![]() The 25½s are Strat-shaped, the Standard 25 coming in black with rosewood or maple fingerboards, and in cherry with rosewood board, while the Custom 25 is a straight-through coming in walnut again. The 24¾s are sort of Yamaha-shaped for want of a better reference point, the Standard 24 coming in black or cherry, and the Custom 24 straight-through-neck job arriving in walnut. ![]() The range splits now into three groups: three 24¾in-scale guitars four 25½in-scale guitars and two basses. So that is where we have set up production." All of which seems fair enough, although I suspect that cost really should head the list. Only then did we find the complete combination of production capability, quality, consistency, capacity and cost. Vox Ltd's reason for using Japanese production to assemble the new guitars is spelt out in some of their promotional literature as follows: "The UK, the USA or Japan were the only real contenders. Pity, though, that we didn't get a Phantom shape on one of the bodies too - maybe Japanese routers can't handle such long curves? Pickups were also Vox-specified, coming from the well-known DiMarzio factory in New York. ![]() Vox Ltd in North London specified what they wanted to a large extent - guitar technician Adrian Legg got some of the wiring configurations together, and a version of the classic Vox headstock shape is incorporated into the design. It doesn't, however, seem to be a straight case of buying up a line of Jap axes and bunging VOX on the head. What Vox have is a range of some seven guitars and two basses (counting finish variations and fingerboard options) all made, inevitably, in Japan and rather, well, derivative in shape and overall design. I even rather foolishly expected British-made guitars. Now, perhaps, you've an inkling of why I got so excited back in 1981 at the prospect of a revamped Vox range. But all power to Vox for trying it on!Īll this ingenuity and invention eventually dwindled, however, and Vox guitars ceased to be around the early 1970s. Then there was the Guitar Organ, a bizarre forerunner of the guitar synth, in a way, and a decidedly unsuccessful if legendary instrument to boot. boring), the American influence began to creep in towards the middle of the decade and mid-period Vox models were among the earliest blatant Fender copies.īut the old Vox company apart from their amps will doubtless be remembered mainly by older musicians (and Dave Wakeling) for the odd-shaped Phantom models, first coming in a strange four-sided shape, later settling down to the more famous 'teardrop' shape guitars and basses. While the first Vox six-strings were not particularly distinctive, and looked rather like other standard European fare of the early 1960s (i.e. All sorts of possibilities began to loom in my mind, but to understand these possibilities you need to know a little about the previous history of Vox guitars - made then, of course, in England. Nearly two years ago, after Vox Ltd., a new company, had been turning out the famed Vox AC amps and combos for some time, they suddenly announced that they would launch a new series of Vox guitars.
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