomenon personally myself, when I was traveling with a band; the first time I went to kick on a big muff for a solo, the guitar just disappeared in the mix). That's when Corgan and James switched to using Marshall JMP-1 preamps, which actually ended up being the main rhythm guitar sound on Mellon Collie later.
Ever since, people for years have been trying to get that Siamese Dream sound of the op amp big muff, but it's been elusive and hard to get, because until recently, EHX had stopped using op amp in the big muff circuit. You had to either buy some clone pedal that some other company built of the original circuit or you had to buy a vintage big muff from those years on the used market for a lot of money. However, due to demand, EHX finally started making an op amp version of the big muff (the one Billy made a video with EHX to promote) so people could get that sound. In conclusion, in Billy's own words, you could count on one hand how many live shows they used the big muff on. If you know some basics of engineering and mixing, you'll know exactly what I'm saying, about that sound getting lost in a mix.
Hey. Just adding a few precisions but nothing really major : they played a few shows while they were recording SD, that's when they tried using BMP live and were disappointed. They tried JMP-1s in the studio (Silverfuck's tone is a JMP1) and incorporated them in their live rigs. SO by the beginning of the SD tour they had shifted to JMP1. Fun fact : the jmp1 design is op amp distortion :)
The fact thats hes getting the siamese dream tone out of a damn solid state is crazy.
well he's not, have you heard the shows lately? his tone sounds exactly how this looks. DRY
Orange Rockerverbs are where it's at. I have the MKii, and it has a unique girth and dirt that only Orange can deliver.
I never hear about the mkll. Always the 3. I thought the ll really blew away #3 when I tried them. How do you like urs?
@@LikeigiveAFaboutU I like mine a lot! Compared to the MKiii, the MKii is more mid focused, where as the MKiii is a bit more scooped, but I've found that I can easily get into MKiii territory with an eq pedal if I want... However, I prefer the more mid focused voicing of the MKii, just my personal preference. The MKiii has a built in attenuator, but my cheap Bugera PS1 works just fine for the same purpose, and the benefit of the MKii is you don't have notches on the knobs, so you can fine tune your tone and volume much easier. Another benefit of the MKii is you can tylically find them on the used market for quite a bit cheaper compared to the MKiii, though priced are rising across the board with gear, so who knows what the future holds.
I have a Friedman JJ Jr. and I absolutely love it, but I was still left with the feeling that I wants a 50W or 100W head that has that "girth" you can only achieve with high wattage amps with large transformers, and I was also itching for an amp that was more mid focused that could do more of the stoner rock, doom metal thing, and the MKii 100 was perfect, so between the Friedman and the MKii, I feel like I've covered all my amp desires.
I love a guy with his guitar rig so much
Been using a laney lc50 mk2 for nearly 20 years now, greatest amp ever I love it!
What happen to the Line 6 FX board?? In another video Billy said he got rid of his vintage pedals for it because it was what he really needed.
Maybe it was an advertisement?
The whole seemed to change too. Maybe there's more efficiency going on now.
That tech clearly had shit to do man! You could tell by his pace, he was a seasoned pro.
Oh hello there ;-)
Hi
Hi laney!!! Send me an amp! I’m poor and playing a Epiphone Flying V through a crappy interface ❤
We don’t have the same definition of “a modest pedalboard” :)
Surprised he's not rocking his Salvation Mods rig.
Frusciante, pleaseee! 🙏
Why is the expression pedal turned the wrong way?! It's 90° off 😢
Remember COFFEE GUY, from Mad TV?
I've seen a million of the rig rundown videos, and it's always extremely shocking to me just how little the guitar techs actually know. They're always saying stuff like "I think he uses this amp for that, not sure", or "I'm not sure what pickup he uses for this guitar". It's crazy to me, the guitar tech should know everything. I see it a lot on these videos though.
He has a Behringer pedal! 😯😯😯
@ichikanito wut
Billy must be struggling financially, given his Behringer pedal! 😂😂😂😂😂😂😂😂
Maybe he just likes Plastic!
when a pedal is good, people tend to use it, crazy right
@a
He gets a "Duct Tape" endorsement?
That thing is like $109. Not cheap by any means.
