Fender Vox Marshall The SOUND and STORY most don't know

[@freyafarmer7789]

My great-grandfather, Thomas Jennings, founded Vox... I never got to meet him, but my god would we have a lot to talk about. Very proud of that legacy - they might not be the best amplifiers but they played a huge role in the development of rock and the 60s sound :)

[@arn999]

Wow, yeah, you should be proud, no doubt! They’re my favorite « amp sound ». Vox nailed something special. When I got back into electric guitar after a 10 year hiatus, I ended up buying a Vox AC10c1 for home use and a Vox AC30s1 for playing with friends. Nothing came close for what I wanted and at a non-insane price from anybody else.

[@Asshat237]

Might not be the best? You say that like it is some tiny company most people have never heard of. It’s a legendary company!

[@Chris-hq7nl]

You should be very proud of it. Voxes are GREAT amps!

[@thekitowl]

The fact Vox had to outsource to keep up with demand, shows just how great those Dartford made amps were. I used to walk past the Vox factory on my way to school in the 60’s.

[@glennrosa234]

Always lovedVOX still do & still have couple amps✌

[@johntisbury]

I had a Marshall 100 watt valve head and a 4 x 12 cabinet in the early 80's. The head blew a valve. My mum took me, I didn't drive at that time, to the Marshall factory in Bletchley, England on Saturday, it was about 20 miles away from where we lived. They repaired it while we were there and they told us stories about the famous musicians who brought their gear into to be tweaked, repaired or modified. We had a tour and watched as they repaired it! Fun times. The story that sticks in my mind was Angus Young from AC/DC would wander round the factory playing his guitar with the volume on full!

[@georgebarry8640]

Tim, I LOVE your commitment to "I don't endorse anything just because i get paid". This is the cornerstone of your credibility as a musicians and a person. Thank you. PS: LOVE all your playing!

[@FloridaManMatty]

I could watch stuff like this all day every day. The history is absolutely captivating.

[@RhettShull]

Tim, that L5 sounds like a dream now Im looking for one! Amazing video dude!!

[@articwhite653]

Tilly is gonna mess you up!

[@abradfordajb]

Well, for someone who loves "dirt", those playing segments are pretty darn clean .... and beautiful.

[@billducas]

That was one of the best interviews I have seen. Being a part time amp tech from learning vacuum tubes in high school in the seventies, this really hit home. I learned a lot from this video. Tim's guitar tone was amazing. And the smell of the old tube amps don't smell anything like the new tube amps. Thank you!

[@matiasmoulin2126]

two of the lovliest guys I have ever seen on YT! Such a pleasure listen to you talking together with so much respect.

[@larryrilea8696]

Tim, I've been watching your videos for a while, and dude I just got to say this. Every time I see you surrounded by all that equipment it makes me smile and chuckle just a bit--in a good way of course. I love all your videos, and thanks for brightening up my days.

[@MateusAsato]

one of my favorite videos of this channel. SO GOOD. thanks Tim!

[@gergemall]

Agreed

[@StratmanDarrell]

Your playing always blows me away. So melodic and so much feel and innovation in your playing.

[@drutgat2]

Loved that. Good questions from Tim, and John Tucci seems like an extremely humble, down-to-earth, honest, intelligent and interesting man. I could listen to him talk for hours. Have him on again, Tim. Thank you.

[@jeffshultz2744]

Tim the tone of this guitar is amazing.

[@joshmuz9018]

I would agree wholeheartedly. As soon as he started playing, I was like that sounds beautiful.

[@dabluzedabluze260]

RobVoyles oh dont talk stupid,fingers do not make the tone of an amp sorry. i bet he wouldnt have that lovely tone without the amp. if he played it unplugged do you think it would sound that nice because of his fingers, no it wouldnt, so his fingers dont make the tone. Just stand a mic in front of the guitar and then listen to the true tone of it, people talk such rubbish and pass it as fact.

[@That70sGuitarist]

@@dabluzedabluze260 Indeed, if tone were truly "in the fingers," you could walk out on stage without any gear whatsoever and play the greatest show ever! Tone comes from the sum total of everything involved in the playing process: what you do with your hands; what brand and gauge strings you use; the design and construction of, and the electronics in, your guitar itself; the quality and length of your cables; which effects you use; which amp you use, and even HOW you use the amp! For example, I have a nifty little 4 watt, pure Class A Vox AC4C1-12, and I always use it with an angled amp stand because to my ears, it sounds BOTH bigger/better when I get it up off the floor. (Sound guys absolutely love me, too!)

