out visually instead. His playing style evolved from the banjo, favouring down strokes and using a combination of the plectrum and fingerpicking. His rhythm playing frequently used seventh chords and suspended fourths, and he is associated with the power chord, an easy-to-finger chord built from the root and fifth that has since become a fundamental part of the rock guitar vocabulary. Townshend also produced noises by manipulating controls on his guitar and by allowing the instrument to feedback. In the group's early career, Townshend favoured Rickenbacker guitars as they allowed him to fret rhythm guitar chords easily and move the neck back and forwards to create vibrato. From 1968 to 1973, he favoured a Gibson SG Special live, and later used customised Les Pauls in different tunings. In the studio for Who's Next and thereafter, Townshend used a 1959 Gretsch 6120 Chet Atkins hollow-body guitar, a Fender Bandmaster amp and an Edwards volume pedal, all gifts from Joe Walsh. Townshend started his career with an acoustic guitar and has regularly recorded and written with a Gibson J-200. Bass A distinctive part of the original band's sound was Entwistle's lead bass playing, while Townshend concentrated on rhythm and chords. Entwistle's was the first popular use of Rotosound strings in 1966, trying to find a piano-like sound. His bassline on "Pinball Wizard" was described by Who biographer John Atkins as "a contribution of its own without diminishing the guitar lines"; he described his part on "The Real Me" from Quadrophenia, recorded in one take, as "a bass solo with vocals". Entwistle's basses include a "Frankenstein" assembled from five Fender Precision and Jazz basses, and Warwick, Alembic, Gretsch and Guild basses. Drums Moon further strengthened the reversal of traditional rock instrumentation by playing lead parts on his drums. His style was at odds with British rock contemporaries such as The Kinks' Mick Avory and The Shadows' Brian Bennett who did not consider tom-toms necessary for rock music. Moon used Premier kits starting in 1966. He avoided the hi-hat, and concentrated on a mix of tom rolls and cymbals. Jones' concise, supportive drumming style was in sharp contrast to Moon's. The Who were initially enthusiastic about working with a completely different drummer. Townshend later stated, "we've never really been able to replace Keith" and Daltrey ultimately believed Jones was not right for the band, while still speaking highly of him as a friend and