Vox AC-30/6 Twin, *LOCAL PICKUP ONLY* Tube Amplifier (1962)
1
/
of
15
Couldn't load pickup availability
Item #10501
Vox AC-30/6 Twin, *LOCAL PICKUP ONLY* Model Tube Amplifier (1962), made in Dartford, Kent, England, serial # 6000N, Fawn Rexine covering finish.
One of the most revered of all amplifiers, the Vox AC-30 was literally THE sound of the UK Beat Era and the US British Invasion and is still one of the most popular amps in the world among those who prize tone above all. JMI (Jennings Musical Industries) of Dartford, Kent could hardly keep up with the demand as the Beat Boom took England by storm; the players of the time used a number of now-classic guitars but nearly all owned -- or coveted -- an AC-30.
Conceived initially as a response to Fender's revered Twin amplifier, the AC-30 Twin was a complete overhaul of its single-speaker predecessor, overcoming one major problem that all amp manufacturers have had to contend with at some point; simply that there was no single speaker made at the time that could handle the ambitious output of the higher-powered amps of the time. This led to speakers rated for sometimes half the power output of a circuit being used and often blowing as a result of the increasingly heavy abuse and high volumes subjected to by touring musicians.
The twin overhaul also featured a completely redesigned chassis, abandoning the old top-and-bottom format that had been proven fairy detrimental to the longevity of the amplifiers as touring musicians threw cables and pedals in the back of the amp where all the fragile tubes were mounted upright. The new version was a part-aluminum, part-steel construction, containing everything at the top of the cabinet, much like Fender amps of the day, including the tubes. Unlike in Fender amps, these were mounted front-ward in the chassis and had accompanying vents at the top-front of the cabinet.
By fall of 1960, the AC-30 Twin was given the same split-front styling as the rest of the Vox line-up of the day, covered in Fawn Rexine with brown-backed diamond grille cloth. Three handles were fitted at the top alongside three brass vent louvers for the aforementioned vents. Anyone who has carried an AC-30 up (or down) narrow club stairs appreciates the extra end handles! According to Jim Eleya's exhaustive research, this particular amp was made around the middle of October, 1962 just days after the release of The Beatles' fist 45 "Love Me Do"!
The AC-30 Twin was essentially the earlier AC-15 with twice as many EL84 power tubes and doubling up the speakers, along with a couple other changes to accommodate the higher power rating. These were notably a GZ34 rectifier tube and overall higher voltages to give the AC-30 more headroom. As groups in the UK moved into bigger venues this became crucial; the desire for a heavily overdriven guitar sound was still a few years away!
This particular amp is the AC-30/6 version of the Twin model, featuring Dick Denny's brainchild 6-input/3-channel design; one channel labeled normal, one brilliant and one vib/trem. The additional channel was made possible by going from EF86 pentodes to the dual-triode 12AX7, allowing for two gain-stages per tube, as opposed to one. The 12AX7 was comparatively a far less problematic tube in terms of noise and reliability, though arguably considered less Hi-Fi with a narrower frequency range. This version of the AC-30/6 was in production between late 1961 and early 1963 and is the first to feature the copper anodized escutcheon panel. Running four EL84 power tubes into two Oyster T.530 speakers, this AC-30 puts out around 30 watts, true to its name.
Many AC-30s from the early-mid 1960s have generations of heavy use behind them, and the wear to prove it. This one is an exception, appearing to have survived the Beat Boom and beyond remaining not much gigged, if at all. Sort of a shame in some ways, as it is a truly fantastic sounding amp, especially if you have opportunity to crank it up!
Height is 20 1/2 in. (52.1 cm.), 27 1/4 in. (69.2 cm.) width, and 10 1/4 in. (26 cm.) deep.
This particular AC-30 is a spectacularly well-preserved example, with only minimal overall wear. It is quite rare to find one of these fawn-covered beauties in this sort of condition, most were gigged into the ground 60 years ago. The earlier covering is thinner and more prone to damage than the later black models; this one shows just some scuffing and light wear, mostly on the lower areas. The serial number plate on the back has some scratches and scrapes but is not bad overall; it bears the 'good luck' serial number of 6000. The copper top panel is VERY clean with minimal disturbance.
Internally, the AC-30 is original and largely untouched, except for the bare minimum component replacements needed to have the amplifier working to modern standards. The transformers are marked OH-83/Albion, OH-114/Albion and PE-241/Albion; all are original to the amp. The two blue Oyster T.530 speakers are original including the cones. The amp has received the most non-intrusive level of our typical service consistent with continued usability including replacement of electrolytic caps, cleaning of all jacks, pots and sockets and a new grounded 3-prong power cord installed. This is simply the coolest AC-30 we have ever had, a fantastic collector's piece, beat era masterpiece and a spectacular sounding amp by any standard. Excellent Condition.