[@AlexisGitarre]

I SO LOVE your musical interludes between the chats! so much taste in phrasing!

[@alguitarchristie]

I was lucky enough, to meet Jim Marshall, who took me and my friends to lunch and told us how he taught 60 students per week,one of which was Mitch Mitchell and how he taught during the week and made 4x12's in his garage on the weekend! Genius of a guy!

[@ToddtheExploder]

Man, I LOVE your playing! Fifty-three years I’ve been trying to translate what I hear up here (points to head) to what comes out there (points to cab,) and am closing in on the tone, but the playing? Not even on your planet. You, sir, are an exceedingly listenable guitarist. I am incredibly envious of your ability and will never give up!

[@TheToneLounge]

Being a Vox guy myself, and loving old Gibson tube amps, this was a very, very cool video to watch. Super informative. Thanks for this! Cheers

[@chungaleta1234]

This one in particular needs a part 2.

[@whatyoumakeofit6635]

Yeah that would be great This video uas to be one of my favorite videos of Tims

[@mac128k3]

“Let me just watch a few minutes of this”... 20 minutes later.

[@tonymarinelli7304]

This is my 5th time in a row watching.

[@ThePeteFace]

Haha, same thing happened to me and I’m glad it did

[@benjaminashlin]

100%

[@robertcallahan7061]

Beee-u-ty-full.. Guitar

[@Nathan_Coley]

Same here 😂😂

[@shawnmcvey7789]

"It's all preference" - That's a *real* expert.

[@monmixer]

yep,

[@doctorskull8197]

Absolutely

[@Michlandir]

I cant believe what an incredibly warm yet articulate, sparkly neck p/u tone you got around the 4:00 mark. Stellar!

[@toug65]

The guitar and amp combo, that’s magical. Equaled by his playing

[@robertcallahan7061]

The sound.. The Effing sound!

[@johnboleyjr.1698]

Absolutely love Fender amps. Their clean sound is the "Gold Standard" for cleans. So buttery smooth, and resonantly full. I love Marshalls dirt sound, but can't justify buying one solely for that sound. Especially when if I just have to have "that sound," I can place a "Marshall-in-a-box" type pedal in front of my clean Fender amp. Boom! There it is, or at least close enough that most wouldn't know. With that said, I don't usually try to mimic that sound, and prefer to sound just a little different than everybody else. I actually love the way Fender Distortion sounds, as it works for my styles, and what I'm trying to achieve. I wish I could like Vox, but it's just red hot icepicks to my ears. Probably just an issue with me though. 😝 I've always found it weird how different people make different amps sound compared to others. I know people that can't seem to get a good sound out of a Fender, or Marshall, but can make a Supro sound amazingly lush. I somehow make a Supro sound like a cereal box with a Piezo speaker attached with bubblegum. Again, probably a problem with me. Yet I can play Heavy Metal on a Fender amp, with a Fender Strat, and have it sound great, then turn around and play lush sounding Blues on that same amp. Definitely a personal thing when it comes to our gear choices, but I also think that maybe there might be some crazy equation in the background that drives us toward those choices.

[@geschickt]

Yes, for sure, certain "touches" on the guitar lend themselves to certain amps, no question. I truly adore certain Fender sounds (like Steve Howe's tone on Yessongs, Neil Young's cranked Deluxe tone, SRV), but never quite got along with them somehow...I think I just never met the right one. And not all Fender distortion is created equal, not by a long shot, depending on model, etc. (talk about red hot icepicks, there are some terrible Fender models that can deliver that!). Marshall--now that's an amp (esp the early ones) _I_ can get along with! They just "agree" with my playing, my touch(?), I don't know. But I've heard otherwise great players seemingly unable to get a decent tone out of a good Marshall, while another guy can plug into the same amp and boom--it's instant Dickey Betts. It's as you said regarding a Supro: I have an old 60's one that I adore, but I have a blues-rock Strat playing friend who I _know_ would never be able to get along with that amp. Vox? In the right hands, a Tele and vintage AC-30 is a match made in heaven! Maybe that "crazy equation" is a combination of what I call "digital embouchure" ("your tone is in your hands/fingers") + what one's own ears/brain need to "hear" coming out of an amp + how that interaction inspires one to play = a circular feedback (no pun) loop...something like that... ;)

[@phillipasby9202]

Talk about some good stuff. First - what a pleasure to watch/hear Tim play - the joy he expresses and the lovely music is just inspiring. That L5 tone is sublime. Great content, insight, etc.... thank you!

