Magazine article - Young Guitar 1989 (Gear related)
RATT Equipment Check ‘89
ROBBIN CROSBY
Robbin Crosby and Jackson, who had both been neck through purists, are taking a chance with bolt on guitars.
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It’s been a while since we’ve seen a “regular style” Flying V instead of a King V. The pickups are Andersons. The paint job is killer, too.
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In last issue’s concert review, I wrote that the four members other than Stephen were all “regular guys”, because of page restrictions. However, as could be seen during the television broadcast, Robbin had a smile on his face the whole time, and was exuding more of a “I’m digging being on stage” aura than the other four. He doesn’t get to showcase his playing skills, because there are fewer solos for him to play now... But, as can be seen from the following review of his new equipment, Robbin is always thinking forward when it comes to guitars, even if he plays fewer solos.
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As usual, all of the guitars are “Jacksons”. There are six guitars in total, including two of his “favorite bolt on” King V’s (photos 2 and 3), two so-called “non-reverse” Firebirds, based on the 1966 Gibson model (photos 4 and 5), a normal “Flying V” type (photo 1), and a “reverse” Firebird, based on the 1963 Gibson model (photo 6). Note that the “reverse” Firebird has had a headstock repair.
Robbin had expressed much interest in “bolt on neck” guitars (guitars in which the neck and body are joined by screws/bolts; also called “detachable” by Fender) in a previous interview regarding his equipment. He finally got his hands on two new bolt on King V’s, one with a blue and red dragon graphic, and one in plain white. The pickups in both guitars are by Anderson, a newcomer onto the pickup scene, who Robbin praises to no end in this interview.
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This red and blue dragon graphic King V is a new bolt on type.
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This King V, with a solid white paintjob and dot inlays, is also a bolt on. The pickup is a Thompson.
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A reverse Jackson head on a non-reverse Firebird body. Must be a custom order.
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Perhaps a taste test between the regular Jackson sharkfin inlays and dot inlays?
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This Jackson Firebird was resurrected, by repairing a broken neck. The tattoo motif graphic on the white background is cool.
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In the past, before the times of most of the younger Young Guitar readers, there was a conception that “set neck guitars, such as Gibsons, or neck through guitars, are better than bolt on guitars like Fender” in terms of sustain, and other qualities. In this connection, Warren was always a “bolt on purist”, whereas Robbin was the “neck through purist” (I believe that it was Jackson’s policy to only make neck through or set neck guitars, at least until recently...). However, Robbin is finally taking a chance with bolt on guitars. It’s only two new King V’s this time, but supposedly he’s got a total of seven bolt on guitars, including other Flying V’s and Firebirds. He picked out three of the seven for “stage use”, and brought two of them to Japan. Robbin is currently using the Boss SD-1 pedal. In fact, more guitarists are playing with a more overdriven sound then “in the past”. Therefore, the sustain of the guitar itself is not that much of a factor to be considered. In fact, there are now more high end bolt on guitars which are considered superior, because of their bright tone. Ritchie Sambora is another guitarist who switched from set neck guitars to bolt on guitars. However, Ritchie has recently acquired a Gibson Les Paul, which is “the” stereotypical set neck guitar, and Robbin’s guitars other than his new King V’s are all neck through guitars. So apparently, “there are good points for both types of guitars”.
We want to know more about the Thompson humbucker, which Robbin found he liked after hearing one in Dweezil Zappa’s guitar. As far as outward appearance goes, the pole pieces look just like what they are, magnets, which is reminiscent of Seymour Duncan’s “Mag” pickup... Supposedly, the Thompson is far superior to the Duncan “JB”.
Although the rear view of all of the guitars except for that of Photo 1 are omitted, take a close look at the rear view of Photo 1... Pay particular attention to the tremolo unit and the cavity thereof. Recent Floyd Rose and Jackson tremolos have thin sustain blocks, to enable players to pull up on the arm. However, Robbin’s guitars’ cavities are shaped such as to make it difficult to pull up.
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Robbin’s Marshall amps. The upper two are probably actually used, while the bottom two are spares. In this pic, there is input into only one of the amps. But, on stage, a stereo output configuration using two amps is used. The first and third from the top are the Marshalls with Master Volumes, and the second and fourth are older Marshalls, circa 1970.
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Robbin’s rack effects. From the top: a Yamaha wireless unit; a hand made effects programmer, into which a Boss SD-1 is incorporated; a Rockman (not an X100); a Nady; a HUSH; a PQ3; an SPX90; and a PCM42.
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Robbin’s On/Off pedalboard. Because it’s hand made and not a manufacturer’s model, the appearance is old fashioned. However, this pedalboard creates high quality sounds, by controlling digital effects such as the Yamaha SPX90 and the Lexicon PCM, as well as the HUSH and the parametric equalizer.
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Robbin’s guitar tech, Mr. James “Catfish” Wingert
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Warren’s rack effects, designed by Bob Bradshaw. The purple Soldano preamp is apparently not in use. The rack includes a light module, a Sony wireless system, an SPX90, and Lexicon delays PCM70, PCM41, and two PCM42’s.
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The well organized Bob Bradshaw effects On/Off pedalboard. A world apart when compared against Robbin’s. However, it’s doubtful that Warren is using the effects to their full capacity.