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The classic ‘curly cable’, the VCC has been part of some of the most historic moments in rock and roll history. A unique multi-gauge design uses individual conductor types that are optimized for their particular frequency ranges, resulting in a reliable coiled cable that is truly musical. The cable is nine meters long (29.5 feet) and comes in your choice of black, blue, red, silver or white.
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Vox Electric Guitars Basses and Amplifiers Vintage Vox guitars from the 1960s
Two UK-produced Vox Ace guitars from 1962/3
Vox Prototype Designer Mick Bennett drills holes for control knobs, of a Vox Mark guitar at the Dartford plant, United Kingdom
The Jennings shop, 100 Charing Cross Road, London, specialised in Vox guitars
The Vox Super Ace was a mid-priced British solid body electric guitar, produced by JMI at their factory in Dartford, Kent. It was broadly modelled on the Fender Stratocaster, and a sibling model to the dual-pickup Vox Ace . Both the Ace, and Super Ace (along with several other models), were redesigned in 1963 with a new body shape, headstock style, and pickup layout - only increasing the resemblance to the aforementioned Fender. The Super Ace had a 1963 price tag of £47 5S. It's a pretty nice playing guitar with some lovely sounds - check out the videos on this page, and in the Vintage Guitar and Bass supporting members area
The Vox New Escort was Vox's version of the Fender Telecaster, at a time when American guitars were out of reach for most British musicians. It was made by JMI in England, for the British market, and unlike the majority of other models, didn't have an Italian-made equivalent. But the New Escort wasn't a slavish Fender copy, adding Vox's stylish teardrop headstock to the tele-style body, with a stop tailpiece and two Vox V2 single coil pickups. And it's a pretty substantial, and nice playing guitar, with a very comfortable neck. Check out the images, specifications, and watch a video of it in action. There is also extra content in the vintageguitarandbass supporting members area.
The Symphonic bass was built in the UK, by Vox parent company JMI. It was the Vox equivalent to the Fender Precision bass, and was one of the most expensive Vox guitars produced. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. When Vox hit financial problems in 1968, unsold guitars and basses were passed on to Dallas Arbiter, who briefly sold the excess Symphonic bass stock as model 4537. This bass, although with a neck date of February 1966, was most likely one of the unsold Vox guitars sold on by Dallas Arbiter. Check out the bass, and the two video demos through 1960s Ampeg and WEM amplifiers.
The Vox Stroller was the brand's entry level electric solid body guitar, fitted with just one pickup and a fixed tailpiece. Although aimed at student guitarists, it wasn't a terrible instrument, but did lack somewhat in adjustability, having no accessible truss rod and only a floating rosewood bridge. But this example is actually quite an improvement on earlier versions, with a standard 1/4" jack and a solid mahogany body. 1967 price £18 2s. JMI ceased UK guitar production in late '67, and combined with decreasing demand for the Stroller, this surely must be one of the last examples shipped.
A nice example of the Vox Clubman II bass, built by JMI in Dartford, Kent in 1963. This is a lightweight bass, short (30") scale and very easy to play. It is an early example, and as such has a thin black scratchplate and side mounted, coaxial output jack. JMI offered left handed examples of their solid body Vox guitars and basses at 10% premium. Production numbers are unclear, but left-handed examples rarely come up for sale
The Clubman was one of the earliest UK-built guitars produced by Vox at it's Dartford plant. As an entry level model it was very light, fitted with the most basic components, and not made of the most select woods, but it's unique styling, low price and easy playability made for a relatively popular guitar. Initially there were two guitar models, the single pickup Clubman I and dual pickup Clubman II, and a companion Clubman bass - check them out in the 1962 Vox catalogue . The guitar was redesigned in the middle of 1963, getting a new Strat-style body, but examples with the older body style were still being shipped perhaps as early as the start of 1964.