[@Wahian1]

Jim Marshall actually owned two music stores in West London. His drum store was in Ealing where he’d employed a young drum salesman, Mitch Mitchell who’d also taken drum lessons from Marshall. Jimi Hendrix walked in one day. Looking to form his own group, Mitch eventually got the gig as his drummer. Marshall’s other shop was down the road in Hanwell Broadway where he sold guitars. Deciding to move into amps as well, he’d make the enclosures at his then home in Southall; take them to the store where his amp guy would fit the amps and speaker/s. A local band from Acton came in to check out his amps. That was The Who who’d started using them but coming back asking for more powerful amps with larger speaker cabs as they’d wanted to be the loudest band gigging around.

[@RedArrow73]

I've read that the first to pull his wallet out was actually Entwistle.

[@JohnPaulHare]

The fact that Dick Denney designed the Vox to amplify a Telecaster explains why the sound of a Tele through a Vox is one of the best sounds in all of music. Makes me want to dive back into the session where I had a guitarist playing his Tele through an AC-15 with some distortion on the signal!

[@tomspaulding6841]

Adjusted for inflation, $13,000,000.00 in 1965 is equal to $104,680,416.67 in 2019. Annual inflation over this period was 3.94%.

[@bradlaue1718]

Which brings up the question: How much would Fender sell for today? Well north of that, I'm sure.

[@mikeh892]

There was one more element to the JTM45 sound: the first preamp tube. The Bassman used a 12AY7 in that position, and AX7s in the other 2. In 1962, 12AY7s weren't as readily available in England, so Jim just used a third AX, which gave it more gain than a stock Bassman.

[@elainericketts8820]

I spoke to Jim at length about his innovations. He told me he just COPIED the '59 Bassmans circuitry..........PERIOD........

[@mikeh892]

@@elainericketts8820 Oh absolutely it's a bassman. Just done up English style.

[@babydaddy1930]

@@elainericketts8820 and man I love a good bassman. I have a 62 blond bassman I paid 175.00 for in Gillette wyo. In the eighties when Marshall mania was on. It's so fat and delicious.i have a fender 4 by 12 cab that sucks with my 72 park 75,( a killer 50 amp Marshall) and a Quickrod splawn. But with that little bassman oh my!!!!!

[@justingarcia7722]

I love how the history of all this stuff comes from a practical perspective first. We now can look back and admire , pick n choose favorites and be picky but at the time the gear just needed to work and not break down, so much of it was a happy accident

[@arceneaux777]

Tim - gonna fanboy for a minute, first of all - I discovered you on the Living in Oz album, at a time when so many guitarists were just flashy, your playing had such a ridiculous sense of melody and structure, it affected the way I play, even up till now. Also - I am so grateful for your videos - not only do they make me rethink how I approach the guitar, but so informative, and well stated. Thank you - for all that you do - be well.

[@l8tapex]

What a terrific clear concise and informative interview! Great work Tim.

[@jameslatham2655]

Good grief!!! That L5 and whatever you've got it playing through is the smoothest and butteriest I've ever heard. That jazzy stuff to me has never been my thing but your rig there is on a different level. I love it. Don't ever sell it. That's a rare thing when they sound that good. Glad you got it and enjoy.

[@bobbaumeister5243]

Hello Tim, Congrats on your L5. A wonderful 1952's with a fantastic sound. The most characterful guitar in your stable. With John you have an absolute expert at your side. I learned a lot today. Thank you!

[@paulwatson9217]

Everybody forgets the ac30 was built for Hank Marvin and The Shadows who were touring the world on 15watts at that time. VOX basically had to double the power which was the best they could do at that time and it was not without its reliability issues. The Shadows are the reason the ac30 was built, they were the first on the road using them. And I believe that the ac30 was designed after Hanks request for more power as they were struggling for SPL at most venues.

[@lamejohn]

Good info! Speaking of the reliability issues...when I finally got ahold of an old ac30 the first thing that struck me was that it seemed to be the only amp I've ever seen designed to not let any heat escape. I'm kinda surprised any of them have survived this long without bursting into flames.

[@paulwatson9217]

lamejohn plenty did exactly that. And I believe that Brian May has blown them frequently but to be fair all his are turned to full that’s part of how he gets his sound, great amps very versatile when you think about it. Hank Marvin & Brian May two very different and distinctive sounds but both fantastic.

