Fender Twin Reverb

The Fender Twin Reverb is a combo amplifier, with two 12" cabinets

Andy Summers' Fender Twin Reverb
The Fender Twin was one of two amps used by Andy Summers during the early days of The Police - the other being an Ampeg amp. Andy's Fender Twin was a 1965 2x12" "blackface" combo model. He bought the Fender Twin around 1974, with £300 given to him by Neil Sedaka after returning from studying classical guitar at Northridge in California.

In the studio, the Twin Reverb combo was one of the amps used to record the Outlandos D'Amour and (possibly) Reggatta De Blanc albums. "Roxanne", for example, features Andy's Fender Telecaster plugged into the amp to create the "icy, treble tone" of the guitar on the record.

By the time of the Hatfield Polytechnic concert on 21 February 1979, Andy had switched over completely to using a Marshall 100-watt setup, having previously rented a set for Police tours. After that, the Fender Twin was no longer of any use to him and since disappeared from his collection.

Later on, Andy did use another Fender Twin during the Synchronicity album and Ghost In The Machine at least. Mainly as an alternative to the Marshalls "for straight, sharp, proper sort of guitar sounds" according to producer/engineer Hugh Padgham. Judging by photos, the Fender Twin model appears to be a "silverface" one from around 1968. The Fender Twin used either belonged to AIR Studios Montserrat or was rented, as Andy seemingly no longer had the 'Blackface' twin in his collection by that point.

Stewart Copeland's Fender Twin
Stewart Copeland allegedly owned a Fender Twin Reverb amp, which he initially used to amplify delay effects from the Roland RE-301 Chorus Echo. He probably bought the amp alongside the Chorus Echo in Spring 1979, initially for his guitars. But then one day, he tried both in soundcheck on the drums later down the line, and developed the technique from there. It's unclear how long Stewart stuck to this setup, owing to lack of photographs that show the amp - in a Beat Instrumental interview, he talked about sending the delay signal to his set of monitors (rather than an amp).

In October 1979, Stewart got a Roland JC-60 Jazz Chorus to use for delay effects.