The Vox Consort was produced in the UK throughout the mid 1960s; originally modelled on the Fender Jaguar , it was one of JMI's better quality instruments, with many features not seen on lower-priced guitars. This early example mixed innovative tone circuitry with Vox's original chrome-covered V1 pickups, for "every possible variation of tone from bass to sharp brilliance". By the middle of 1963, the model had been redesigned, becoming less Fender-esque and more Vox - have a look at the redesigned Consort in the 1963 Vox catalogue
A recollection of life inside JMI's two UK Vox factories in Dartford: Dartford Road, and West Street, Erith, circa 1965/66; building Vox solid body guitars; working on special instruments including a highly ornate Vox Soundcaster for the Royal family and a five-string Symphonic bass for the Hollies; plus sharing your sandwiches with Bill Wyman! By Tony Russell.
The Symphonic bass was one of the models produced by JMI in the UK, primarily for the early sixties British market. It was comparatively high priced, still cheaper in the UK than the Fender Precision that it was emulating, but not by much, and actually more expensive in the USA. It only sold in small numbers in Britain and barely at all overseas. No equivalent model was produced in Italy, and although it remained in UK price lists as late as 1967, it is unlikely many instruments were shipped beyond 1965.
This early Vox brochure comes from summer 1963, still the early days of JMI production, and shortly before the beat boom of the mid 1960s. At this time, Vox guitars were built in the UK, primarily for the British market. The company had refined it's production methods, to some extent, and many of the guitars shown are quite different from those in the Choice of the Stars catalogue from late 1962. Includes primarily Vox solid body guitars, basses and amplifiers. See other Vox catalogue scans here .
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Here we have a vintage Vox Sidewinder IV hollow body electric bass. Made in Italy by EKO around 1967 or 1968. Serial number 386429. It is a hollow body bass with 2- pickups and some amazing on board circuits. It has a built in G- Tuner, Treble booster and a Distortion circuit which produces some of the best bass drive we have ever heard. The color is a dark cherry color. These basses are known for their very narrow nut and fingerboard with. It just makes them so easy to play. These ... more
60s Vox Crucianelli stock tuning key for the Cougar bass and other models tuner is bass side in good working condition.... more
This is a great opportunity to own a rare, original Vintage 1968 Vox Catalog . Probably their best catalog ever, 32 pages. In very good condition for its age and use. Distributed by Thomas Organ Company. Every item has a hand written sales price from the dealer. See photos. Very nice rare music catalog. See photos: front and back cover, center staples, several pictures of items and prices (wish I could buy a few at these prices).... more
Vintage original 1967 VOX Apollo Hollowbody Bass Plays and sounds great and has some killer original built in effects. Neck angle is good and playability is superb. Nice low action more
1965 vintage Vox Spitfire Candy Apple Red! Video available . This 1965 Vox Spitfire is from the first run from Italy and has the UK build standards-1966-68 models are lighter and have glued necks. The first run serial number is on the Brazilian Rosewood neck near the heel, and not on the neck plate. I have provided pictures of both, it also has the smaller square logo on the headstock. This guitar is truly a great player as the inclused video will demonstrate *If you are interested in ... more
1966 vox cambridge guitar amp has reverb and tremolo that both work great original speaker amp sounds greatshipping lower 48 only ... more
Another Krazy item from Slappys Vintage 1964 Vox PhantomMade in EnglandRare Hank Marvin TremoloBlack finishEbony Fretboardoriginal Headstock in great shapeserial # 527xx stamped on the back of the headstockMatching date stamps on the neck heel, and heel pocket of bodyDEC 1964 original finishincludes original Vox (made in Italy) Case w / Keys Back story on this guitar Back in the late 90s when Ebay just started I bought this guitar from a friend of mine to sell on Ebay. It was... more
Vox 4 String Electric Bass Guitar Red Finish Hardshell case included Recent set upElectronics tested and in good working orderSerial # 263879Good condition showing minor scratching and dings One Knob is missingLacquer checking on back of neck, behind 4 th fretTwo tuner buttons have been replacedHard Case is included... more
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Rose-Morris were selling Shaftesbury-branded Rickenbacker copy instruments from the late 1960s right through the 1970s. The 3263 bass was one of the first models, (alongside the 3261 six string and 3262 twelve string) available from late 1968 until about 1974. The earliest incarnation was a set neck bass, produced very briefly in Japan. But production quickly moved to Italy. This bolt-on neck example was built by Eko, in Recanati, using the same hardware and pickups as fitted to Eko, and Vox basses built around the same time. It's certainly a fine looking bass, and not a bad player either.
