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Would you have known it? Use this equipment The Cure.
’60s Fender Jazzmaster: Birthwork
On the one hand, there is his fender jazz masters, who already has some albums and gigs on their hump. She hung around Robert Smith’s shoulders when the band hit her ears one or two nights in the studio to record The Cure’s first album “Three Imaginary Boys”. At the time, he drove the producer to white glow by installing a cheap pickup from Woolworth on the electric guitar, which was provided for the early recordings.
Smith did not have to take a lot of money for his real fenders: the jazz masters flopped, like her sister Fender Jaguar, in the initial sales years, the price fell into the basement. In the 90s, this was the perfect opportunity for music-loving, young hops to get a high-quality electric guitar for little money. So Smith probably pulled through the shops and helped the almost forgotten Fender Jazzmaster to rebirth in the dirty and loud alternative scene.
Boss BD-2 Blues Driver: Candy for Black Souls
Despite output in the Dark Wave and Gothic Rock, Robert Smith somehow seems to be a colorful person. He draws almost all of his effect pedals from Boss, because the small devices are so nice and colorful. Not because Smith likes to appear in colored, massive metal packaged candy; His preference has a very pragmatic reason: Between all the fog, the lead guitarist and singer just sees the colors of the different pedals much better. So it is possible for him without searching and fumbling to activate the right effect by step and pull through his set.
The boss BD-2 Blues Driver, for example, is a floor treter that distorts the signal in such a way that the sound becomes nicely warm and crisp. And as already mentioned, Smith is not only the owner of a single boss pedal, but also joins a boss super overdrive, a distortion and flier into his pedalboard. The list is long.
Line 6 FlexTone Plus 2 × 12 ″ Combo AMP: The sound of “Bloodflowers”
Robert Smith likes it rather simple. Because only where breaks exist can the head hike. For the studio recordings of the 2000-album Bloodflowers, the British musician used a line 6 FlexTone Plus 2 × 12 ″ Combo AMP and pushed another amplifier next to it, each presented a microphone and began to play the album. The band waived fiddling, which goes beyond the distorted sound of one amps and the clean sound of the other. The feeling of experiencing the band was obviously more important. The two different guitar recordings and sounds were later mixed and mastered.
Incidentally, The Cure likes to have it a little quieter on stage than her now definitely hearing-impaired scene colleagues. The stage mix and its volume are based exclusively on the acoustic signal of the drums, behind which Jason Cooper has been stirring with his drum sticks since 1995.