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This is a history of the equipment that the English rock band The Who used. It also notes their influence on the instruments of the time period. As their sound developed with each album, and their audience expanded with each tour, John Entwistle and Pete Townshend, supported by sound engineer Bob Pridden, became known for constantly changing their stage equipment. Townshend altered his setup for nearly every tour, and Entwistle's equipment changed even more than that.〔(Who Tabs. ) A detailed reference of each band member's equipment throughout their career.〕 Keith Moon played various drum kits, recognizably 'Pictures of Lily' kit, manufactured by Premier Percussion, which consisted of one and a half kits' worth of equipment as a precaution towards his tendency to destroy parts onstage.〔(Who Collection. ) Keith Moon's "Pictures of Lily" drum kit.〕 ==Early rigs and Marshall Stacks== In 1965, Pete Townshend and John Entwistle were directly responsible for the creation and widespread use of Marshall amplifiers powering stacked speaker cabinets. In fact, the first 100 watt Marshall amps (called "Superleads") were created specifically for Entwistle and Townshend when they wanted an amplifier that sounded like a Fender head but with much more power.〔(Who Tabs. ) Pete's Equipment: The Marshall Stack.〕 At this time, The Who were using their own precursors to the Marshall Stack with 50 watt amps; John Entwistle used a Marshall JTM45 head feeding two 4x12" cabinets (set up side-by-side), and Townshend had a 1964 Fender Bassman powering a single 4x12" Marshall cabinet set up on top of a second cab.〔(''Secrets from the Masters: Conversations with Forty Great Guitar Players'' ), page 260, Don Menn, Backbeat Books, 1992, ISBN 0-87930-260-7〕 Around this time, Eric Clapton was using a JTM45, which he had modified into the 1962 Bluesbreaker combo.〔(''The History of Marshall'' ), page 24, Michael Doyle, Jon F. Eiche, Hal Leonard Corporation, 1993, ISBN 0-7935-2509-8〕 These rigs proved not to be loud enough for The Who as they moved into bigger and bigger venues, and in the summer of 1965 they switched to Vox AC100s; the very first (and at the time, only) 100w amps on the market, which were designed for use by The Beatles. However, in September that year, The Who's van was stolen, including all of their equipment.〔(Who Tabs. ) Pete's Equipment: Vox AC-100 amplifier.〕 Following the theft, unhappy with the sound and reliability of the Vox amps, Entwistle and Townshend approached Jim Marshall asking if it would be possible for him to make new Marshall amps for them that were more powerful than the JTM45, to which they were told that the cabinets would have to double in size. They agreed and six rigs of this prototype were manufactured, of which two each were sold to Townshend and Entwistle and one each to Ronnie Lane and Steve Marriott of The Small Faces. These new "double" cabinets proved too heavy and awkward to be transported practically, so Townshend returned to Marshall asking if they could be cut in half and stacked like his old Bassman rig, and although the double cabinets were left intact, the existing single cabinet models were modified to make them more suitable for stacking, which has become the standard over the years.〔 Entwistle and Townshend continued expanding and experimenting with their rigs, until (at a time when most bands still used 50–100w amplifiers with single cabinets) they were both using twin Stacks, with each Stack being driven by the then-new and experimental 200w prototype Marshall Majors. This, in turn, also had a strong influence on the band's contemporaries at the time, with Cream and The Jimi Hendrix Experience both following suit. However, due to the cost of transport, The Who could not afford to take their full rigs with them for their earliest overseas tours; thus, Cream and Hendrix were the first to be seen to use this setup on a wide scale, particularly in America.〔The Who can be seen using rented Vox equipment in footage shot at the Monterey Pop Festival in 1967.〕 Ironically, although The Who pioneered and directly contributed to the development of the "classic" Marshall sound and setup with their equipment being built and tweaked to their personal specifications, by the time they toured America as headliners in 1968, they had stopped using Marshalls and moved on to Sound City equipment, which were as powerful as Marshalls, but had a cleaner sound, which both Townshend and Entwistle preferred. Cream and particularly Hendrix would be associated with the adoption of Marshall stacks.〔(Those Were the Days - A Cream fansite. ) The Who's Marshall History.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「The Who's musical equipment」の詳細全文を読む スポンサード リンク
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