This very early, and pretty rare British-built guitar is branded Hohner London. Hohner were, of course, a German company, better known for their harmonicas and accordions, but they were keenly expanding into guitars at the birth of the 1960s. This model, along with the Hohner Amazon and (particularly) the Hohner Holborn, bear some similarity with Vox guitars of the same period; furniture manufacturer Stuart Darkins constructed bodies and necks for both brands, with Fenton Weill assembling them using their hardware and pickups. These guitars do have some hardware peculiarities, and they are not the most adjustable of instruments, but they actually play very nicely, being solidly built out of some very nice woods. Check out the video on this page.
The Vox Super Ace was a mid-priced British solid body electric guitar, produced by JMI at their factory in Dartford, Kent. It was broadly modelled on the Fender Stratocaster, and a sibling model to the dual-pickup Vox Ace . Both the Ace, and Super Ace (along with several other models), were redesigned in 1963 with a new body shape, headstock style, and pickup layout - only increasing the resemblance to the aforementioned Fender. The Super Ace had a 1963 price tag of £47 5S. It's a pretty nice playing guitar with some lovely sounds - check out the videos on this page, and in the Vintage Guitar and Bass supporting members area
The Vox New Escort was Vox's version of the Fender Telecaster, at a time when American guitars were out of reach for most British musicians. It was made by JMI in England, for the British market, and unlike the majority of other models, didn't have an Italian-made equivalent. But the New Escort wasn't a slavish Fender copy, adding Vox's stylish teardrop headstock to the tele-style body, with a stop tailpiece and two Vox V2 single coil pickups. And it's a pretty substantial, and nice playing guitar, with a very comfortable neck. Check out the images, specifications, and watch a video of it in action. There is also extra content in the vintageguitarandbass supporting members area.
Catalog scan. The 1969 Fender Lovin' Care catalog consisted of 48 pages of electric guitars, basses, amplifiers, steel guitars, acoustic guitars, banjos and keyboards. Like the previous catalog, this featured the company's guitars in a variety of interesting settings around California, from the Whiskey-A-Go-Go, to the Hollywood Bowl. Several instruments were making their first appearance amongst it's pages: the Telecaster bass, Montego and LTD jazz guitars, and the Redondo acoustic. It was the final catalog appearance, however, of the Electric XII, Bass V, Duo-Sonic, Coronado I and Coronado Bass I.
The Eko Ranger series of guitars was incredibly popular in the second half of the 1960s and through the 1970s, selling in very large numbers. The Ranger Folk was 1 1/4" smaller, and 1" shallower than the Ranger VI and XII - and with a narrower waist. Not a bad guitar; a little quiet, but pretty playable. These were great value in 1973, and because they sold so many, they are easy to find and excellent value today.
The Symphonic bass was built in the UK, by Vox parent company JMI. It was the Vox equivalent to the Fender Precision bass, and was one of the most expensive Vox guitars produced. It was actually a great playing bass, rather similar to the Precision in feel and sound, but was probably just too expensive compared to an actual Fender and consequently sold poorly. When Vox hit financial problems in 1968, unsold guitars and basses were passed on to Dallas Arbiter, who briefly sold the excess Symphonic bass stock as model 4537. This bass, although with a neck date of February 1966, was most likely one of the unsold Vox guitars sold on by Dallas Arbiter. Check out the bass, and the two video demos through 1960s Ampeg and WEM amplifiers.
