What guitar did Billy Corgan use on 1979?

Billy Corgan used a Fender Stratocaster for the rhythm guitar parts on "1979." The specific model and year haven't been definitively documented, but Stratocasters were his primary guitars during the Mellon Collie sessions.

How to get Billy Corgan's 1979 guitar tone?

Start with a Stratocaster into a clean, compressed amp setting or preamp like the ADA MP-1 he used. Add subtle phasing with an MXR Phase 90 and focus on single-coil pickup positions. The key is clean headroom with natural compression.

What amp did Smashing Pumpkins use on 1979?

The rhythm guitar on "1979" was recorded through a Mesa/Boogie Strategy 400 power amp paired with an ADA MP-1 preamp. This rack setup was central to many of the cleaner tones on Mellon Collie and the Infinite Sadness.

Did Billy Corgan use chorus on 1979?

While the tone has a chorus-like quality, it appears this shimmer came primarily from the MXR Phase 90 and the natural compression of the ADA MP-1 preamp rather than a dedicated chorus pedal.

What studio was 1979 recorded at?

"1979" was recorded at Pumpkinland Studios in Chicago, which was Billy Corgan's personal studio. The track was produced by Alan Moulder and Butch Vig during the Mellon Collie and the Infinite Sadness sessions.

rhythm guitar from "1979" by the smashing pumpkins

1979

the smashing pumpkins

rhythm guitar

75% ai confidence

Tone Profile

A jangly, clean rhythm guitar tone with a slightly chorus-y and compressed character, providing a solid bed for the more prominent elements in the mix.

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Fender Stratocaster(instrument)
Mesa/Boogie Strategy 400(amp)
ADA MP-1(processing)
MXR Phase 90(processing)

The Story

The rhythm guitar on "1979" was recorded by Billy Corgan using a Fender Stratocaster through an ADA MP-1 preamp and Mesa/Boogie Strategy 400 power amp. An MXR Phase 90 was also part of the signal chain, contributing to the track's shimmery character. The album was produced by Alan Moulder and Butch Vig at Pumpkinland Studios in Chicago, with Corgan often blending direct signals with miked amplifier recordings.