Pete’s Gear: Hiwatt CP103 and DR103W

Pete Townshend’s use of Hiwatt amplifiers

Hiwatt amplifier details

The stage amplifier Pete Townshend used almost exclusively from 1969 to 1982. He began using the Hiwatts model after using modified Sound City L100 SC105 amplifiers with Hiwatt badges, which he used beginning late 1968. The first actual Hiwatt-labeled models featured the same circuit as the CP103 but did not feature the “The Who” branded control panel faceplate. The first CP103 models with “The Who” faceplates appeared in late 1969.

CP103 specifications

Pete had seven of these amps custom-built for him based on the Hiwatt DR103 design between 1969 and 19761973 — in at least three batches — by Dave Reeves of Hylight Electronics with the following factory modifications/differences from the DR103:

• Custom Hiwatt 100 “The Who” control panel.
• No middle or presence controls in the circuit.
• Four input channels, one volume control for each channel.
• Five preamp valves: four 12AX7/ECC83 and one 12AT7/ECC81
• Four EL34 power/output valves.

Full specification:

• Custom Hiwatt 100 “The Who” control panel.
• No middle or presence control.
• Five preamp valves: ECC83 or 12AX7 four 12AX7/ECC83 and one 12AT7/ECC81.
• Four output valves: EL34.
• Partridge transformers.
• Four individual inputs (1 and 2 differently voiced brighter than 3 and 4) with four independent volume controls. (Pete typically used input 1.)
• Bass, treble and master volume controls.
• 100 watts R.M.S. into an 8 Ohm output impedance (though Pete has stated they are rated at 95 watts).

Controls

CP103 amp controls are, from left to right:

• Four inputs
• Four volume controls (one for each input; numbered one through four)
• Bass
• Treble
• Master volume
• Standby
• Mains.

The rear panel contains voltage and impedance selectors and two speaker output jacks. Hiwatt amps of this period, in general, featured Partridge transformers, point-to-point military spec wiring (courtesy of Harry Joyce), bell-like sound and “Spartan” reliability.

Pete plugged these amps into one or two Hiwatt SE4123 4×12 cabinets each (bottoms are occasionally dummy cabinets), loaded with four 50-watt Fane 12″ speakers, specially voiced for increased bass response, or, beginning in 1976, four 50-watt JBL K120 12″ speakers (for extra punch and a cleaner sound). (In 1982, Pete used MESA/Boogie 4×12 cabinets.)

Pete’s Setup

In his standard setup, three amplifiers total are used onstage, two shelved in a custom rack unit (beginning 1972), with one on top of the rack unit. One amplifier is backup. The two amplifiers employed each drive one or both (when not dummies) of the top two SE1123 4×12s. In this setup, the guitar signal runs from the guitar, to the effect pedal sitting in front of the amplifiers (next to the drumkit), out to a junction box mounted to the side or back of the rack unit, which splits the signal out to the two active amplifiers. Usually, the top left input is used (#1) on both amplifiers.

For effects in his classic setup, through 1978, he used a Univox Super-Fuzz pedal; and from 1979–1985 an MXR Dyna Comp pedal. (For other modifications/variations to his rig during these periods, see the main equipment timeline.)

Setup signal path diagrams

Setup signal path (1968–1971)

Setup signal path (1971–1974)

Setup signal path (1975–1976) (presumed)

Setup signal path (1977–1978) (presumed)

Setup signal path (1979–1981) (presumed)

Setup signal path (1982/1985) (presumed)

Typical settings

Pete’s typical amp settings during 1969–73:

Overall signal (overdrive) is controlled by guitar volume.

1976 settings, as reported by Alan Smith:

“Pete’s amps are custom-made, with no mid-range controls. The treble is usually turned up considerably; the bass just a bit. The volume settings at the beginning of the show are 2/3rds up on the master control and full up on the channel module. By the end of the set, the amps are full on.”

Rack unit timeline

• 1968–1969:

  Set up on flat-bottomed chair.

• 1970–1971:

  Set up on top of road case, separated by 2×2 blocks of wood.

• 1972–1975:

  Custom open rack unit, with one amp set atop unit.

• 1976–1980:

  Custom closed shelf unit.

• 1981–1985:

  Custom enclosed rack unit.

He used the CP103 on stage from early 1970 through the end of the Who’s primary touring career in 1982.

DR103W

Starting in 1973, Pete used amplifiers similar to the CP103 — the Hiwatt DR103W. These models featured a similar circuit and controls to the CP103, with no “The Who” faceplate. Controls are, from left to right: four inputs, four volume controls (two for “Normal Vols.,” two for “Brilliant Vols.” — a difference from the 1–4-numbered controls of the CP103), Bass, Treble, Master Volume, Standby, and Mains.