The 1968 Shaftesbury 'Electric Guitars' catalog was just four pages long, and contained four guitar models: the six string Barney Kessel-style 3264 ; and three Rickenbacker-styled semi-acoustic models: the six-string 3261 , the twelve string 3262 and the 3263 bass. Shaftesbury was the house-brand of major UK distributor Rose-Morris , and seems to have been launched as a response to the company's loss of it's distribution deal with Rickenbacker. The guitars were mid-priced, and built in (initially) Japan, and later Italy, by Eko
1970 Rose-Morris catalog, dated April 1970. It featured 6 electric guitars, 32 acoustic guitars, 3 basses and 1 steel guitar. It contains the following instruments, over 20 pages: Electric guitars: Shaftesbury 3261, 3262, 3264, 3265, 3400; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Eko Rio Bravo, Rio Bravo 12, Ranchero, Ranchero 12, Colorado, Ranger, Ranger Folk, Ranger 12; Aria 1674, 1675, 1676, 1679, 1680, 1695, 'John Pearse' Jumbo, 'John Pearse' Folk; Rose-Morris 15-11, Kansas, Georgian, Florida; Suzuki 1663, 1664, 1665, 3054, 3055, 3060; Tatay 1713, 1714, 1715; Peerless 3052; Steel guitar: Aria 3425
The sixteen-page 1971 Rose-Morris catalog featured electric guitars by Rose-Morris' own brand, Shaftesbury, and budget brand Top Twenty; aswell as acoustics by Eko, Aria, and for the first time Ovation. The catalog contains the following instruments: Electric guitars: Shaftesbury 3261, 3264, 3265, 3400, 3402; Top Twenty 1970; Bass: Shaftesbury 3263, 3266; Top Twenty 1971; Acoustic guitars: Ovation: Balladeer, 12 String, Glen Campbell, Glen Campbell 12 string; Eko Rio Bravo, Rio Bravo 12, Ranger, Ranger Folk, Ranger 12, Colorado, Ranchero, Ranchero 12, Studio 'L'; Rose-Morris Florida; Aria 'John Pearse' Jumbo, 'John Pearse' Folk
A detailed look at an early 1970s Fender Precision bass guitar in custom black finish, with rosewood fretboard. 1972 list price, $307.50. The Fender Precision had been shipping since at least very early 1952 - with just one re-design circa 1957. This example, then, shows a model already two decades old, but barely changed since the '57 revamp. Fender got it right first time around, and although there are numerous minor cosmetic differences, the essence of this bass is effectively the same as it was in '52: a simple, single pickup instrument with a GREAT sound. Check out the demo video through an old Ampeg B15. It's no wonder this is the bass that everybody wants!
The Vox Stroller was the brand's entry level electric solid body guitar, fitted with just one pickup and a fixed tailpiece. Although aimed at student guitarists, it wasn't a terrible instrument, but did lack somewhat in adjustability, having no accessible truss rod and only a floating rosewood bridge. But this example is actually quite an improvement on earlier versions, with a standard 1/4" jack and a solid mahogany body. 1967 price £18 2s. JMI ceased UK guitar production in late '67, and combined with decreasing demand for the Stroller, this surely must be one of the last examples shipped.
