Cherub Rock on a Boss Katana
Written for the Katana 50 MkII and the Katana 50 Gen 3, which share these knobs. The Katana 100 adds a Presence knob, and its value is given under the panel.
Cherub Rock Boss Katana settings: a starting point
On a Boss Katana, select the Crunch amp type and start at Gain 3, Bass 5, Middle 5, Treble 6 and Reverb about 3, with the bridge pickup. That is the setting for the riff and the rhythm parts; the one for the solo is below.
- Gain 3
- Bass 5
- Middle 5
- Treble 6
- Reverb about 3
The Katana 50 has no Presence knob. On a Katana 100, set Presence to 5.
Positions on a 0 to 10 scale, with 5 at twelve o'clock. These are Tonelify's starting points for the Katana, written from the documented rig and BOSS's manual. They are not BOSS's numbers and not the settings on the record.
Picked by gain range
Which Boss Katana amp type for Cherub Rock?
Crunch. Andertons has Billy Corgan's Big Muff going into the low-gain input of a Marshall JCM800 with its master volume up and the preamp set by ear, so the fuzz made the distortion and the amp's own gain stayed modest. BOSS names no Marshall behind the Katana's types, so build the chain the same way: Crunch with its Gain low as the amp, and the Booster making the distortion.
Pick the amp type first: it changes the gain structure more than any knob does, so the same Gain position gives far more distortion on Lead or Brown than on Crunch. Gain sets the amount of distortion, Volume the level of that sound and Master the overall volume. Neither Katana 50 has a Presence knob, so on a 50 the top end is the Treble's job.
Boss Katana effects for Cherub Rock
- Booster
- DistortionStands in for the Big Muff, which made the distortion on the record.Orange in bank A on a MkII as shipped. Knob past the middle.
- Reverb
- Plate ReverbThe room in the starting point.Green on a MkII as shipped. Knob about 3.
The Katana runs five effects at once, one each on Booster, Mod, FX, Delay and Reverb. Each button cycles green, red and orange, and each colour holds its own effect. The colours below are the ones BOSS's MkII manual lists from the factory. On a Gen 3 the factory effects differ from channel to channel, so check what a colour holds before you rely on it; BOSS Tone Studio, over USB, can change any of them.
Second sound
Cherub Rock on the Katana: the solo
Wikipedia says the solo's prominent effect came from recording it to two tapes run together with the speed of one slightly altered, and Andertons has Corgan using a Phase 90 with its speed all the way down on his leads. For the solo, select Crunch and start at Gain 3.5, Bass 5, Middle 6, Treble 6 and Reverb about 3.
- Gain 3.5
- Bass 5
- Middle 6
- Treble 6
- Reverb about 3
- Booster
- DistortionThe same fuzz stand-in as the riff.Orange in bank A on a MkII as shipped. Knob past the middle.
- Mod
- Phaser 90EThe phaser on Corgan's leads: Andertons has him using a Phase 90 with its speed all the way down.Red in bank A on a MkII as shipped. The panel knob sets its depth; its other settings, speed included, are edited in BOSS Tone Studio.
Store the riff on CH1 and the solo on CH2, so the change is one button.
Does it sound off on your Katana?
Pick what you hear. You get the knobs to turn on the Katana from the settings above, and how far.
What the Katana cannot do for Cherub Rock
The size of the record comes from the rhythm part recorded four to six times, and one guitar is one take, so do not chase it with more Gain. As shipped, the Booster holds no fuzz, so the Distortion stands in for the Big Muff; BOSS Tone Studio can put a different effect on a colour, which is the place to look for a fuzz. The solo's warble came from two tape copies run together, one slightly off speed, which no amp setting recreates.
How to store it on the Katana
Hold CH1 or CH2 for one second. It stores every knob and button except Master, so use Volume to balance stored sounds and Master for the room.
