The Cure is my favorite band of all time. They’ve been with me for years – through the highs and lows, the ups and downs, and everything in between.
So, imagine my excitement last week when they posted a super clear picture on Instagram showing the entire Robert Smith pedalboard and guitar rig. In fact, the image showed almost all of The Cure’s gear in one frame.
For a guy who writes a pedal blog, this is exciting stuff.
Robert Smith’s guitar rig has been producing dreamy, layered sounds that have captivated The Cure’s fans for decades. It’s no secret he’s a super user of Boss pedals, but until I saw this pic, I didn’t really realize to what extent.
After analyzing the pedals in this picture, I’ve pieced together the essentials of Robert Smith’s pedalboard. From lush modulations to eerie reverbs, each pedal plays a crucial role in creating that unmistakable, atmospheric Robert Smith guitar tone.
Here’s the Instagram post that got me all excited. (That’s right, that’s THREE pedalboards.)
Table of Contents
Why Three Pedalboards?
Robert Smith’s pedalboard, like his music, is uniquely intricate. He uses a three-pedalboard rig, and this past week, I’ve spent a lot of time thinking about why this might be. After all, three boards are a lot by anyone’s standards.
His three-pedalboard setup instantly gives him access to the wide range of effects needed for The Cure sound. We see a lot of pedal repetition across the pedalboard, so he must set each board up for specific guitars or songs.
Below is a zoomed-in picture of his three boards. I’ve numbered them right to left as that feels natural to me – since our boards tend to flow from right to left. This is also the order in which I’ll talk through them in the article.
Robert Smith Pedalboard #1 (Right)
Positioned on his right, this small and compact pedalboard (the Boss BCB-30) is most likely dedicated to an infamous part of the Robert Smith guitar rig: his baritone guitars.
Baritone guitars have a darker, richer tone, and the pedals here are most likely used to complement that unique sound, blending it nicely with the other instruments and atmospheric effects in The Cure’s sound.
Let’s take a look at the pedals here.
1. Boss GE-7 EQ
The Boss GE-7 Equalizer pedal is a popular and well-respected EQ pedal. It has seven bands of EQ, spanning from 100Hz to 6.4kHz. Each band can give you plus or minus 15dB of boost or cut, so it’s great for shaping tone or boosting your volume as a nice transparent (or non-transparent) boost.
In the photo, Smith’s slider settings look like he’s using the GE-7 as a boost pedal (in the picture above, see how the sliders are all in the middle except the level slider on the far right). This is an awesome way to push his sound forward in the mix at key moments in songs.
2. Boss SD-1 Super Overdrive
The Boss SD-1 Super Overdrive is a staple on many pedalboards, and it looks like the Robert Smith pedalboard is no exception. We can see in the picture (of the board) that Smith has set this up to deliver a balanced, warm overdrive as he has the knobs positioned at 11 o’clock for Drive, noon for Tone, and 9 o’clock for Level.
These settings will give him a subtle boost with rich, smooth overdrive to add a bit of warmth to his guitar tone.
3. Boss BF-3 Flanger
The third and final pedal on this satelite pedalboard is the Boss BF-3 Flanger Pedal.
The BF-3 pedal is a modern classic that delivers beautiful, swirling effects. In the pedalboard picture above, it looks like Robert has all knobs set to noon. This should give him a rich, even flanging effect, adding depth and movement to his tone without being too overwhelming. If you’re unsure what flanger is, check out our Guide to Flanger Pedals.
The BF-3 has two unique modes—Ultra and Gate/Pan—that expand its versatility. Ultra mode offers a thicker, more intense flange, while Gate/Pan creates a sliced stereo effect that can seem to swirl around the listener.
I’m not sure which mode is used on this The Cure pedalboard, but if I had to guess, I would say Ultra. This would fit in well with The Cure’s lush, layered soundscapes.
Robert Smith Pedalboard #2 (Middle)
This board (Boss BCB-60) is the heart of Robert Smith’s guitar rig. It provides a simple, central space for his main pedals.
Interestingly, this is an exclusively Boss board, and although awesome, it is a long way from the expensive boutique gear you would expect to find on the floor for a band of this status. Robert Smith is a simple man when it comes to effects, but not when it comes to the beautiful intertwining soundscapes he can create with them.
Let’s go through each pedal on this board and see why they might have earned their place on the Robert Smith pedalboard.
1. Boss Tuner (TU-3 or TU-2)
We all need one—even the rock stars. The tuner is an important tool for any guitarist, and for Smith, it’ll ensure his guitar stays in tune throughout The Cure’s long stadium shows. I can’t tell exactly which tuner this is from the picture, but it’s a toss-up between the Boss TU-2 vs Boss TU-3.
2. Boss GE-7 Equalizer
Smith also adds a GE-7 to his middle pedalboard. This GE-7 is set slightly higher on the far right level slider than the other and has a slight cut in the low end (the far left slider). I imagine this is used to make some lead lines and melodic guitar parts stand out in the mix.
