[Pete Townshend] How to Recreate the The Who Sound + Guitar Gear and Tone Settings [Effects & Amps]

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Introduction (Overview of Tone)

Pete Townshend, the iconic guitarist of The Who, is renowned for his innovative sound and performance style in rock history.
His signature technique, the “windmill” strum, along with dynamic and destructive live performances, is backed by a unique sound construction that has shaped the band’s identity.

Tonal-wise, Townshend is characterized by powerful chord work and aggressive rhythm guitar.
He established a style where the guitar serves not just as accompaniment but as a leading instrument that drives the band forward.
Iconic songs like “My Generation” showcase his raw power chords, while “Pinball Wizard” features the shimmering sound of a 12-string guitar.
The heavy amp tones in tracks like “Baba O’Riley” and “Won’t Get Fooled Again” further exemplify his distinctive sound.

In the 1960s, he utilized Rickenbacker and Fender Telecaster guitars, creating a clear and sharp sound for his rhythm work.
As the 1970s rolled in, he shifted to Gibson SG Specials and Les Paul Deluxes, emphasizing a thicker midrange and combining them with Hiwatt amps to produce a powerful and dimensional sound.
From the 1980s onward, he primarily used the Fender Eric Clapton Stratocaster, evolving towards a clean to crunch sound with compression while remaining the focal point of the ensemble.

Townshend’s sound is influenced not just by his choice of gear but also by amp EQ settings, the use of effects, and the overall sound design of the band.
Understanding his sound creation is essential to grasping the evolution of rock guitar.

▶ Search official YouTube videos of The Who

List of Amplifiers and Features

When discussing Pete Townshend’s sound, one cannot overlook the powerful amplifiers that boast intense sound pressure and a wide range.
The Who’s live performances have been dubbed “the loudest band in history,” with Hiwatt amps at the center of this sonic explosion.

In the early 1960s, Townshend used the Fender Pro Head (1964–65) and Fender Showman, pairing them with Telecasters and Rickenbackers to create a sharp yet clear tone.
The combination of the Fender Showman and a 2×15 cabinet became known as his live setup during American tours.

Around 1965, he began using the Vox AC-100, and the US Thomas Organ’s “Super Beatle” was also confirmed during North American tours.
He briefly used Sunn amps and then adopted the Sound City L100 from 1967 to 1968, which later influenced the circuit design of Hiwatt amps, marking an important transitional phase for Townshend’s loud sound approach.

From 1969 onward, the Hiwatt CP103/DR103W with a 4×12 cabinet (featuring Fane speakers) became his main gear.
The thick yet clear crunch sound heard on “Live at Leeds” and the “Isle of Wight Festival 1970” is attributed to this Hiwatt system.
The midrange punch and high-end edge allowed his guitar to stand out amidst the band’s explosive sound, providing rhythmic drive.

In the 1980s, he experimented with Mesa/Boogie cabinets and direct connections to preamps in the studio.
From the 1990s onward, he favored the Fender Vibro-King, especially in combination with the Fender Eric Clapton Stratocaster, achieving a clean to crunch sound with compression.
In the 2010s, he began using Lazy J Model 20 and J-40, indicating a trend towards vintage tones.
Records also confirm a brief use of the Hiwatt Custom 50 Signature CP103 50W with a Mesa/Boogie 2×12 in 2006.

This gear history shows that Townshend’s sound creation was not merely about “loudness” but rather emphasized clarity, definition, and range.
His choice of amplifiers aimed to balance “sound pressure that dominates the stage with a guitar sound that does not lose presence within the music.”

Types of Guitars Used and Features

Pete Townshend has utilized various guitars throughout different eras, shaping the sound of The Who.
His guitar choices are not merely about equipment selection; they are closely tied to the direction of the songs and stage performances, ultimately updating the history of rock guitar.

In the mid-1960s, he introduced Rickenbacker 12-string models (330/12, 360/12, 330S/12), producing shimmering and expansive arpeggios in recordings like “A Quick One” and “Tommy.”
Notably, the 330S/12 was used again from 1979 to 1982, with a black refinished version confirmed.
During the same period, the Fender Telecaster (1965–67) became a staple for live performances, with photos showing it paired with a Selmer Treble’n’Bass amp.

Around 1967-68, he briefly used a Fender Jazzmaster, remembered for its flamboyant destruction performances.
The Fender Stratocaster was favored from 1966 to 1968, and a 1957 Stratocaster gifted by Eric Clapton appeared in the studio from 1973 onward.
Since 1989, the Fender Eric Clapton Stratocaster has been his main guitar and has become synonymous with his sound.

From late 1968 to 1971, the Gibson SG Special (equipped with P-90s) became his primary guitar, producing the iconic sounds heard on “Live at Leeds” and “Isle of Wight 1970.”
He then frequently used the Gibson Les Paul Deluxe (with mini-humbuckers) during tours from 1973 to 1979, achieving a powerful sound with a thick midrange.
The 1956 Gibson Les Paul Custom “Black Beauty” was also intermittently used, confirmed in performances like “Relay.”