What The Smashing Pumpkins used on Cherub Rock
A '57 reissue Fender Stratocaster, the guitar Billy Corgan told Guitar World in 1995 he had played on most of Siamese Dream, into the 1984 Marshall JCM800 head he called the 'soul head' and said had been used on everything the band had done; Andertons' Sound Like feature on the band says Corgan and James Iha used JCM800s heavily on Gish and Siamese Dream, that Corgan's was modified with KT88 valves, and that for the fuzz he plugged an Electro-Harmonix Big Muff, the late-1970s op-amp version, into the amp's low-gain input with the master volume cranked and used the preamp volume to find the sweet spot; the same feature says the rhythm parts were not simply double tracked but recorded four to six times for the thick, layered sound, and that Corgan used an MXR Phase 90 with its speed all the way down on his leads; producer Butch Vig told Guitar.com that a small distortion unit taken out of the studio engineer Mark Richardson's lap steel was used on a lot of the album's lead solo parts, though neither source places a unit on this song; Wikipedia says the solo's prominent effect came from recording it to two tapes run together with the speed of one slightly altered, that the song is in standard tuning with an E octave at the seventh fret that Corgan called the Pumpkin Chord, and that its overdubs draw on shoegazing and 1970s arena rock; Corgan played lead guitar and bass on the session and Iha rhythm guitar; one of the last songs written for Siamese Dream, recorded with Vig at Triclops Studios in Marietta, Georgia, mainly between December 1992 and March 1993, it opens the album, came out as its first single and was nominated for the Grammy Award for Best Hard Rock Performance.
Rig sources: Guitar World: the Smashing Pumpkins on '80s Marshalls and their essential pedals (1995), Andertons: Sound Like the Smashing Pumpkins, Guitar.com: Butch Vig on the effects box used on Siamese Dream, Wikipedia: Cherub Rock, Wikipedia: Siamese Dream
Boss Katana facts checked against BOSS's own documents on : BOSS: KATANA Mk II Owner's Manual (PDF), BOSS: KATANA Gen 3 Reference Manual (PDF)
The Smashing Pumpkins' rig and the generic five-knob settings for the Cherub Rock tone →A different guitar, or pedals in front?
This page sets the Katana on its own. Name your guitar and your pedals in the tone matcher and Tonelify rewrites the settings for that whole rig, pickup position included. A first plan starts with 7 days free, $0 that day.
Match Cherub Rock to my rigCherub Rock on the Katana: questions
What Boss Katana settings do you need for Cherub Rock?
Select the Crunch amp type and start at Gain 3, Bass 5, Middle 5, Treble 6 and Reverb about 3. On a Katana 100, set Presence to 5. These are Tonelify's starting points for the Katana, written from the documented rig and BOSS's manual. They are not BOSS's numbers and not the settings on the record.
Which Boss Katana amp type is closest to the amp on Cherub Rock?
Crunch. Andertons has Billy Corgan's Big Muff going into the low-gain input of a Marshall JCM800 with its master volume up and the preamp set by ear, so the fuzz made the distortion and the amp's own gain stayed modest. BOSS names no Marshall behind the Katana's types, so build the chain the same way: Crunch with its Gain low as the amp, and the Booster making the distortion.
Which Boss Katana effects does Cherub Rock use?
Booster: Distortion. Stands in for the Big Muff, which made the distortion on the record. Reverb: Plate Reverb. The room in the starting point.
Does Cherub Rock need two sounds on a Boss Katana?
Yes. Wikipedia says the solo's prominent effect came from recording it to two tapes run together with the speed of one slightly altered, and Andertons has Corgan using a Phase 90 with its speed all the way down on his leads. For the solo, select Crunch and start at Gain 3.5, Bass 5, Middle 6, Treble 6 and Reverb about 3. Store the riff on CH1 and the solo on CH2, so the change is one button.
What can the Katana not do for Cherub Rock?
The size of the record comes from the rhythm part recorded four to six times, and one guitar is one take, so do not chase it with more Gain. As shipped, the Booster holds no fuzz, so the Distortion stands in for the Big Muff; BOSS Tone Studio can put a different effect on a colour, which is the place to look for a fuzz. The solo's warble came from two tape copies run together, one slightly off speed, which no amp setting recreates.
Does it matter for Cherub Rock that the Katana 50 has no Presence knob?
Not much. Neither the Katana 50 MkII nor the Katana 50 Gen 3 has a Presence knob, so the Treble at 6 sets the top end on its own. On a Katana 100, which has the knob, set Presence to 5.
Is there a Cherub Rock patch for the Boss Katana?
Tonelify does not offer a patch file. The settings on this page are dialled in by hand, which takes a couple of minutes and needs no computer. Hold a channel button for one second to store them.
What if you have a different guitar or pedals in front of the Katana?
These settings assume the unit on its own. Tonelify's matcher rewrites them for the guitar, pedals and amp you name, pickup position included. A first plan starts with 7 days free, and nothing is charged that day.
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