And you must be struggling technically and electronically too 😂😂
where's the op amp big muff man? I bought one cuz of the dude and the dude aren't even using it😂
The Op Amp big muff absolutely is what was used to create that signature fuzz sound in siamese dream. Billy Corgan said in numerous interviews that while it was an amazing studio tool that created that legendary sound, they were near impossible to use live, as its scooped-mids sound unaided couldn't cut through a mix well or be heard at all, so when they toured for Siamese Dream, they transitioned to using Marshall JMP-1 preamps for distortions/fuzz (this sound would be heard by producer, Flood, and then consequently used in the studio for their next album, Mellon Collie). The reissue of the Op Amp Big Muff is for people who for years now have wanted to get that op amp circuit big muff, the same circuit/sound as the 80's era Big Muff pedals Corgan used to record Siamese Dream, but couldn't without buying a clone from another company or buying a real vintage one used for an insane price. They sound awesome and that indeed is the circuit Billy used for Siamese Dream, but they're not a particularly good pedal for live applications. I can confirm this personally, from my days traveling with my band in college and trying to use a big muff live. Unless you pair it with a very specific EQ or a tube screamer or something, it totally gets lost in the mix of a band. It just doesn't have enough mids.
Not so much info about the amps, nor how Billy use them… took a quick look on the pedals..man, what a disappointing interview
What no old Big Muff for Siamese ?
There are better fuzz pedals than big Muff. That's what he has.
They only used the Big Muffs for recording; they didn't work out in a live mix.
It's funny how they left the British flag sticker on the Rockerverb.
❤🎸❤🎸❤🎸
I thought a guy on here repaired one of their amps not long ago? It was some sort of power amp? It was a Mesa Boogie Strategy? 🤷
@ichikanito lol wut
You’re thinking of Lyle of Psionic audio, he has a video about the repair
@@audunrundberg9180 Yes. That's him. I watched that video. I guess he's not using that old thing anymore. His new amps are better. Mesa sucks.
This guy obviously hates his job. He was clueless the whole interview 🤣
A real clownshoe, for sure!
Wait…where does the warm blanket of fuzz come from??
Evil Eye
@@adiohead ahhh I see, I shoulda known. Thank you!
He usually only used fuzz in studio but not on tour
@@whiskerbiscuit6674 ohh wow I never would have thought! I was expecting a big muff undoubtedly
No big muff 😮
The Minotaur Evil Eye does that.
@@J.C... ohhhh I thought that was a klon clone
He hasn’t used the Big Muff extensively since 1994. Live he never really used it. It was always Marshall preamps into Mesa power amps then Diezel amps after that.
Big muffs do not work in the mix of a band
Kinda meh and him using a blatant copy of an octave divider when Mike Beigel is still alive and making these pedals.
I wish that he would quit playing these generic glam guitars and go back to his Strats.
I have 3 of his Reverend signatures including a couple prototype. They took too spot out of my 17 guitars including Gibson,fender and PRS stuff.
Listen I love this stuff but when the artist can't even be arsed to give you 10 mins of their time you should 100% tell em to f off.
He's done two other ones. Perhaps he had something he couldn't get out of or he was spending a little time before the show with his family.
I kind of like seeing the techs talk through the gear. Lends a different perspective.
Still calling him "Billy"..... 🤦
If it aint broke dont fix it. But hey if you got money to burn why not.
This is a decoy rig😅
Does anyone really see him as a guitar player?song writer,poet,singer.guitar?
Not me!
Listen to his lead work on Gish, his riffs on siamese dream and Mellon Collie, and the textures he created on Machina. Dude did some pretty interesting things on guitar, to put it lightly. For some reason, it seems to me people's measure of a good guitarist is if they do or don't play in a very technical, Steve Vai or Yngwie-esque style, but the truth as I understand it is Billy found a way to combine the psychedelic jamming of Jimi Hendrix, metal riffing of Tony Iommi, the layered guitar orchestrations of Brian May/Queen, and the textural sonic guitar soundscapes of the Cure/Cocteau Twins all at once. People usually don't get that from only hearing the hits, but if you listen to the Pumpkins whole catalogue, you get all these different face of Corgan as a player, and I, like some other big fans of the band, are endlessly fascinated by it.
I wouldn't know what's on his board because he cancelled his show in my town. Apparently he had a case of 24 hour laryngitis. And skipped being contagious. Then took 3 weeks to give me my $380 bucks back. Thanks, Billy. I'll never try and see you again. I can't trust that you'll show up.