A nice example of the Vox Clubman II bass, built by JMI in Dartford, Kent in 1963. This is a lightweight bass, short (30") scale and very easy to play. It is an early example, and as such has a thin black scratchplate and side mounted, coaxial output jack. JMI offered left handed examples of their solid body Vox guitars and basses at 10% premium. Production numbers are unclear, but left-handed examples rarely come up for sale
Not to be confused with the Gibson ES Artist launched by Gibson in 1979; this ES Artist was an early model designed by the Gibson research and development team in Kalamazoo in 1977, the instruments themselves constructed by Gibson artist Chuck Burge. It was planned for launch as a high end semi acoustic with 335-style construction (central maple block) and innovative circuitry - but was pulled at the last minute, being deemed too expensive. Apparently, several examples were produced with varying specifications, though exactly how many actually left the Kalamazoo plant is unclear. Certainly two guitars were sold to LaVonne Music by Gibson in around 1980. Read more about the development of this guitar, with details from Chuck Burge and the story of it's sale to LaVonne music
The Hofner Committee was a truly beautiful guitar produced in Germany, primarily for the UK market. It was a large bodied (initially 17 1/2") guitar with a carved spruce top, available as an acoustic or electric guitar. By the early sixties the carved top was replaced with a laminate, and although still a very fine guitar, the earlier carved top examples, with frondose headstock (like the example shown here) are far more highly prized amongst musicians and vintage guitar collectors.
The Gretsch Chet Atkins Tennessean, or model 6119 was Gretsch's best selling hollow body of the 1960s. This wonderfully faded example from 1965 was originally Dark Cherry Red, but has turned a mid-orange brown. The original color, however, can be seen underneath the pickup surrounds. 1965 specs: maple body, two-piece neck, Brazilian rosewood fretboard and Hi-Lo 'Tron single coil pickups. Nickel plated Gretsch Bigsby tailpiece.
The 1965 Gretsch catalog, or catalog #32, featured 10 hollow body electric guitars, including the newly launched Gretsch Viking; four solid body electrics, including the Astro Jet - making it's only catalog appearance; just one bass, the single pickup PX6070; nine acoustics and 12 tube amplifiers. Pride of place went to the Chet Atkins Country Gentleman that adorned both the front and back covers. 24 pages, six of which are in full color.
Loose frets are especially problematic in certain old guitars, but are generally very easy to fix. You'll be amazed at the difference you can make with just a few tools, a bit of knowledge, and a little time. Fixing loose frets can eliminate fret buzz, remove sharp fret ends, and greatly improve the tone of any guitar. If your luthier bill will be greater than the value of your guitar, definitely time to have a go yourself!
Hagstrom guitars were distributed in the mid-1960s United States by Merson of USA. This eight page 'worlds fastest playing neck' catalog, printed in two-colors contained six solid body electrics, three solid body basses, two electric acoustic guitars, two electric acoustic basses and five acoustics.
The President was produced by Hofner in Bubenreuth, Germany, specifically for Selmer, who distributed the brand in the United Kingdom, Australia, New Zealand, South Africa, and other commonwealth nations. The President was a hollow body electric acoustic, available as a full body or thinline, and with blonde or brunette finish. It was a great playing guitar that sold fairly well in the second half of the 1950s, throughout the 1960s, and into the very early 1970s. The example shown here is a full-body depth guitar in blonde - and as a 1965 guitar, one of the last to feature the rounded Venetian cutaway. From late 1965 until 1972, the President sported a sharp Florentine cut. Naturally, such an electric acoustic suggests jazz and blues, but many of the original British Hofner President players were part of the rock 'n roll, skiffle and beat scenes of the late 50s and early 60s.
"The Choice of Professional and Student Musicians Everywhere" This eight page catalogue was included as an insert in the 1963 annual "school music" issue of Downbeat magazine (September 1963). As well as keyboards and pedal steels, this catalog contains seven guitars, three basses and ten amplifiers - from student guitars such as the Musicmaster and Duotone to professional models like the new Jaguar .
The newly designed Les Paul Recording guitar was released in 1971, in many ways as an updated version of the Les Paul Professional that had debuted two years earlier in 1969. The new guitar came with a new owners manual explaining the (somewhat complicated) controls, their operation, and giving other specifications, including recommended strings, action and control settings. Compare with the broadly similar owners manual for the Les Paul Personal / Professional
The Les Paul Triumph bass, like the Les Paul Recording guitar was first shipped in 1971, but was based on a slightly older model, the 1969 Les Paul Bass . Functionally, these basses were very similar, although the Triumph did offer low and high impedance operation, without the need for a transformer cable. This owners manual details the basses specifications, suggests a string set, recommended action, and suggests a series of tonal settings for rock, country and solo bass playing.