The Gretsch 6120 Chet Atkins provided a staple electric sound for recordings, while the 6128 Duo Jet was briefly used around 1973.
Additionally, ES-335/345/355 models were recorded during US tours in 1968-69.
Early important guitars included the Epiphone Wilshire and Coronet, with the Wilshire famously acquired through a payment plan from vocalist Roger Daltrey.

From the late 1970s to early 1980s, he used several Telecaster-style guitars from Schecter and Giffin, expanding into a more modern sound with Hiwatt amps.
Acoustic guitars also played a vital role, with the Gibson J-200 becoming a representative instrument from 1968 onward, leading to the release of a signature model in 2004.
12-string acoustics like the Guild F-612XL and Harmony Sovereign H-1270 were essential for recordings, while Takamine’s electro-acoustic guitars were frequently used in live performances during the 80s and 90s.

Thus, Townshend’s guitar selection reflects a balance between “durability to withstand destructive performances” and “tone variation according to the songs.”

Effects and Pedalboard Setup

Pete Townshend’s journey with effects embodies the evolution of rock guitar.
To ensure his guitar stands out amidst The Who’s explosive sound, he has incorporated a variety of effects throughout the years.

In the mid-1960s, he introduced the Sola Sound Tone Bender MkI, achieving a raw yet forward-pushing fuzz sound.
He later transitioned through fuzz pedals like the Marshall SupaFuzz (1967–68) and Dallas Arbiter Fuzz Face (briefly in 1968), ultimately settling on the Univox Super-Fuzz (from late 1968 to 1971).
The heavy distortion sound on “Live at Leeds” is famously attributed to this Super-Fuzz.

Simultaneously, he used the Grampian Reverb Unit as both a preamp and reverb, emphasizing the overtones of his guitar rather than merely providing spatial effects.
Additionally, he utilized tape echo devices like the WEM Copicat, Echoplex, and Binson, integrating them into the PA system for sound effects.
These effects were crucial in shaping the soundscapes of grand works like “Tommy” and “Quadrophenia.”

From the late 1970s to the 1980s, he employed the MXR Dyna-Comp to add compression to his clean to crunch sounds, ensuring his guitar remained distinct within the ensemble.
The Boss OD-1 became a frequent choice from the 1990s onward, helping to push the Fender Vibro-King.
In the early 1980s, he incorporated the Roland SDE-2000 delay and Roland Dimension-D SDD-320 chorus, pursuing a more expansive stereo sound.

Entering the 2000s, he adopted a custom pedalboard designed by Pete Cornish.
This setup included the Boss OD-1, Demeter Compulator, and T-Rex Replica (delay), functioning as a stable, professional-grade system.
While emphasizing stability and reproducibility on stage, it also catered to Townshend’s vigorous picking style.

Thus, Townshend’s effects were chosen to prioritize “clarity and presence” over mere “flashiness,” with the combination of fuzz and compressor shaping the essence of his sound.

Tone Settings, EQ, and Mixing Approaches

Pete Townshend’s sound creation goes beyond mere gear combinations; it is significantly supported by amp EQ settings and mixing techniques.
Even in The Who’s loud live performances, his guitar consistently emerges as the centerpiece, a testament to meticulous sound design.

Regarding amp EQ settings, during the early 1970s with the Hiwatt CP103/DR103W, he reportedly kept the low end slightly rolled off, pushed the mids forward, and moderately emphasized the highs.
This setup maintained attack and chord separation amidst the loudness, propelling the overall sound of the band.
In fact, on “Live at Leeds,” even while playing power chords, the notes remained distinct and clear.

When using effects like the Univox Super-Fuzz or Tone Bender, it was crucial to manage the low end on the amp side.
The Super-Fuzz generates intense lows and overtones, so rolling off the bass on the amp clarified the separation from bass and drums, preserving definition within the sonic wall.
Conversely, for clean tones, he would apply stronger compression with the MXR Dyna-Comp and slightly boost the mids on the EQ, stabilizing the rhythm guitar as the foundation of the band.

In studio recordings, he utilized double tracking and layered recordings of 12-string guitars.
Particularly on “Tommy” and “Quadrophenia,” layering Guild F-612XL and Rickenbacker 12-string guitars provided depth to the sound.
During this process, one track would be EQ’d slightly high while the other would be processed lower, creating a sense of space in the stereo field.

Additionally, live performances involved routing through Grampian reverb units and tape echoes, allowing the guitar to possess a spatial thickness.
As a result, even in tracks like “Baba O’Riley” and “Won’t Get Fooled Again,” Townshend’s guitar transcends mere accompaniment, simultaneously providing rhythmic drive and spatial presence.

