Richard Lloyd

Used live, as stated in this December 1986 Musician interview and in this January 1988 Guitar Player interview.

Musician, December 1986, "Richard Lloyd" by Bill Flanagan, pg. 26

"Onstage I use my Stratocaster and my JC 120 with a Boss Super Overdrive distortion device and a Korg SDD 2000 digital delay. I just traded an acoustic guitar for this little Acoustic amp to play at home and I've lately been using that onstage, too. Because the JC 120 is not giving me what I need. When we're in Europe we use Marshall amps, because they do something with the electronics of Fender amps in Europe and they're not as good. I'm probably going to switch to either Fenders or Marshalls, because the JC 120 has transistors and it's driving me crazy. It doesn't contain enough threat—it's too damn stable. Very pretty color tone. I mean, Adrian Belew swears by it—but he uses so many boxes he doesn't know what it sounds like anyway."

Guitar Player, January 1988, "Richard Lloyd: The 6 String Alchemy of Richard Lloyd" by Mark Dery

Lloyd runs his Strat into a Cry Baby wah-wah and then a Boss Super Overdrive with the tone set at three o'clock and the overdrive at one o'clock. That feeds into a Korg SDD-2000 digital delay set at 400 milliseconds: "I keep it at about eight repeats, to get that old Echoplex-type effect. That goes into the high channel of the Roland JC-120, and there's a small cable going into the Acoustic, which has its own overdrive, preamp thing, which I use. I like to have things so they're just at the point of bursting – just this side of overload – but I get quite a clean signal. The Boss Super Overdrive is not that dirty an effect, and the wah-wah pedal doesn't overdrive. I tried different orders, but the signal-to-noise ratio was the cleanest this way, with the digital delay closest to the amp."

Known from the following sources:

Musician, December 1986, "Richard Lloyd" by Bill Flanagan, pg. 26

"I'm getting some little Ampeg amps, like the Jet. You don't need a pedal or anything for it—it's just a beautiful sound."

Guitar Player, January 1993, "Back on the Air: The Return of Television" by James Rotondi

Lloyd tends a stable of vintage Fender amps, including a '50 Deluxe, a '52 Pro, a '55 Tremolux, and a '56 Princeton. He also uses a '59 Ampeg Jet, a Vibraverb reissue, and a '65 Supro. Live, he relies on Vox AC30s: "You can change the current wherever you are without a transformer, so they're good the world over, and they have a nice high-end bite."

Premier Guitar, "Richard Lloyd: The Alchemist" by Tzvi Gluckin (December 25, 2018)

Do you get your gain from letting the amp break up naturally?

Yeah. I mean, I am using some pedals live and I have been for a number of years. Lately, I’ve been using a Supro reissue. For a while I was using a Thunderbolt, and now I’m using a Black Magick. They break up pretty good, pretty early. You can pretty much get your tone out of the amp. I had about eight of them at one time. I sold a bunch off in the ’90s, but I kept my ’65 Thunderbolt. I’ve kept a number of others. They’re numbered; I don’t know the names of them. I am a big fan of Supro.

That’s what you’re using on those first two Television records?

On the third one [1992’s Television]. For instance, the solo on “Call Mr. Lee”—that’s through my Supro ’65 Thunderbolt, straight in, turned all the way up.

What were you using earlier?

We started with Fender Supers and then we switched. In the studio, I was using Danelectro/Sears/Silvertone amps. We had a number of amps. One song had an Ampeg Jet. It’s a small amp, but you don’t need a large amp to sound big in the studio.

In an article and interview with Richard Lloyd, Premier Guitar confirms that as of 2018, Richard Lloyd uses Snarling Dogs Brain Picks 0.88mm.

In an article and interview published by Premier Guitar in 2018, Richard Lloyd is confirmed to use Ernie Ball Classic Rock 'n' Roll Regular Slinky Guitar Strings (10-46) as part of his equipment.