Any Help with Billy Corgan Tone Quest?

[Do_chay]

Recently I've fallen into a rabbit hole of trying to nail the mid 90s tone Billy Corgan got from his live rig and for the recording of Mellon Collie and the Infinite Sadness. I've got it pretty close and would love to share my presets when they're completely dialed in, but there's two things I was hoping someone could help me with on the AX8 side.

1)The tone is basically a JMP-1 on the OD1 or OD 2 setting run into a Mesa Boogie Strategy 500 power amp with a lot of headroom. Is there a way I can try to emulate what the Strategy 500 is working with the JMP-1 on the AX8 or are the default settings gonna react the same way? If you're interested here's the exact JMP-1 settings from Jame's Iha's JMP-1 that was sold:

2)He used the Eventide H3000 live to get this really cool band delay sound. The preset on the H3000 was called Liquid Reverb. This guy nailed it with the Eventide plugin. Doe anyone think they could dial this in with the AX8 Band Delay? I can't seem to get it.



Thanks for any help! My goal is to offer up a preset with everything Billy used live in the 90s to do all the songs and not some weird big muff based thing that doesn't work with a band. He never used any pedals for those sounds live, it was all JMP-1 pretty much from 1994-97. I know they tend to be really polarizing due to Billy's ego, but if you are into the Smashing Pumpkins music go check out all the instrumental outtakes they recently made availble on spotify from the first three album's deluxe versions. So incredible how much stuff he recorded that never got released. An animal in the studio!

 

[chrisjnyc]

Are you sure on your info in his live rig? It's been covered in detail over the years. This guy got a decent tone and posted the preset
https://forum.fractalaudio.com/threads/pumpkins-siamese-dream-album-distortion.117450/

From Reverb:
Billy Corgan’s Amps
After Jimmy Chamberlin replaced the drum machine, Corgan replaced his Roland Jazz Chorus with a used Marshall JCM800 head and a Marshall 4x12 slant cab, which he found in a newspaper ad back in the days before Reverb. The 1984 Marshall 100 watt JCM800 head with the EL-34 tubes swapped for KT88s, (the “Soul” head) matched with the Marshall 4x12 cab (the “Mars” cab) was the dominant amplifier sound on the Pumpkins’ first three albums, Gish, Siamese Dream, and Mellon Collie and the Infinite Sadness. Corgan also used a Marshall JPM-1 preamp into an Alesis compressor with a Mesa Boogie head. Corgan has recorded and toured with Laneys, a Silverface Fender Bassman, Selmer amps, Orange amps and a 1964 Vox AC30.
https://reverb.com/news/the-gear-of-the-smashing-pumpkins

The only mention of an Eventide rack was for “Starla”
An epic, mesmerizing track built up around extended solos, “Starla” was produced by Kerry Brown and recorded through a Soundcraft TS12 board onto a TASCAM MS16 one-inch tape machine. Brown used a Yamaha SPX90 for the reverb effect on Corgan’s voice, and an Eventide H3000 Ultra-Harmonizer is responsible for the backwards effect that runs through the first third of the song.
https://www.emusician.com/gear/signal-to-noise-the-sonic-diary-of-the-smashing-pumpkins