Andy Summers

This 1963 Fender Telecaster is the one Summers has been most associated with. It's unknown who customized most of the guitar. It has Gibson PAF humbucker pickup in neck position.

Used extensively live and on several recordings, as per the historical accounts Fender provided as part of the marketing copy for their custom-shop re-creation

"The Roland JC-120 has been a staple in my collection of amplifiers for as long as I can remember—probably from the day it came out! I have used it on many recordings for its distinctive clarity of sound and always-superior chorus. If I am playing away from home and amps have to be supplied, my first choice is always the JC 120. It is a no-fail amp in just about every situation."

In the very early days of Police, Andy was using just the MXR Phase 90 pedal, and a reverb. As he became more successful, he got himself the Pete Cornish pedalboard, which had all kinds of effects programmed into it, including Mutron Envelope filter, wah wahs, fuzz boxes and distortions like EHX Muff Fuzz and Distortion+, MXR Dyna Comp Compressor, Phase 90 and others. He also used the Roland GR-300 Guitar Synthesizer.

But, the two effects which were really the key to Andy’s sound with the Police are the Maestro Echoplex tape delay, and the Electro Harmonix Electric Mistress.

This guitar was the one Andy used in the "Synchronicity tour." He also used this one to record "Ghost In the Machine" as well. Andy says in this article from Music Radar "The few guitars I did this record with were a Stratocaster, which is one that Fender made for me; it’s kind of a replica of my 1961 red Strat."

in this live is clearly visible the Marshall head+cabinet behind Andy

Another guitar pedal, which was confirmed during the Boss interview shown here. Here is the bit where they talk about the CE-1 and the CE-2.

"Back in The Police days, were there any BOSS pedals that you gravitated to?"

"Yeah. I obviously had the Roland and BOSS chorus."

"The CE-1 Chorus Ensemble, or the CE-2 compact pedal?"

"That’s the little pedal right? There was a bigger box, you know?"

"The CE-1 and CE-2 were BOSS pedals, and there was a rackmount Roland chorus called the Dimension D."

"Yeah, I had the big box for a while, because it was very good. You know, for a long time in that period, I operated [it] with my Pete Cornish board once it was all set. Obviously, as time went on, I got the BOSS pedals."

As he became more successful, he got himself the Pete Cornish pedalboard, which had all kinds of effects programmed into it, including Mutron Envelope filter, wah wahs, fuzz boxes and distortions like EHX Muff Fuzz and Distortion+, MXR Dyna Comp Compressor, Phase 90 and others…

In a Guitar International interview, Andy Summers says of the Fender Andy Summers Tribute Telecaster: "Fender, for instance, came to me to ask if they could make the Telecaster... They took the whole thing to pieces, photographed it, measured it, videoed it, and somehow made a map of all the scratches and the paint that was missing... The trickiest part about it was actually the electronics... Because it’s got a Gibson humbucker on the front, and a Tele pickup on the bridge position, and then it’s got this overdrive built into it."

Andy Summers’ Guitar Picks: – Dunlop Jazz II (with Police) – Dunlop Delrin 500 2mm (currently)

Andy Summers talks about this one in this Boss interview. He says, "I’m very happy to say my main thing that I’ve been using is the VG-99—it’s killer.

It’s so good. I mean, it’s the best [modeling processor] anyone’s ever made, as far as I’m concerned, of the ones I’ve tried. You know, I’m standing in front of my recording desk, and I’ve got all my amps out there, and I always go through this guilt trip like, 'Oh my God, I better go and plug in an amp.' And then I end up plugging in the bloody VG-99. [Laughs.] It’s so good. You get it out through the speakers, you know, it’s great."

Police guitar tech Dennis Smith explains Andy's rig during the Police's 2007/2008 reunion tour in this article. There are, in fact, two Klon Centaurs in his list.

Another guitar pedal, which was confirmed during the Boss interview shown here. Here is the bit where they talk about the CE-1 and the CE-2.

"Back in The Police days, were there any BOSS pedals that you gravitated to?"

"Yeah. I obviously had the Roland and BOSS chorus."

"The CE-1 Chorus Ensemble, or the CE-2 compact pedal?"

"That’s the little pedal right? There was a bigger box, you know?"

"The CE-1 and CE-2 were BOSS pedals, and there was a rackmount Roland chorus called the Dimension D."