View full details
One of the most revered of all amplifiers, the Vox AC-30 was literally THE sound of the UK Beat Era and the US British Invasion and is still one of the most popular amps in the world among those who prize tone above all. JMI (Jennings Musical Industries) of Dartford, Kent could hardly keep up with the demand as the Beat Boom took England by storm; the players of the time used a number of now-classic guitars but nearly all owned -- or coveted -- an AC-30.
Conceived initially as a response to Fender's revered Twin amplifier, the AC-30 Twin was a complete overhaul of its single-speaker predecessor, overcoming one major problem that all amp manufacturers have had to contend with at some point; simply that there was no single speaker made at the time that could handle the ambitious output of the higher-powered amps of the time. This led to speakers rated for sometimes half the power output of a circuit being used and often blowing as a result of the increasingly heavy abuse and high volumes subjected to by touring musicians.
The twin overhaul also featured a completely redesigned chassis, abandoning the old top-and-bottom format that had been proven fairy detrimental to the longevity of the amplifiers as touring musicians threw cables and pedals in the back of the amp where all the fragile tubes were mounted upright. The new version was a part-aluminum, part-steel construction, containing everything at the top of the cabinet, much like Fender amps of the day, including the tubes. Unlike in Fender amps, these were mounted front-ward in the chassis and had accompanying vents at the top-front of the cabinet.
By fall of 1960, the AC-30 Twin was given the same split-front styling as the rest of the Vox line-up of the day, covered in Fawn Rexine with brown-backed diamond grille cloth. Three handles were fitted at the top alongside three brass vent louvers for the aforementioned vents. Anyone who has carried an AC-30 up (or down) narrow club stairs appreciates the extra end handles! According to Jim Eleya's exhaustive research, this particular amp was made around the middle of October, 1962 just days after the release of The Beatles' fist 45 "Love Me Do"!
The AC-30 Twin was essentially the earlier AC-15 with twice as many EL84 power tubes and doubling up the speakers, along with a couple other changes to accommodate the higher power rating. These were notably a GZ34 rectifier tube and overall higher voltages to give the AC-30 more headroom. As groups in the UK moved into bigger venues this became crucial; the desire for a heavily overdriven guitar sound was still a few years away!
This particular amp is the AC-30/6 version of the Twin model, featuring Dick Denny's brainchild 6-input/3-channel design; one channel labeled normal, one brilliant and one vib/trem. The additional channel was made possible by going from EF86 pentodes to the dual-triode 12AX7, allowing for two gain-stages per tube, as opposed to one. The 12AX7 was comparatively a far less problematic tube in terms of noise and reliability, though arguably considered less Hi-Fi with a narrower frequency range. This version of the AC-30/6 was in production between late 1961 and early 1963 and is the first to feature the copper anodized escutcheon panel. Running four EL84 power tubes into two Oyster T.530 speakers, this AC-30 puts out around 30 watts, true to its name.
Many AC-30s from the early-mid 1960s have generations of heavy use behind them, and the wear to prove it. This one is an exception, appearing to have survived the Beat Boom and beyond remaining not much gigged, if at all. Sort of a shame in some ways, as it is a truly fantastic sounding amp, especially if you have opportunity to crank it up!
Height is 20 1/2 in. (52.1 cm.), 27 1/4 in. (69.2 cm.) width, and 10 1/4 in. (26 cm.) deep.
This particular AC-30 is a spectacularly well-preserved example, with only minimal overall wear. It is quite rare to find one of these fawn-covered beauties in this sort of condition, most were gigged into the ground 60 years ago. The earlier covering is thinner and more prone to damage than the later black models; this one shows just some scuffing and light wear, mostly on the lower areas. The serial number plate on the back has some scratches and scrapes but is not bad overall; it bears the 'good luck' serial number of 6000. The copper top panel is VERY clean with minimal disturbance.
Internally, the AC-30 is original and largely untouched, except for the bare minimum component replacements needed to have the amplifier working to modern standards. The transformers are marked OH-83/Albion, OH-114/Albion and PE-241/Albion; all are original to the amp. The two blue Oyster T.530 speakers are original including the cones. The amp has received the most non-intrusive level of our typical service consistent with continued usability including replacement of electrolytic caps, cleaning of all jacks, pots and sockets and a new grounded 3-prong power cord installed. This is simply the coolest AC-30 we have ever had, a fantastic collector's piece, beat era masterpiece and a spectacular sounding amp by any standard. Excellent Condition.