3. Boss BD-2 Blues Driver
The Boss BD-2 has a gorgeous warm, dynamic overdrive sound with a natural tube-like feel.
It’s not super clear, but it looks like Smith uses it with Level and Tone set at 12 o’clock and Gain dialed back to 7 o’clock. He’ll do this to add a subtle bit of grit and sustain to his tone without overpowering it.
This pedal will complement his softer, dreamy effects. It’ll create contrast and add depth to his sound, which is especially useful for parts that need a bit of grit or intensity.
4. Boss SD-1 Super Overdrive
A familiar face on the Robert Smith pedalboard: the Boss SD-1.
From the picture, I can see Smith set his Level at 1 o’clock, Tone at 12 o’clock, and Drive just past 12 o’clock. This SD-1 is set up for a subtle overdrive. It gives a bit more presence without overwhelming any other effects.
It’s a great choice for adding a bit of sustain and bite to your tone.
5. Boss DD-7 Digital Delay
Delay is a massive part of Robert Smith’s guitar sound, so it’s no surprise to see the Boss DD-7 here.
Again, it’s not too clear in the picture, but it looks like the settings are Level and Feedback set at 11 o’clock, Time at 12 o’clock, and the Mode is possibly on Standard.
The Boss DD-7 is a great clear, easily adjustable delay pedal. It can do anything from basic slapback delay to wild atmospheric repeats.
6. Boss PH-3 Phase Shifter
The PH-3 adds those swirly, spacey phase effects that are all too common in Robert Smith’s guitar rig.
On his pedalboard, this is set with Rate, Depth, and Res all at 9 o’clock (though the Mode is unclear in the picture), this pedal introduces a subtle phasing effect that enhances movement and texture.
With the PH-3 on his pedalboard, he can add another layer of depth and modulation, which will blend nicely with his delay and reverb effects.
A Phase Shifter is a must-have pedal if you want to recreate The Cure’s atmospheric guitar sounds.
Robert Smith Pedalboard #3 (Left)
Rather surprisingly, Robert Smith’s pedalboard has a third satellite board positioned to the left of his rig. Like the first board, this also uses the Boss BCB-30 as a pedalboard.
From what I read in the forums online (take this with a pinch of salt), this Robert Smith pedalboard is a dedicated setup for a specific song and is possibly used exclusively for The Cure song A Forest. I don’t know how true that is, but looking at the board and listening to the song, it seems possible.
This board contains a unique combination of delay and flanger pedals, set up to produce the swirling, hypnotic tones that define the song.
Here’s the song, so you can have a listen…
Interestingly, Smith places the delay before the flangers in this chain, which is a slightly unusual guitar pedals order. But as we always say, pedal order is not an exact science, and it sometimes pays off to go against the common tried and tested methods.
Here’s a closer look at each pedal (sorry, the quality is pretty bad).
1. Boss DD-3 Digital Delay
No surprise to see another delay pedal here. The Boss DD-3 is a simple-to-use, straightforward digital delay pedal known for its clear and precise repeats.
By placing it before the flangers, Smith makes sure that each delayed note goes through the modulation effects. This produces an echo that can sound quite haunting and atmospheric.
This unconventional positioning could be the reason Robert Smith needs this pedalboard specifically for one song.
2. Boss BF-3 Flanger
I spoke more about this earlier, but the BF-3 provides thick, stereo-flanging effects that add a swirling, enveloping quality to Smith’s tone.
When Robert Smith pairs this with the DD-3 delay, the Boss BF-3 will turn each delayed repeat into a spiraling wash of sound. No doubt producing a swirly, hypnotic sensation.
3. Boss BF-2 Flanger
I love Flanger, so I’m excited to see a second Flanger pedal here! The BF-2 is a classic flanger pedal by Boss. It offers a slightly different flavor of modulation than the BF-3. Bringing more vintage-style sweeping tones that will blend together with the BF-3’s more modern sound.
By combining the BF-2 with the BF-3, Robert Smith is able to create rich, multi-dimensional layers of modulation. This stacking of flangers is quite common, it produces a complex, evolving sound that feels alive. Try it!
A Lesson in Tone
For a guitarist in a band as legendary as The Cure, you might expect a pedalboard filled with boutique effects and exclusive custom gear.
Yet, Robert Smith’s setup is refreshingly simple and surprisingly budget-friendly. It leans heavily on affordable, accessible pedals. And with these relatively modest tools, Robert Smith crafts the lush, textured soundscapes that define The Cure’s music.
It’s a reminder to us all that creativity, not cost, is at the heart of guitar tone.
The Robert Smith guitar rig proves you don’t need high-end, exclusive pedals to create something extraordinary. His use of accessible gear shows that it’s all about how you use the tools, not the brand or price tag attached to them.
And for all the gear obsessives and tone chasers out there (me included), the Robert Smith pedalboard is a blunt but refreshing lesson…
Maybe the magic lies less in chasing the latest pedal and more in exploring the possibilities of what you already have.