Furthermore, in recent setups (Fender Vibro-King and Lazy J amps), many settings target the clean to crunch threshold, with volume adjustments and picking dynamics shaping nuances.
These settings can be replicated using pedals like the Boss OD-1, making them applicable for modern guitarists.

In the mixing phase, The Who’s recordings often placed the guitar not panned left or right but closer to the center, functioning as the “heart” of the band.
Even amidst the chaos of Keith Moon’s drumming and John Entwistle’s bass, Townshend’s guitar played a role in unifying the band.
This was likely achieved through careful EQ and sound design.

Overall, Townshend’s sound creation embodies “clarity amidst loudness,” “driving force for the band,” and “arrangement skills aligned with song structure.”
Rather than merely distorting the sound, his adjustments in EQ and compression, layering of tracks, and differentiation between live and studio setups form the core of his sound.
These insights can serve as significant hints for guitarists attempting to recreate his sound.

Affordable Alternatives to Recreate the Tone

Reproducing Pete Townshend’s sound is no easy feat.
However, utilizing modern commercially available gear can allow you to approximate his distinctive sound at a relatively low cost.
Here, we present models that are beginner-friendly and accessible, generally ranging from $100 to $500.

First and foremost, fuzz pedals are essential.
While the Univox Super-Fuzz, emblematic of Townshend’s late 60s to early 70s sound, commands high prices in the vintage market, alternatives like the BOSS FZ-1W (Waza Craft series) or Electro-Harmonix Big Muff are effective substitutes.
The Big Muff, in particular, offers thickness and sustain in the low end, closely mimicking the rough distortion of the Super-Fuzz.

Next is the compressor.
The MXR Dyna-Comp, which supported his clean to crunch sounds, remains affordable and readily available.
With a strong compression setting, it can replicate the consistency of Townshend’s strokes.

Regarding amplifiers, original Hiwatt or Fender Vibro-King models are costly and high-powered.
More realistic alternatives include the Blackstar HT Club 40 or Marshall DSL series.
These amps provide strong midrange push, making it easier to create tones that won’t get lost in a band ensemble, aligning with Townshend’s sound.
The VOX AC15C1 is also suitable for achieving a bright clean to crunch tone, ideal for mimicking the feel of Rickenbacker or Telecaster.

For effects processing, the BOSS OD-3 or BD-2 Blues Driver are recommended for overdrive applications.
Just as Townshend used the OD-1 to push his amp, these pedals can provide a light distortion to bring the amp forward.
Additionally, combining them with a delay pedal like the BOSS DD-8 can recreate the spatial expansiveness heard in live settings.

If you’re aiming for an acoustic sound, the Takamine GD series or Yamaha FG820-12 (12-string) are practical choices.
Compared to high-end models from Guild or Gibson, these options can still deliver a bright and powerful sound, allowing you to create a Townshend-like atmosphere in recordings or performances.

In summary, focusing on “fuzz + compressor,” “midrange-heavy amp,” and “overdrive to push” will help you get closer to Townshend’s essential sound at a relatively low cost.
For beginners, assembling a collection of compact pedals from BOSS or MXR can be highly effective, enabling you to experience “guitar that cuts through the explosive sound of The Who” in both stage and practice settings.

Summary and Conclusion

Reflecting on Pete Townshend’s sound reveals that it extends beyond mere guitar and amp selection; it represents an experiment that expands the boundaries of rock music.
His playing is often described as “destructive,” yet it is underpinned by meticulous sound crafting and a constructive approach.

The sharp rhythm work from early Rickenbacker 12-strings and Telecasters, the heavy power chords from 70s Gibson SG Specials and Les Paul Deluxes, and the explosive sound achieved with Hiwatt amps were all choices made to drive the band forward.
In studio works, he utilized 12-string acoustics and multi-tracking to create grand and theatrical soundscapes.

In terms of effects, the strategic introduction of Super-Fuzz and compressors served not merely as sonic embellishments but as tools to enhance the overall ensemble’s drive.
As a result, The Who’s music has always been characterized by “guitar at the center of rock,” with Townshend’s sound symbolizing this ethos.

For modern guitarists, fully replicating his sound may be challenging.
However, by focusing on the three core elements of “clarity amidst loudness,” “driving force through rhythm guitar,” and “flexibility in combining acoustic and electric,” one can approach Townshend’s sound creation.
This highlights that it’s not solely about acquiring expensive gear; adjustments in EQ, compression, picking dynamics, and thoughtful settings according to song structure are crucial.

Listening to The Who’s music reveals that the guitar transcends mere accompaniment, taking on a narrative role.
Townshend’s playing is powerful yet delicate, sometimes creating orchestral expansiveness while at other times driving rhythm forward.
This duality is the charm of his sound, continuing to influence today’s rock guitarists.

In summary, the essence of Pete Townshend’s sound lies in the balance between “the power to move the band” and “the ability to stage music.”
As you pursue his sound, understanding the musical philosophy behind it and applying it to your playing will be the most effective shortcut.