20 pages, black and white with color front cover. In the middle of 1981, Rosetti took over distribution of the Gibson line in the UK. Rosetti were a very big name in Britain, having distributed Epiphone since at least 1963, as well as Hagstrom and others. This catalogue was produced at the tail end of 1981, and introduces a number of models to the UK, such as the MV-II , MV-X guitars and the Victory basses , the GGC-700 and the Flying V bass. Some of these models were so short-lived that they were actually never included in US brochures. The cover image (reproduced in part here) showed some of the earliest demonstration models, including a Victory with a highly unusual white scratchplate.
A closer look at a 1981 Gibson Victory MV-II electric guitar. The Gibson Victory MV, or 'Multi-Voice' guitars had very wide tonal palettes; with coil-tapped humbuckers they could produce typical Gibson tones, but were also designed to 'out-Fender' Fender. Two models were launched in the summer of 1981. Whilst the MVX, was designed to do everything a Stratocaster could do, the MVII was 'primarily for the discerning country player' - placing it squarely against the Telecaster .
Gibson produced a series of single sheet flyers in 1982, promoting some of their newer models ( Victory bass and Multi-Voice guitars , Chet Atkins Classic Electric and the already best-selling Sonex-180 Deluxe ), and a few classic reissues ( 30th anniversary Les Paul Standard and Heritage Flying V ) - all of which were received with some applause at the 1982 Atlanta NAMM show. These flyers all contained one or more side-panel, that folded out with model specifications, but were also designed to be reproduced in guitar magazines of the time without the extra fold out.
The Clubman was one of the earliest UK-built guitars produced by Vox at it's Dartford plant. As an entry level model it was very light, fitted with the most basic components, and not made of the most select woods, but it's unique styling, low price and easy playability made for a relatively popular guitar. Initially there were two guitar models, the single pickup Clubman I and dual pickup Clubman II, and a companion Clubman bass - check them out in the 1962 Vox catalogue . The guitar was redesigned in the middle of 1963, getting a new Strat-style body, but examples with the older body style were still being shipped perhaps as early as the start of 1964.
The Vox Consort was produced in the UK throughout the mid 1960s; originally modelled on the Fender Jaguar , it was one of JMI's better quality instruments, with many features not seen on lower-priced guitars. This early example mixed innovative tone circuitry with Vox's original chrome-covered V1 pickups, for "every possible variation of tone from bass to sharp brilliance". By the middle of 1963, the model had been redesigned, becoming less Fender-esque and more Vox - have a look at the redesigned Consort in the 1963 Vox catalogue
The 1965/1966 Selmer guitar catalogue contained guitars by a number of different makers imported for the UK market, the most numerous being German-made Hofner electrics, acoustics and basses. There is also a fairly large Gibson section, but it by no means contains all instruments produced under that brand at the time. Other instruments featured include guitars and basses by Hagstrom and Futurama , and Brazilian acoustic guitars by Giannini. 44 pages, with UK pricing in guineas.
A recollection of life inside JMI's two UK Vox factories in Dartford: Dartford Road, and West Street, Erith, circa 1965/66; building Vox solid body guitars; working on special instruments including a highly ornate Vox Soundcaster for the Royal family and a five-string Symphonic bass for the Hollies; plus sharing your sandwiches with Bill Wyman! By Tony Russell.
Vox was a massive name in 1960s Britain, with guitars and amplifiers widely used by the very biggest names in British music: The Beatles, The Rolling Stones, The Animals, The Hollies, The Dave Clark Five and the Yardbirds, to name but a few. Soon American acts would join the roster, most notably Paul Revere & the Raiders and James Brown, but also countless less well known bands. For a few short years in the mid 1960s, the Vox name was everywhere. Today, vintage Vox guitars are highly collectable, especially the teardrop and phantom styed guitars, and the more unusual models: early JMI guitars and those with complicated inbuilt effects circuitry.