[@StevenAttwood-m8e]

The fact the AC30 gets so hot and doesn’t lose heat was used by THE SHADOWS to heat their van on the way home after gigs in the late 50’s and early 60’s!! Just like a modern day storage heater…..lol

[@TheBillpucci]

My gibson tweed falcon is the best sounding amp I've ever owned. My 50 watt '74 Marshall was amazing too. Great video

[@SteveEngineer75]

The first time I had ever herd a Gibson L5 was in the second half of the 1960"s and I was awe struck by the sound. Terry Haggerty of the "Sons Of Champlin" played one and Jerry Miller from the band "Moby Grape" played one. You can relive these bands on KZbin, the recordings are timeless.

[@PGU13BHEI]

70’s 50w Marshall’s, pretty much indestructible. Twin Reverbs were the same. Pretty rare to have a problem. Just packed an extra fuse in case of a beer incident back then. These days I always bring two amps but I am seriously considering that Strymon thing for a backup. So much cool stuff now. It’s a golden age for motor heads and guitar players.

[@TRRJDB]

The L5 is just beautiful. The sound is amazing. Great history.

[@RickRomanelli]

I was 12 years old in 1981 and my guitar teacher had an L-5. I loved it even then when I was a big Iron Maiden and Rainbow fan. Well, I'm still an Iron Maiden and Rainbow fan, but you get it. Thanks for the great video.

[@leftygtrplayer]

This guy is an encyclopedia of amplifiers. Amazing.

[@takfam07]

Excellent interview skills. Cool, the way he let his guest speak. Showed respect and made for a richer, more rewarding interview.

[@dacfoto]

Great stories, Tim. You’re teaching us much more than great guitar methods. Thank you.

[@georgebarry8640]

In my view, Tim is carrying on the TRADITION of guitar culture...and THAT is important,too...just like notes and chords.

[@glennkemp3680]

Tim your articles and lessons are so informative. And you seem so likeable. You are totally a Monster player. I wish you continued success. Godspeed.

[@jefflangton6033]

I'm a Amp technician...The Tubes today will last longer...Major in Fenders and Marshall love my Hobby Loved you video Guys Hope more to Come...Thanks

[@VictorRochaGaming]

Great interview. I could listen to John all day. I own 50 guitars but I still know squat about amps. More, please.

[@amalfi460]

I still have my first amp, 64 Fender twin I bought for 200 dollars.....never gonna sell it

[@jonduke3919]

Ur playing is amazing it really reminds me of my grand father.. his ears were sonically amazing, but taught himself to read music. Because he was obsessed with getting is right. He would play Chet stile mixed in with a little les Paul. ✌️🎸🎼🎶🎶🎶🎶🎶🎶🇺🇸

[@MalikAmer87]

Thank you for these great videos that you always make maybe I don’t have enough money to support you by buying your courses but I really respect you and I’ll support your channel as much as i can

[@happynostech]

I have to say Tim your playing is like candy to the ears ........ just beautiful

[@robertcallahan7061]

I have been playing since 1975 when an uncle bought me a copy of Jeff Beck's Blow by Blow, and your guitar is so beautiful-sounding.. It is reminiscent of Larry Carlton, or idk... It is guitar in its most primitive beauty. I will end it at that.

[@jakemitchell1671]

Oh man, GREAT topic! I've always thought of amps the same way- the three major voices being Fender, Marshall, and Vox. I've owned (and currently own) all three, and FOR ME it's the Fender that allows me to achieve what I'm after and IS guitar tone. I LOVE Marshall and Vox, but Fender has my heart, and it's for the exact reason Tim mentions: the overdrive is more "spread out" and less focused than the others. Also, Fenders integrate with OD pedals the best, so you can use a Fender as your base clean sound and use pretty much any overdrive/distortion your heart desires. Fender plays very nice with others! lol

[@arisl2370]

yeah but they will never be the sound of rock !

[@albionseed4866]

@@arisl2370 ?????????

[@eternalism8274]

i dont much like the VOX AD-120, misusing a 12ax7, but-- it's a big AC-30 cab with blue grillecloth, with a Blue & a Greenback. aint lettin go!

[@automachinehead]

@@albionseed4866 he means Fender is exclusively for butt rock

[@daddydothang8635]

@@automachinehead Butt rock? Is that like jumbo shrimp or tangible flatulence?

