Vox Valuation

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Based on the acclaimed VOX Valve Reactor circuit, which utilizes a genuine 12AX7 vacuum tube in the power stage, these advanced digital amplifiers retain the familiar warmth of a genuine tube amp. True tube tone is pumped through a custom designed 10” VOX speaker, while the intuitive control set makes customizing the VT40+ to your liking simple. Find the current Blue Book value and worth of your new and used guitars, both acoustic, electric and amplifier. The number one source of guitar and amplifier pricing and information so you can find the price and value of your used guitars and amplifier. Use this site for a. These were great value in 1973, and because they sold so many, they are easy to find and excellent value today. 1966 Vox Symphonic bass guitar. The Symphonic bass was built in the UK, by Vox parent company JMI. The Vox Consort was produced in the UK throughout the mid 1960s; originally modelled on the Fender Jaguar, it was one of. Find out all the key statistics for VOX ROYALTY CORP (VOX.V), including valuation measures, fiscal year financial statistics, trading record, share statistics and more.

The story of Vox guitars is so often told, not from the beginning, but with the introduction of the Vox Phantom; Vox's first 'original' guitar. But really it starts earlier than that, and is intimately linked with a British guitar band of the period: the Shadows. They not only used Vox amplifiers, they appeared in just about all of Vox's early publicity, and guitarist Hank Marvin even designed a tremolo unit for Vox, fitted to high end solid bodies like the Vox Consort and Vox Phantom.

Under the ownership of JMI (Jennings Musical industries), Vox put out three distinct guitars named Vox Shadow. As eluded to earlier, all early Vox guitars were copies of guitars by other brands, and with some connection to the forementioned Shadows. When the Shadows initially started endorsing Vox amplifiers (1958/59), guitarist Hank Marvin was playing a single cutaway Guyatone LG50 guitar (actually, his was branded Antoria, but otherwise the same). And it was no coincidence that two of the earliest Vox guitars were copies of this: the one-pickup Vox Stroller (after the popular 1950s dance the Stroll), and the two-pickup Vox Shadow.

Vray for mac maya. These early Voxs were very basic guitars, small and lightweight, with a plywood body, the simplest of tailpieces, a very simple floating bridge and 3 on a plate open gear tuning keys. The scratchplate was simple, just single ply, and the neck had no adjustable truss rod, and no fretboard radius; but perhaps these guitars were not so different from the other guitars available in the UK at this time? They certainly must have appealed to the very many younger Shadows fans in early sixties Britain. Have a closer look at a 1963 LG-50 style Vox Shadow. Note the large scripted Shadow headstock logo.

Currency restrictions in the late 1950s, and comparatively high prices, meant American guitars were not generally imported into the UK. By the early 1960s though, better quality American guitars did start arriving, often with bands returning from US tours, or visiting American artists. These quickly set new standards in what was expected in an instrument. By 1960, Hank Marvin had replaced the Antoria LG50 with a Fiesta red Fender Stratocaster, (the first in the UK, specially imported for him by Cliff Richard) and the early 1960s Shadows sound was in some ways characterised by his use of the Strat with it's tremolo, through a Vox AC15 or AC30. Jennings became the UK distributor of Fender, outfitting the Shadows with Fender guitars, but there was still little chance of younger Shadows fans (or UK guitarists in general) being able to afford the real thing. This lead Vox to create a substitute, upgrading the Stroller and Shadow models with a Stratocaster-styled body and bright red finish. These still had one or two pickups, and a new 'Vox standard' tremolo (have a look at a 1963 Vox Shadow). Finally, the headstock was redesigned to a typical six-in-a-row Stratocaster-style. This version sold well, and is perhaps the most widely seen version of the Shadow. Soon an extra model was added to the line; otherwise identical to the Shadow, but with a third pickup, the Vox Dominator.

Finally, by the middle of 1964, the two-pickup Vox Shadow was renamed the Vox Duotone, and the three-pickup Vox Dominator became the Vox Shadow - have a closer look at a 1964 Vox Shadow. The guitar was improving, and many mid sixties onwards Vox guitars had solid bodies (usually mahogany and agba) rather than laminate. Guitars were being exported to the United States, with export guitars having a 'made in England' label on the reverse of the headstock, or a plaque, usually on the back of the body. Note the black plastic knobs that were usually fitted to these three-pickup models.

