The new solid body models were based on existing designs: the Phantom-styled Delta, Bulldog-styled Invader and Fender/Vox Consort-styled Thunderjet V260. This was in conjunction with JMI, Eko, and US distributor Thomas Organ, and was known as EME. As well as the much desired Mark (teardrop) and Phantom models, Eko produced a range of models not dis-similar to the UK Consort, and all named after British world war two aircraft (with the possible exception of the Vox Harlem): the Meteor (Gloster Meteor), Hurricane, Tempest (Hawker Hurricane & Tempest), Spitfire (Supermarine Spitfire), Bulldog (Bristol Bulldog, actually slightly pre-war), Super Meteor, and Harlem.īy 1967, with demand increasing still, a new plant was set up in Italy, producing a redesigned, but significantly slimmed down range of Vox guitars. The JMI plant in Dartford could not keep up with worldwide demand, and production of additional solid body models was allocated to the Eko factory in Italy from 1965. During world war two there were British naval vessels named HMS Ace, HMS Consort, HMS Escort, and American aircraft named Phantom, Dominator, Apache, Scorpion and Marauder. Others are not so clear, but with the second world war still looming large in the minds of British citizens, it may be that many of these guitar names have military origins. Likewise Shadow almost certainly refers to the early sixties British band of the same name - actually THE biggest band in Britain at the dawn of the 1960s, and Vox endorsers too. The name Soundcaster is clearly derived from Stratocaster, as was the instrument itself. Some clearly have musical references: Soloist, Duotone, etc. The names of Vox guitars are quite interesting in themselves. Certainly numerous prototypes and test models were made including the one-off Vox Kensington made for the Beatles. Certainly Vox solid bodies were being produced at Dartford by 1965, at least to some extent. It is tempting to suggest the differing models with the same names shown in the 1962 Vox Catalogue and 1963 Vox Catalogue represent the work of each company, although this is pure conjecture. Supposedly, Two UK furniture manufacturers (Stuart Darkins and then later, G-plan) produced Vox bodies and necks which were then assembled with Vox electronics at the Vox Dartford factory. The very earliest British instruments bear a remarkable similarity to certain early sixties models made by Fenton Weill it is not clear whether these were manufactured by them, or a third company produced for both. Vintage Vox solid bodies like the teardrop-shaped Mark VI and the Phantom have made Vox guitars famous, and were produced separately in Britain and Italy, but there were very many lesser-known models produced throughout the 1960s, some of which sold in large numbers, like the Shadow, Stroller and Clubman, whilst some are incredibly rare, like the Apache and Scorpion. The two plants made noticeably different guitars. and Italian guitar company Eko, whilst British Vox's were still produced by JMI. From the mid 1960s US guitar stores were stocking Vox guitars made in Italy by EME - a consortium made up of JMI, Thomas Organ co. Initially JMI-made instruments were exported worldwide, but the Dartford plant could not fill demand. Different guitars were available to different markets at different times. Thanks to Bert McIntyre at Guitar Showcase in San Jose, and Frank Meyers.Vox produced solid body guitars in the UK from 1961 until 1967, in Italy between 19, and Japan from 1969 onwards. To make your regular player guitar sound like this, you’d have to filter it through EQs and compressors… And did we mention – it’s cheap! It’s light, wacky-looking and sounds terrific. And unlike a ’60s Strat, guitars like this can still be found in reasonably good condition and for well under a grand. The EV3T’s original $50 retail price was about a sixth of what you’d pay for Fender Stratocaster. It’s great fun – unless you don’t like loud, whiny feedback fun! Value Like so many other ’60s Japanese guitars, this thing is a screaming banshee with full-on distortion. The middle and neck positions are great for strumming, but our favorite combo is the bridge and neck pickups together, with just a bit of overdrive, for a full-bodied and outspoken tone. The pickups are bright and chimey, with the bridge position possessing the most nasal snarkiness. But the EV3T more than makes up for any shortcomings with its sound.
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