[@Giveme1goodreason]

The best thing I’ve ever done is mix a Marshall stack with a vox amp. We set it up so that the Marshall produces the our dirty sound and vox is the clean and when we put em together with the ABY pedal it’s like dirt with a glow. Just a perfect blend.

[@fugamante]

Great interview! Amp knowledge is on high demand now a days-kids are getting interested in them, especially if they are tube-based.

[@matthewmuller5794]

The tone out of that guitar is making me weep and I'm not ashamed.

[@Blackwood260]

I think Tim could make a crap guitar sound great, Hes such a great player.

[@matthewmuller5794]

@@Blackwood260 That's actually a really good idea for a future episode...Tim takes a piece of junk guitar and makes it sound like...???

[@lrmhawk]

Never been into Marshall, always been a Fender guy. Got 5 Fender amps including a 62 Princeton and a 67 Twin and love them. So reliable, plenty of head room, and easy to fix. Just picked up a Vox and anxious to compare.

[@doggod07]

so 2 years later... how did it go?

[@pedraw]

That was really cool. The knowledge that guy has is priceless.

[@cactusstudiossouth]

That was such a really lighthearted production you guys did !

[@RC32Smiths01]

Amazing wok as always man. Informative with an insight that not a whole lot of us know about. Appreciative of the knowledge

[@scottdunn2178]

Yes Tim, Marshall changed the filter supply in the 2203 JCM 800 in 1985 to save money (they never changed the 50w 2204), and that change made those 2203's sound brittle and harsh compared to the earlier versions (and they weren't as loud). Fortunately, the post-85 2203 can be distinguished by the horizontal input jacks mounted directly to the PC board (which is never a good idea). Love the post, Best Regards

[@michaelinglis567]

Best amp I've ever had is my current Marshall DSL100HR with 2 1x12 orange cabs. It an amp that does it all and does it all really well. Might not be vintage but its a perfect showcase of every great Marshall. The plexi, jcm800, and hot rodded plexi/800 etc.

[@Johnny.D]

Tim, your playing style is great, I could listen to you all day. I am a fender lover though. :)

[@OzziePete1]

15:00 I have heard the same story said about Marshall... The issue is component manufacture through the years. When they are mass produced, the tolerances increase so they can sell quantity & other solid state appliances don't have a reliance on tight tolerances as guitar amps do....When it becomes easier to replace a printed circuit board in a device/appliance than actually repair a broken component, that's when tolerances become less critical...

[@Combustion47]

Always enjoy just watching Tim play

[@jfturner67]

What A GREAT conversation! Thanks to both of you.

[@wadehampton1534]

