Pete Townshend

He is mostly using the Eric Clapton Fender Signature model with the original Lace Sensor pickups which were present on all the first made Eric Clapton signature Stratocasters.

After using the SG special, Pete moved on to the Les Paul Deluxe. He has a few of them with one modified with a full-sized hum bucker in the middle position.

On this page of TheWho.net Pete's use of the Univox Superfuzz is dated from 1968 to 1979 using extensive photographic evidence from live Who shows of that era.

Beginning in 1999, Pete began using a Boss OD-1 overdrive pedal to drive the Fender Vibro-King amps at moderate stage volumes. The pedal was paired with an MXR Dyna Comp compression pedal (until 2004, when he began using an MXR Super Comp).

The earliest appearance of Pete’s use of the Gibson SG Special (other than one he borrowed in 1966 from a support group the Tages) is July 1968, likely purchased at Manny’s Music, New York, though regular use wouldn’t come until late 1968. Throughout his use of this guitar from 1968–1971, he usually used 1966–1970 models, which feature the full black wraparound pickguard. He did, however, occasionally use pre-1966 models, which feature the small pickguard, especially in 1971 as the available supply began to dry up. In all, Pete likely went through dozens of these guitars between 1969 and 1971.

Pete Townshend used a Dallas Arbiter Fuzz Face fuzz pedal on stage for a brief period in 1968. The only photos showing its use are from August 1968.

Pete usually began switching to another guitar for smashing, often the very rugged Fender Telecaster or the very inexpensive Danelectro guitars, including the Guitarlin Longhorn 4123 model and the Standard Shorthorn.

Pete Townshend frequently uses the Hiwatt DR103 Custom Head for live performances, often referring to it as his favorite amplifier. This is evidenced by a user-uploaded photo on Dolphinmusic.

Pete briefly used a mkIII USA-made Electro-Harmonix Big Muff Pi fuzz pedal in his rig occasionally in 1976, in the studio in 1977, and in the Gaumont/Shepperton gigs for The Kids Are Alright film. Rather than using this as a traditional floor pedal, the pedal was taped down on top of the Hiwatt amp rack, and was engaged by hand, as can be seen during Pete’s solo in Won’t Get Fooled Again in the The Kids Are Alright film.

In this photo, we can see Townshend with Fender Jazzmaster. Jazzmaster was used during 1967 and 1968. After a Grand Marquee gig, this guitar was stolen. However, in this photo from Virginia Dome concert, we can see that Townshend had more Jazzmasters.

Used on stage 1979–1985 (and again 1999–2006). This effect replaced Pete’s use of the Univox Super-Fuzz, which he had used consistently on stage since 1968. The effect is employed as a boost for leads and outro rave-ups.

According to thewho.net website, Townshend used Fender Princeton Reverb amplifier.

In this photo Pete can be seen posing with his Mesa/Boogie Mark 1 1x12" combo with graphic EQ (making it likely to be a '78 model). Pete was a well known endorser of the Boogie Mark 1 amplifier during its heyday appearing in early Mesa ads in front of his Mesas.

In this photo, we can see Townshend playing Fender Telecaster.

In this photo from a concert in Flint, Michigan, 23.8.1967, Pete is playing his custom EDS-1275. According to this article from Gibson "Townshend was using a black EDS-1275 6/12 to play 'Substitute' live. He even maimed that guitar – there are photos of Townshend in 1967 at London’s Saville Theatre with the 6/12 guitar, obviously rebuilt, as the necks are at splayed angles and a there’s clearly visible repair in the body between the necks."

In this photo, we can see Townshend with Fender Electric XII. Judging by the headphones, Pete might recorded...something with that guitar.

Used during 1989, these were the first Ernie Ball strings that Pete ever used.

"Sometime in 1975 or earlier, Joe Walsh (who had also given Pete his Gretsch Chet Atkins, Fender Bandmaster and Edwards volume pedal) gifted a 1958 Gibson Flying V guitar to Pete. This guitar was used on The Who By Numbers, as can be heard in his blistering leads on songs like In a Hand or Face and Dreaming From The Waist, as well as 1980 for Empty Glass and in 1982 for All The Best Cowboys Have Chinese Eyes, on at least Slit Skirts.

On the cover of Chinese Eyes, Pete appears with this guitar held upside down. (He is also photographed in Psychoderelict photo sessions — and repeated in the Coolwalking liner — with a Flying V, but this is a borrowed white-pickguard model.)"