The Shadow sold well up until the mid 1960s, with the vast majority in the UK, although many were also exported. Instruments produced for the United States were distributed by the Thomas Organ company. These guitars were typically labelled 'Made in England', either with a circular plate on the reverse of the body, or a sticker on the headstock; they often had upgraded hardware, such as metal control knobs, rather than plastic control knobs and a standard jack input. Production continuing into 1966 and perhaps in small numbers into 1967. Later examples of the Vox Shadow can be characterised by the solid wood body (mahogany) and thicker scratchplate (with wide black edge).

The Shadow had a UK model reference number 234, although the Thomas Organ company gave it a code V-2-8, or V208 in the US. Have a look at the 1966 Vox Shadow parts list produced by Thomas Organ for American dealers.

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The Vox Ace was part of a new range of guitars announced by JMI in November/December of 1960; one of numerous solid bodies produced in the United Kingdom. It had a model designation V-2-5 or V205. It was equipped with two pickups, initially chrome-covered Vox 1950s/60s single coil pickup (although briefly), then the typical Vox V1 units. Finally these were upgraded to white Vox V2 pickups with individual polepieces.

The very earliest examples had slab bodies with front binding and natural finish.

Early examples are also characterised by their long headstock (also seen on early Super Ace (three pickup model), Duotone (no tremolo) and Clubman models) but this neck was discontinued most likely by mid/late 1963.

Unlike the better known, and somewhat similar dual-pickup model, the Shadow, which was fitted with the Standard Vox Tremolo, the Ace was fitted with the Ace de Luxe Tremolo. The Ace was a higher end model than the Shadow, and it did have a better neck with a curved rosewood fingerboard, compared to the completely flat neck of the Shadow. It still had no adjustable truss rod though, and (early examples at least) still had a laminate wood body. Later models were made of an unspecified 'lightweight hardwood', most likely mahogany or agba.

This is how the Vox Ace was described in the 1964 Vox catalogue 'Precision in Sound'.

Despite the 1964 catalogue description, other colours were also shipped in small numbers beyond 1964, pale blue for example.

The Vox Ace changed continually throughout the course of it's production; some changes are very subtle indeed, some very much more obvious; see some of these summarised below. Dates are approximate.

Vox Ace timeline

• December 1960: Vox Ace announced in the UK press. Example pictured has slab body and front binding.
• 1961/62 Vox Ace specifications: pearl-effect scratchplate, Vox 1950s/60s single coil pickup, all screws have slotted heads. Body route suitable for one or two pickups only. Early Ace de Luxe tremolo units are unsprung; no body routing required. Cream and gold control knobs.
• 1962/63: red finish standard, white single-ply as scratchplate standard, pickups changed to Vox V1 type, usually plain or with early-style (stretched) Vox font. Some scratchplates around this time have 9 screws instead of the standard 8. Typical white UK Vox control knobs. Have a look at a late 1962 Vox Ace.
• Early 1963: Cross-head screws standard. Body routes have a wider bridge pickup route to accommodate an extra pickup (as used on the Ace de Luxe). Tremolos are now sprung, requiring a hole under the bridge (see image). Some instruments fitted with black single-ply scratchplates. Have a look at a 1963 Vox Ace
• Mid/late 1963: complete redesign with new body style, neck, and white Vox V2 pickups with exposed pole-pieces. Body is solid wood rather than laminate. Available in red, white and sunburst finishes. New headstock decals with separate 'Vox' and 'Ace' markings.
• 1964/65: new thicker 3-ply (white-black-white) scratchplate, metal control knobs. Have a look at a 1965 Vox Ace

Similar Vox Models

Vox Ace Wiring

The Vox Ace controls were very simple, consisting of just a master volume, a master tone, and a three-way pickup selector switch. The circuitry consisted two pots, in most cases a 1 MΩ logarithmic volume, and a 250 kΩ linear tone. (Actually, the 1966 parts list suggests a 250 kΩ volume; the precise value is clearly not critical). The tone pot was typically wired to a .05&mic;F Hunts capacitor. The switch, is a vintage style 'Arrow' brand 3 way, with two 47kΩ resistors (value bands yellow, violet, orange)

Click on the schematic or circuit images below for a closer look.

The Vox Ace circuit did not change functionally over the course of production, and although some Ace circuits look a little different, they all work in the same way.

This early 60s Vox Ace has the output jack mounted to the body edge (not visible in this pic). The bridge earth (orange lead) is the only non original wire in this loom.

This mid 60s Vox Ace has the output jack mounted onto the scratchplate, but is functionally identical to the early 60s loom above.

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