Tim, I'm an electronics technician and a guitarist. I can offer a techs perspective, on in few areas, that are fairly common in guitar amplifier repairs. *This post has been edited.* I have repaired a lot of guitar amplifiers over the years, and can definitely relate to John's remarks on remaining humble. I've run into many situations, like he mentioned, about having just repaired an ancient amp, and then it blows a 50 year old cap or transformer shortly thereafter. Often times, human nature can jump to the conclusion, that the last person doing a repair, has likely done something to cause a subsequent failure, especially if it occurs very shortly after the repair. It can be a frustrating situation for both parties, and polite diplomacy is called for on the part of the technician, to help their client understand what has happened, and why it has happened. As in any other profession, electronics technicians are capable of occasionally overlooking something they shouldn't have, and should humbly own it, and make things right. *Capacitors, Tubes and Tube Sockets, Potentiometers, Switches and Jacks, cause the majority of problems in guitar amplifiers.* I learned a long time ago, to just go ahead and change out all of the electrolytic capacitors on any older amp, right at the start of a repair, especially if there is already one that has gone bad (ie : excessive hum or or lack of voltage from the power supply). Once one old electrolytic capacitor goes bad, the rest will often start failing as well. This often happens after an older amplifier has remained unused for an extended period. There is a method of waking up an old amp that has set unused for a long time, using a variable AC (Variac) voltage regulator, that many technicians know about. After insuring the set has the correct fuse installed, the tech gradually increases the supply voltage over time, to avoid any major flash overs that can occur in shorted out components, or moisture laden circuits. Electrolytic capacitors have a paste inside, that can dry out over time. An instant application of full voltage, can cause additional damage to the sets other components, if a cap has shorted out or there is rodent urine or other contamination present. The application of slowly increasing voltage, allows any moisture that's been absorbed in circuit boards to dry out, and can allow old dried out capacitors to partially "heal", and allow the set to be properly troubleshooted, without the risk of a devastating plasma fire and/or the distruction of the output transformer. Electrolytic capacitors are relatively inexpensive, and not particularly labor intensive to replace. They are the capacitors that have a +/- marking on them, and can be found throughout the set, not just in the power supply. Over the years, I've learned not to trust anything that you plug into the wall ;-) Electricity always finds the shortest path to ground! Output tubes are balanced, and need to be replaced in matched pairs or sets of 4. Replacing a single tube in a matched pair or set can introduce a hum. It can also cause uneven wear on associated components. All tubes have a long life expectancy, and should really only be replaced when their performance degrades, or they fail, especially now that tubes have become so expensive and certain ones can be hard to find. Clean your tube sockets once a year, with a Zero Residue Electrical Contact Cleaner, to avoid oxidation. I use a product called Deoxit. If a tube in a clean socket, in a particular location fails prematurely, more than twice, something may be wrong in the biasing circuit of that tube, or the socket itself, and a trip to the tech is warranted for further investigation. Scratchy volume potentiometers, tone potentiometers, switches and all input and output Jacks need to be sprayed out, with a good cleaner/lubricant, designed specifically for that purpose. *Tube sockets should be sprayed out with a zero residue electrical contact cleaner. I use a product called Deoxit.* Spraying out the potentiometers used to require pulling the amplifier chassis, to access the potentiometers. These days, StewMac makes a dandy little device, called a "Pot Cleaning Cap", that makes this once old chore, quick and easy now. It's a small cap that fits over the top of the potentiometer (once the knob is removed), and has a small hole in it for a spraying straw. It allows you to spray out the potentiometers on your amp and guitar, from the top side very efficiently. When using it on your guitar, wrap a paper towel or rag around the top part of the potentiometers, to protect the finish. I've also had people ask me to make their Fender amp, "sound like a Marshall" or a particular artist. It's actually quite common of a request. People just don't know how things work, and that's OK. I generally take the time to educate them a little bit, and explain why that isn't an option. It's been lots of fun, I love your channel, keep up the good work! BTW, great sounding guitar, and fabulous playin!

[@chb8037]

dumble makes marshalls sound like a fender and fenders sound like a marshall... FWIW

[@HeleneLogan]

Thanks for the info, especially re: using a Variac to slowly wake up an old amp. I have an ancient 50's tweed that I may start treating this way, just to keep it happy. :-)

[@lamejohn]

I've always thought it was crazy that some people don't like the idea of replacing electrolytics so as to stay 'original'. It'd be like refusing to put new tires on a classic car because the old rotted ones are 'original'. Thanks for the tip about the pot cleaning cap, I hadn't been aware of those. I've started using deoxit fader lube for pots, as I feel like regular deoxit was washing too much of the grease out and making them feel loose/grainy. A variac or transformer/voltage dropping device is a good idea for those who own and play old amps. My wall voltage runs close to 125v, and on amps designed to run at 110v or 117v it's really not great for them.

[@wadehampton1534]

@@glennlilley8608 I spent 10 years in the Army as an electronics technician, and I've an Electrical Engineer BSEE, for the past 30 years. I know what end of a screwdriver to hold as well. I'm 60 years old, a musician and have a very long history of designing and repairing audio circuits. I do understand your cynicism, I've run into hundreds of these 'technicians' during my career. They usually know just enough to ruin your equipment. That's why it's very important to vet your technician before turning over your equipment for them to repair.

[@wadehampton1534]

@@glennlilley8608 I got to work with some top drawer English technicians while I was stationed at SHAPE, in Mons Belgium. The excellence of the English technicians thoroughly impressed me. Our Squadron Leader was a British Air Force Colonel, an engineer of exceeding skill and knowledge. We were part of the NATO Nuclear Alert System, and were the HF Radio transmitter and receiver sites with the associated microwave radio relay equipment. I was stationed on the receiver site from 1981 - 1985, it was the greatest adventure of my life.

[@clgmafnas]

Awesome content Mr. Pierce! Loved this collaboration! 🤘🏼🤘🏼🤘🏼

[@kenboi169]

I use to own a Vox Super Beatle. Bought back around 1967-68. The MRB (mid-range-boost) button was great! Hauling around the 4-12" cabinet was a pain. Took great care of it. Some years later some ass stole the head. One of the saddest days of my life.

