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Today — The Smashing Pumpkins1 / 2
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Today Riff Guitar Tone Settings — The Smashing Pumpkins

The Smashing Pumpkins · 1990s · rock

studio

Original Recording

Guitar
1991 Fender Stratocaster (likely American Standard, modded with Lace Sensor pickups)
Pickups
Fender Lace Sensor Blue (neck), Silver (middle), Red (bridge) single coils
Amp
Marshall JCM800 2203 head with KT88 power tubes, Marshall 4x12 cabinet
Pickup Position
Bridge pickup

Studio recording, 1992-1993 for Siamese Dream. Billy Corgan used his modded Strat with Lace Sensors into a JCM800 2203 head (KT88 tubes) for the main riff. No evidence of live/touring gear or alternate guitars for this section. Effects were mostly pedals, with amp set clean and distortion from pedals.

Amp Settings

Mids
7
Bass
6
Gain
6
Reverb
2
Treble
7
Presence
6

Effects Chain

  • Electro-Harmonix Big Muff Pi (vintage, likely '70s NYC or Sovtek) · fuzz
  • Boss GE-7 Equalizer · eq

Fender Stratocaster (Lace Sensor bridge pickup) → Big Muff Pi → Boss GE-7 EQ → Marshall JCM800 2203 (KT88) → Marshall 4x12 cab (spring reverb low)

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Tone Character

  • thick, saturated fuzz
  • wall-of-sound rhythm
  • smooth, compressed sustain
  • mid-forward punch
  • tight, focused low end
  • slightly scooped highs
  • layered, creamy distortion
  • percussive attack
  • rich harmonic overtones
  • dense, multi-tracked guitars

Notes & Caveats

  • ⚠️No official studio amp knob settings found; settings estimated based on typical Marshall JCM800 usage for 1990s alt-rock and forum consensus.
  • ⚠️Pedal order and exact Big Muff model inferred from era and interviews; no direct studio session documentation.
  • ⚠️No evidence of modulation or time-based effects (chorus, flanger, delay) on the riff section; all fuzz/distortion is pedal-based.
  • ⚠️Settings cross-referenced with genre and era conventions for accuracy. Billy Corgan's 'Today' tone is saturated and compressed but not ultra-modern; he used a Big Muff into a Marshall JCM800 with mids pushed for thickness and clarity, moderate bass for punch, and restrained treble/presence to avoid harshness. Reverb is minimal, as the track is dry and up-front in the mix.

Sources