Signature CP103

In 2000, Hiwatt U.K. issued a signature Pete Townshend model to commemorate this amplifier, which Pete briefly used onstage for early 2006 shows.

Selected quotes from Pete Townshend

All quotes and references are copyright their original owners and are included for reference only.

From April 1980 issue of Sound International article, courtesy Joe G’s site.

… And then I met this guy who was making amplifiers at the time for a company called Sound City. This is much later, but all I know is once I found the Hiwatt amplifier I stuck with it. I tend to choose a guitar that fits the amp rather than the other way around.

What Hiwatt set-up do you use?

PT: One amp and two 4 × 12 cabinets. I use a vertical stack but the bottom ones are dead, they’re dummies. I use the bottom ones to stand the top ones on. If they weren’t there I wouldn’t feel right. [ed note: This refers to Pete’s statement of using dummies for the bottom cabinets. It is likely that he is referring to a more recent practice (i.e., ca. 1980) to reduce stage volume. Photographs from 1980–81 corroborate miking of only the top cabinets; however, this is speculation only. Therefore, we have amended other such references to reflect only the 1980–81 era as Pete using dummy cabinets (other than early on — e.g., 1964 and 1965).]

Are the Hiwatts stock?

PT: I’ve tried various speakers in the cabinets but I couldn’t tell you what’s in them now. I don’t know if they’re JBLs or Altecs or what. The ones I use are actually four-input amplifiers; each one with its own volume control and master volume at the end and they’ve only got treble and bass controls. They’re really basic valve amps.

What settings do you use?

PT: I use the input full up to get the distortion and then turn the guitar down to control the amount of distortion from the guitar. And the master volume about half up. They’re only rated at 95 watts but they’re really good and reliable. I rarely get any trouble on stage.

Guitar, December 1973

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. 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.

Guitar Player, October 1989

I never, ever used a stack with one amplifier until I got into Hiwatts, and I didn’t use Marshalls very long. In fact, I never used Marshall in the beginning at all. I used to use Fenders; I had a Fender Pro and a Fender Vibrasonic and a Fender Bassman top, and I used to drive Marshall 4×12’s with those amplifiers. I thought Marshalls were awful, and I’m afraid I still do, although that’s just a personal opinion. I don’t mean it’s bad stuff: I just mean I didn’t like the sound. And when I heard Hiwatt I was over the moon, because they sounded to me much more like a really good, top-line mid-’60s Fender amp. I still think it’s hard to beat Fender amps; they’re astonishing.

Despite the apparent randomness, Pete Townshend is actually quite selective and specific about his guitars. “In practical terms,” begins Pete, “I look for strength first, and a solid line from tailpiece to headstock — and that all components in that pathway be of high quality and super strength. I’m also very keen on clean, enhanced treble of the Gibson variety, but with no sustain. This more closely approximates the vibration cycle of the acoustic, and suits my rhythm style far better than charged-up, overwound pickups that whine on for hours. However, when I play solos, I like sustain, so a well-matched guitar and amplifier is the key, one in which the treble doesn’t change — up or down — when you change the level of the guitar into the amplifier. All that should change is the amount of sustain, in my opinion. I got a perfect combination for stage work with my Les Paul Deluxes or Schecter teles run into a master-volume Hiwatt.”

Where are they now?

The following shows the whereabouts of known units. If you have additional information, please contact Whotabs.

Whereabouts of known Hiwatt amplifiers

Serial No.	Built	Whereabouts
NA	1969?	Retained by Alan Rogan
742	1970	Unknown (retained by Alan Rogan?)
852	1970	Sold on auction at Christie’s of London, May 1995. On display at Hard Rock Museum, Orlando, Fla.
853	1970	Owned by Steve, USA
892	1970	Owned by Brad Rodgers, on display at Rock & Roll Museum, Cleveland, Ohio, 1998–2007.
902	1970	Owned by Tony Caprara
1763	1971	Pie Studios, Glen Cove, NY

Hiwatt CP103 Gallery

Resources and Information

Acknowledgements

Thanks to the following for assistance with this page:

• David Brewis at Rock Stars Guitars, rockstarsguitars.com.
• Brad Rodgers at whocollection.com.
• The Hiwatt Story (dcsbulldog.tripod.com).
• Justin Harris (thehiwattsband.com (archived))
• Mark Huss (hiwatt.org)

For more information:

• The Hiwatt Story, dcsbulldog.tripod.com
• Mark Huss’ Hiwatt Legacy: hiwatt.org
• PlexiPalace Vintage Amps Forum: vintageamps.com/plexiboard/viewforum.php?f=3 (archived)

Manufacturer’s Links:

• Hiwatt U.K. (owned by Music Ground): hiwatt.co.uk.
• Hiwatt USA (owned by Fernandes Guitars): hiwatt.com.
• Reeves Amplification: reevesamps.com