[@ThomasKoehorst]

That guitar sounds so sweet, as does your playing! Love the story on the amp factories

[@CA10Z]

Tim, you have some of the most interesting guests... What an interview..! So informative Thanks Michael

[@rickmilam413]

Just love you4 tone on the opening piece. Wow. That's my kind of jazz tone. Woody but not bonky, open, mellow yet can attack. Gorgeous.

[@ik2476]

Great video. I Could watch you guys chat about amps all day.

[@stevehughes1510]

Cheers Tim, yep the sounds that those different amps have as inherent is the thing. For me Marshall comes down to Clapton playing 'It Hurts to Be In Love' 'Rollin' and Tumblin' 'Key to Love' or ' Bernard Jenkins' and Fender is anything clean from the USA in the '50s/60s..........Vox and it's the Beatles sound which was round and luscious......chimey with the alnico Celestions.

[@rylieriley]

I love coming back to this video and watching it again. It's great! It's probably one of my favorites. I'm bummed that I can only give it one like, though.

[@superflea72]

excellent video Tim, thanks for taking the time to share it with us!

[@scottdunn2178]

The Holy Grail Vox is the Trainwreck Liverpool 30. The Trainwreck Rocket was also a Vox style amp. Of course, these amps are extremely rare and expensive (if you can even find one for sale). Ken Fischer was a good friend of mine and taught me everything I know. Really miss him. Best Regards.

[@chb8037]

yeah? the liverpool sounds so gainy to me, but ive never tried one... i built a rocket but i think the secrets on that one aren't totally out. it doesn't sound as good as a vox to me but its polite compared to express type gain.

[@blacktoothfox677]

.... - AND Orange! 🍀 for me, they are the 'big four', the four corners of tone, the cardinal points of electric sound... Big love and best regards from the UK 🍀

[@wjhandy]

I had a 64 Tremolux stack, the 2 x 10 cabinet fit nicely in the back seat of my '74 Camaro

[@jamesbarisitz4794]

Who doesn't love these behind the curtain, nitty gritty videos? Excellent content as usual Mr. Pierce.

[@runrabbitrun4342]

Tim just wanted to say Thanks for showing close ups while you play, For those that don't know on the lower right side of the video screen there is a gear looking symbol, One can click on that symbol and slow the video's down 25%/50%75% to help improve one playing skill's So again thank you Great content Tim!! Great stuff!!!! Peace!!!

[@ronaldjohnston3723]

Dude you are so freakin cool. I can't get over your playing..

[@scottfulghum8408]

I think I needed to hear you play that melody for a really long time.

[@wsmom1]

Thanks for an interesting discussion, particularly about the differences introduced by variations in components between amps in the same model year. Recapping my 64 Deluxe (blackface; non-reverb) and 63 Pro (brown face; non-reverb) introduced different and pleasing colors to the sounds these things make. Love the L5 - Kalamazoo's Finest!!

[@nikonmikon8915]

Fender components were actually 10% not 20%, if you read any period schematic from Fender (which are freely distributed) it will say in the notice section in the top or bottom margin: "All resistors 1/2 watt 10% tolerance if not specified." The 20% figure is for the voltmeter readings which says: ""Voltages read to ground with electronic voltmeter values show + or - 20%". Another point of contention, working on Fenders is not as easy as it seems. There are a TON of under-board wiring jumpers that were actually the legs of components so, in other words you would have to clip the component to pull it because it ran under the board to another part of the circuit to make a connection, essentially serving a dual function. This can be seen on the plate resistors for v2 on any AB763 (and others, ie AA165 AB165) amplifier. The b-side plate load resistor leg goes all the way up to the B+ supply for the plate essentially serving as the under-board jumper for the high voltage supply to that tube. It is incredibly difficult to remove this resistor without cutting it off at the eyelet because the leg is so long and makes such a weird turn to get to the b+ supply eyelet. Many other parts of the circuit exemplify this 2 for 1 type of cost/time saving efficiency (the filter cap board under the doghouse is quite similar). He was quite clever in saving money and speeding up the assembly process.

