Robert Smith — Rig Network

Robert Smith's primary electric guitar from the early 1980s onward — a Schecter Ultra III with three single-coil pickups providing the tonal range for both the delicate arpeggios and the heavier passages within The Cure's catalog. The Schecter's American-style construction and three-pickup configuration gives versatility across the band's diverse stylistic palette.

Unique to this artist in the database

Used through the early Cure period — the Jazzmaster's rhythm/lead circuit switching and floating bridge suit the rhythmic complexity of post-punk strumming. The Jazzmaster's slightly dark single-coil tone suits the gothic rock context.

Various Strats used as backup and for specific tonal contexts — the Strat's five pickup positions provide clean versatility for recording different Cure textures.

The Roland JC-120 is the definitive Robert Smith amp — its solid-state design produces a pristinely clean tone unlike any valve amplifier, and its built-in stereo chorus creates the signature wide, shimmering clean sound. Smith has said the JC-120's clean character is non-negotiable for The Cure's guitar tone.

Early Cure period amplification before the JC-120 became his standard — the Twin's spring reverb provides the dimension on the earliest recordings.

The Memory Man is Smith's most important pedal — its analog delay circuit produces the slightly imperfect, warm repeat that defines 'A Forest', '10:15 Saturday Night', and the atmospheric guitar lead textures throughout The Cure's catalog. Set for medium delay time (300–400ms) with one to two repeats at a prominent level.

External chorus before the JC-120 became his primary amp — the CE-1's warmer, bucket-brigade chorus character supplements the guitar signal before hitting the amp's own internal chorus.

Mild overdrive for transitioning from clean to driven passages within a song — Smith uses the Tube Screamer at low gain for a warm, soft breakup rather than aggressive distortion.