But the story of the 1960s Vox guitars is complicated, with many different guitars made in different plants worldwide, often quite different from each other. But it started in England; JMI were making Vox guitars at a factory in Dartford, Kent (See pic), primarily for Shadows fans in the UK. After Beatlemania, Brian Jones' teardrop Mark VI and the British Invasion of 1964, they could not keep up with worldwide demand, especially in the US. JMI outsourced some production to two Italian factories, EKO in Recanati, and Crucianelli, primarily for the American market, and at it's peak had a huge number of models available. Eventually the UK factory ceased guitar production, and the last few Vox guitars available for several years, were the Vox Giant range guitars, made in Japan.
Today, many of these rare guitars are highly collectable, with vintage Vox guitar values on the rise. They are loved for their crazy shapes and for the exciting sounds from the built-in guitar effects. Have a listen to some vintage Vox soundclips .
Vox guitars have been produced by various manufacturers in the United Kingdom, Italy and Japan; for convenience, you can split 1960s Vox guitars into four main categories. Each had different components, and it is not too difficult to place a guitar in one of these groups, just by looking at controls, pickups etc.
The earliest UK Vox's were solid-body guitars, assembled in the JMI 'Unity Works' plant in Dartford, Kent, with components coming from numerous British suppliers. Later necks were imported from Italy, but even with an Italian neck, these are regarded as the British Voxs. Unable to cope with worldwide demand, a second plant 'West Street' was opened nearby in 1965, but was badly damaged by fire in January 1966. Numerous JMI guitars were produced in the UK, from the Fender-style solid bodies Shadow , Ace , Stroller and Consort , to more original designs, such as the Phantom , Mark and Marauder . These were primarily for the British market, though many were exported to the United States in the early/mid 1960s.
At the same time, there was significant demand for hollow-body instruments, something not easily produced in any numbers at the Dartford plant. So Vox imported a range of guitars from Italian manufacturer Crucianelli. These models include the Vox Lynx , Vox Cougar bass , Vox Challenger , and Escort bass . Furthermore, demand for solid body UK models was so high that certain guitars were produced simultaneously in Britain and Italy (primarily by Eko of Recanati). Italian Phantoms from this period have some differing components and construction from their British-built counterparts.
A late sixties Vox Ultrasonic , produced in Recanati, Italy
The third main phase of Vox production is possibly the best known worldwide. These were the Italian built Vox's from the EME factory in Recanati; a joint Venture between Vox UK, Eko in Italy, and Vox's US distributor Thomas Organ. Most of these instruments were bound for the United States, where they were distributed by the Thomas Organ Company.
Although they have distinctive components, and often built-in electronic effects, most were versions of existing Vox models: primarily the phantom and teardrop shaped guitars (eg Delta, Starstream), Gibson/Gretsch-style single and double cutaway hollow bodies, ( Ultrasonic , Viper , Cheetah, Apollo, Bossman) - plus the Invader and Thunderjet solid bodies.
From 1966 things started going wrong for Vox, ultimately resulting in the company briefly going out of business, and Vox guitar manufacture ending in the UK. By mid 1968, JMI were in the hands of the receiver. Leftover Vox guitars were distributed unbranded (though potentially still with some Vox markings) by Dallas Arbiter.
The last Vox's produced in the 1960s, (and into the early 70s) were the Japanese-made Vox Giant guitars. Aimed at the UK/European market, and first shown at the August 1968 Frankfurt trade fair. These guitars were mainly copies of American designs - Les Paul (and later SG) styled solid bodies and Gretsch Country Gent styled semi acoustics - quite nice guitars, but without the uniqueness of earlier models. These did not sell particularly well, and importation quickly stopped, leaving Vox to concentrate on Amplifiers for the rest of the 1970s.
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