[@Jeff-Cranston]

Thanks much (and love your guitar sound/playing). What's interesting about this to me is I've owned a Digitech RP-500 (now obsolete) for about 12 years and I used it mostly as stomp box multi effect unit. And just in the past few weeks, I decided to fool around with the Amp Modeling (which I thought would be really cheesy as digital reenactments of the whole series of amps from Vox to Marshall to Hiwatt to Mesa Boogie etc.) Literally like 50 different amps from the earliest years to the newest. And I was chasing around comparing the sound through a straight Gallien Krueger clean adjusted amp with 2-10's from the 70s to a bunch of KZbin's testing out the actual amps. I was so pleasantly surprised at just how close the digital modeling was to the actual tube amp. And it's been a lot of fun. I also have an old Fender Princeton, probably from the 60s, that had the original Fender speaker that was fairly weak but it would break up really nice at higher volumes. Sort of a combination of the amp break up but mostly it was speaker break up. Then I decided, on a lark, to put in a pricier bigger magnet Neodymium speaker and, as a result, the amp is much louder and it's nearly impossible to break it up unless I go close to full blast. So I've been a bit torn between the lesser power and the breaking up and the 50% louder and mostly clean.

[@Bad_Phil]

Hahahaha, Tim the car bought from your Mom is brilliant! I bought my Dad's Datsun B-210 and pulled the back seats our to haul my 1975 50 watt JMP and 4x12 to gigs (and 2 guitars etc). It was like the clown car joke, as I'd pick up the singer and then pull all this gear our of this little car LOL All I can say is that I must have been allot stronger back then, as all I can manage now is a 2x12 :-(

[@rickflippin1]

I had the same plexi with 8 10’s awesome amp awesoooooooome miss it

[@jacksonrich6398]

Wow. First time here & I quote @Mac128k, “Let me just watch a few minutes of this...20 minutes later.” Great quality video, host and very informative. Love the guest John T. Love that tone and melody! SUBSCRIBED!!!👍

[@danpfeifer7618]

Thanks for sharing Tim! I always look forward to your Saturday morning videos. Coffee, guitar and Tim!

[@SirVicc]

Endlessly loved this video. Why has Norm had him hidden away for so long? Use this guy's knowledge!

[@minder4u1]

I admire all your work Mr. Pierce thanks for your videos

[@nataroonytrontime3976]

I love the way your studio looks. Very small and sweet. My dream

[@duanewilson3941]

Yikes Tim, that guitar tone sounds crazy good. Tasty licks.

[@datamasked623]

My most prized possession is my 1983 Marshall 2203...with the EL34s. I bought it from a music store that had no idea what it had when I was 16. Lol. I can scare away large predators it’s so loud. Love that thing. I know EXACTLY what you mean about the difference between distortion from a Marshall and Fender.

[@Twinhit]

Love this channel. Great musician who genuinely loves to play. Extremely informed. Fender... definitely for cleans and pedals for the dirt, iron and steel.... otherwise Marshalls for the nitty gritty insanity. VOX.... if you want to hold someone's hand. And Fender again if you just want to let it be. Vox wah when you want to wok-awoo wok-koo-wow cry like a little baby and start a bonfire on your stage of make believe.

[@axeist92126]

The Brown Deluxe is about $3K. Just worked on one. I have a '68 Reissue Princeton Reverb and it is just at home with a D'Angelico archtop as with a Telecaster.

[@ResoBridge]

As far as I know the first Gibson amplifier Charlie Christian bought and used was the Electric Hawaiian 150. These were originally designed, made and sold as 'bundle' with the Gibson EH150 lap steel. Gibson also paired that amplifier with the Electric Spanish 150, the guitar that Christian played The pickup on the ES150 that became known as the Charlie Christian pickup was also originally designed and used on the EH150 lap steel. Neither the amp or the pickup were designed for Christian, but rather for the earlier lap steel. The amplifier was actually designed by Lyon & Healy, with the help of Alvino Rey, and made by them for Gibson.

[@damonedwards6724]

Awesome interview and I learned something about classic amps and the order of best of them!!!! 😎🎸 thanks man!!!

[@paulcasner6549]

I had a Gibson 160 watt combo tube amp with 4 10s, weighed a ton. Best reverb I ever had. It was dark ,like a Marshall. Wish I still had it.This was 50 years ago.

[@buzzcrumhunger7114]

John's talk about fixing amps is the same thing I run into fixing copiers EVERY DAY. (And my late wife, a nurse, saw it from the dr.'s perspective as well: we cannot CURE, we can only TREAT.) An old amp is like an old car: if I fix ten things, there are ten more things waiting to break. Some of those next things to break can mess up what you already fixed or be somewhere completely different. Lucky for me, old tube amps are MUCH SIMPLER! Like Lego's for big kids. Louder, too.

[@HeleneLogan]

What a fun interview, thoroughly enjoyed that. And such sweet playing---Nice!