"Yeah, I had the big box for a while, because it was very good. You know, for a long time in that period, I operated [it] with my Pete Cornish board once it was all set. Obviously, as time went on, I got the BOSS pedals."

Andy Summers talks this Gibson ES-335 in this interview with Guitar International. He says, "My 'third' electric guitar, if you will, would be the 335, outside of getting into classical or acoustic guitars. It depends on the music."

In the very early days of Police, Andy was using just the MXR Phase 90 pedal, and a reverb. As he became more successful, he got himself the Pete Cornish pedalboard, which had all kinds of effects programmed into it, including Mutron Envelope filter, wah wahs, fuzz boxes and distortions like EHX Muff Fuzz and Distortion+, MXR Dyna Comp Compressor, Phase 90 and others. He also used the Roland GR-300 Guitar Synthesizer.

But, the two effects which were really the key to the Andy’s sound with the Police are the Maestro Echoplex tape delay, and the Electro Harmonix Electric Mistress.

In the video we see Andy playing the Hamer prototype

In this interview with Boss, Andy Summers confirms usage of this guitar-synth. It reads, "I remember seeing a Police video where you were playing a Roland GR-700 guitar synth."

"I don’t remember which one was which. Was that the silver one?"

"Yes."

"Yeah, I used that one. I don’t have it anymore unfortunately. I think I did some stuff with Robert Fripp with it back when we did a couple of albums together."

Andy gave this guitar away to Eric Clapton according to this article from Guitar International - "With a career that spans being a member of The Animals, selling a young Eric Clapton his ’59 Les Paul..."

This guitar didn't get much usage by him. This guitar was used for the purposes of recording "Can't Stand Losing You" music video, and at 0:21 minute mark, he can be seen playing the particular guitar.

At 3:44 in this video showing Andy Summers' effects rack the Rocktron 300 is visible.

Andy Summers' official site shows this photo of his Fender Jaguar guitar.

"I had simple tools: a Telecaster, a Fender Twin, and maybe an MXR Phase 90,"

TC Electronic's artist page for Andy Summers includes a TC Electronic Dark Matter Distortion pedal.

Andy Summers uses a Moog Moogerfooger MF-104Z on "Can't Stand Losing You," according this article by Guitar Player.

Andy Summers's Gear Rectifier® Cabinets 2x12 Recto® Horizontal Cabinet

Other Gear Electra Dyne™ Head

According to the Premier Guitar's interview, one of the pedals Summers is using is the Boss CE-3 chorus pedal.

According to the Premier Guitar's interview, one of the pedals Summers is using is the Catalinbread Belle Epoch.

On TC's website, the TC Electronic Vortex Flanger pedal is listed among the TC Electronic products Andy Summers uses.

TC Electronic's artist page for Andy Summers includes a TC Electronic MojoMojo Overdrive pedal.

Nowadays Andy’s been using a somewhat simpler rig. He has a Ernie Ball volume pedal, Klon Centaur overdrive, Menatone Red Snapper OD, Fulltone Ultimate Octave, couple of pedals from Red Witch including Empress Chorus and Moon Phaser, and a couple of rack effects like Eventide Eclipse Multi-Effects Processor, TC Electronics 1210 Spatial Expander and the Lexicon PCM70 Reverb.

"Summers also incorporated Marshall amps and a Roland guitar synthesizer into his rig. Of course, times have changed and so has Summers’ gear. For the ’07/’08 Police reunion tour, he used an elaborate two-piece Bob Bradshaw switching system, the right wing of which includes three Boss FV-500H Volume/Expression pedals, one used to control a rack-mounted Lexicon PCM 70 and two for an Eventide Eclipse, a Moogerfooger Analog Delay, and a Boss Loop Station and Chromatic Tuner. The left wing houses the main Bradshaw switching unit, plus another FV-500H and a Dunlop Cry Baby wah. Summers’ off-stage rack also contains his main Custom Audio OD100 amp and a Carvin DCM150 used to power stereo effects (each amp feeds two Mesa/Boogie Rectifier 2x12 speaker cabs), plus additional signal processors, including a T.C. Electronic TC1210 Spatial Expander/Stereo Chorus/Flanger, Bob Bradshaw V-Comp Tube Compressor, D-Two Multi-tap Rhythm Delay, and a slew of stomp boxes, including a Love Eternity Overdrive, Red Witch Empress Chorus and Moon Phaser, Klon Centaur, Maxon SD9…"