"I find I can get the sound I want from any guitar. At the moment I’m using Gretsches with double-pole pick-ups. In the studio I use a Chet Atkins-type Gretsch. On stage I use the ‘Les Paul’ Gretsch. It’s the same shape as a Les Paul, but it sounds like a Gretsch. Those pick-ups have a fantastic sound. I think it’s mainly the set-up, you know. I’ve got amps specially made for me by Hi-Watt. They don’t make it any more for the open market, but they do especially for me. They’re incredibly robust, very loud, distorted in the right way, and clean when I want them to be clean. It’s the only common denominator about my sound. I swap guitars around. I use Gretsches, Gibsons and sometimes Fenders, for their strength. I know people like Ronnie Wood had their guitars especially made for them, custom made. Never been moved that way myself. I can get away with anything because the amps are so good." - Townshend about his Gretsch Duo Jet.

in this youtube video at 3:00 and throughout the entire concert you can see him using a schecter PT. Roger Daltrey also uses them.

"Pete usually began switching to another guitar for smashing, often the very rugged Fender Telecaster or the very inexpensive Danelectro guitars, including the Guitarlin Longhorn 4123 model and the Standard Shorthorn."

12 November 1966, promotional appearance at the Duke of York’s Barracks, Kings Road, Chelsea. 1965 or 1966 360/12 Mapleglo (New Style). A Rose, Morris Co., LTD, 1998 lies in wait. Amps are Marshall JTM45 100 100w Tremolo head (top), and 1967 Marshall Major (“Pig”) 200w head (bottom), with Marshall 8x12 cabinet.

Pete Townshend: a Gibson J45 acoustic guitar, 1956, inside of body stamped S8770-9, spruce top with sunburst finish, bound body, fingerboard with dot markers, in hard case, accompanied by a statement signed by Pete Townshend Note a piè di pagina This guitar was given by Pete to John 'Rabbit' Bundrick in 1979, after Rabbit had joined the Who's line-up as keyboard player. It was subsequently passed to the vendor.?

Used during 2005 according to Ernie Ball Artist Relations.

"Pete Townshend’s occasional use of a 1956 Gibson Les Paul Custom “Black Beauty” guitar. Notably seen on “Relay” as mimed on the Russell Harty Show television program, 3 Jan. 1973. The Black Beauty featured one black P-90 pickup in the bridge position and one Alnico V pickup in neck position."

"Pete used this cherry sunburst 1973 Les Paul Custom guitar for perhaps only one show: Newcastle Odeon on 7 November 1973. However, it is immortalized in the promotional poster for The Kids Are Alright film soundtrack."

Iconic guitarist with The Who, Pete Townshend, was after a compression pedal for his rig so his guitar tech, Simon Law, dropped us a line to see what we would suggest. Pete likes to keep things simple where effects are concerned so opted for the Cali76 Compact, our user-friendly 1176-style compressor.

We received a message back from Simon a few weeks after Pete received his new pedal saying that “Pete absolutely loves his Cali76”. Rock and roll!!

Music Radar talks about this guitar in this article saying "Townshend used the hollow-body on many of his post-Tommy Who recordings - Who’s Next and Quadrophenia are two stunning examples - and, after the instrument was repaired (only the neck was broken), he continued to employ it on both band and solo albums."

In this picture you can see one of the Hiwatt CP103 amplifiers actually used by Pete Townshend on the road with the Who. This unit was apparently #25. These were custom made for Pete by Dave Reeves to replicate and improve upon the L100 amplifiers designed and built by Reeves for Arbiter's Sound City stores. The 4 channel preamp and simplified tone stack and control set were favored by Pete over the fully evolved DR103 Hiwatts produced for the mass market. The CP103 and L100 design is said to have more of a Fender type American voice than a stock Hiwatt. If anyone with Hiwatt experience is lucky enough to play an original in a place where they can turn it up to Pete levels without summoning the police, please let us all know if it sounds more like a Fender to you than a stock DR103.

On the Mesa Boogie pages of Whotabs.com Pete is quoted to have said "MESA/Boogie have made a very good front-end tube preamp, and I’m using four of those. It’s the best I’ve ever tried; I’ve tried literally everything on the market..." in the October 1989 issue of Guitar Player Magazine. Towards the bottom of the page a photo of Pete's 4 Studio Preamp equipped rack is shown. The who's stencil can clearly be seen on top of the rack.