Here is one I picked up a few years ago.  Jimmy Page’s Original Orange Matamp Serial # OR 264. This one is rated at 200 Watts !

Jimmy Page's Orange Matamp

Jimmy Page's Orange Matamp Serial # OR264

Jimmy Page's Orange Matamp Serial # OR 264

The Who with The Buckinghams

Buck Munger was scoring points with Keith Moon and John Entwistle with my terror filled tales of the Marine Air Wing and Phoenix Police Department. They offered their experiences traveling Europe and humorous impressions of America. We definitely shared an appreciation for the practical joke. Moon’s squint-eyed impression of actor… Robert Newton’s Long John Silver was classic. Entwistle exhibited the dry English wit. They prepared me for meeting their band-mates with some essential background information. Pete’s an old codger and Roger is a pretentious rock star. Why right now, that disgusting Roger is down in his room with a bunch of teeny-bopper groupies. Where the actual idea came from, I can’t remember, but the next thing I know I’m on the phone calling Daltrey’s room in my best Phoenix Police Department Desk Sergeant voice “ Hello, Mister Dawntree, this is Sgt Mullen of the Kansas City Police Department, we have a report that you are entertaining under-aged minor females in your room, sir, is that true? Daltrey, stuttered “No, that’s not true, who told you that?” “Well Mr. Dawntree, we have dispatched a radio car to answer that complaint, that should be there any minute, and you can make your statement to the investigating officer.” Hanging up the phone I could see Entwistle and Moon bursting with appreciation for my performance. We could hear feet scuffling outside in the hallway and after a moment there was a knock on the door. Daltrey came in, nodded to Keith and John and stepped into the bathroom. In a few minutes he came out and announced he was going to find Pete, and left. Keith and John, who had been quiet since he came in the room, let out howls of laughter. They pummeled me with compliments. We had a relationship. I had never met or dealt with the Who’s managers. With the Jimi Hendrix Experience most of the communication away from the site flowed through either Chas Chandler or Gerry Stickles. The only time I got to talk to Jimi was at the sound check and after the show backstage, which was always a circus. With the Who I had an off duty relationship with everybody but Roger. I noticed even Townshend liked to join Keith and John in the Roger chop-sessions. The band dynamic was interesting. In public, Daltrey shined and accepted the presumption that, as the singer, he must be the leader of the band. In private, Roger shrunk to the bottom of the pecking order behind John, who was below Keith who was always challenging Pete.

Jimi With Sunn Amplifiers

Buck Munger left Jimi on the phone to Oregon and wandered back into the hall where setting up Mitch Mitchell’s drums was the focus of attention, which gave me the opportunity to check out Mitch’s kit up close and introduce myself. Mitch was another jazz-influenced fills master, no boring boom chucker here. With three guys in the b…and you have to fill up the musical spaces. In handling a set of Mitch’s sticks, I noticed they were “Ringo Starr” models. At that point in time Ringo was taking a lot of heat as the least of the Beatles and I was a little surprised this cutting-edge drummer would have an old-school idol. Ringo? “Ringo’s a great drummer,” growled Mitch, giving me a glare. The Brits stick together and I’ll admit, after Mitch chewed on me, I went back and listened again, and he was right. I was a lot closer to Jimi this time. At the Monterey Pop Festival I was a ways back taking in the whole Experience. This time I was standing right behind his amplifiers watching the KT-88 power tubes cook. I don’t know what I would have done if they crapped out, all I knew how to do was change a fuse, and I realized I didn’t even have any extra fuses in my pockets. I was spread-eagled on the altar of fate. We were flying high over the city and if we crashed, so be it, but for now, the view was breathtaking. I had wondered how Jimi’s set from Monterey would translate inside a giant gymnasium. Remember, these were the days of no stage monitors, no board mixes and minimum, if any, lights. Look at all the pictures of Jimi. None were taken in a follow-spot. At this venue Jimi was just up on a portable stage at the end of the basketball court with bleachers on either side, or folding chairs in the middle. The place was packed with college students. It wasn’t a warm summer night outdoors with lights, camera and warm-up action. It took about half a song to erase any doubt that Jimi could create the magic again. This time I tried to get a look at how he made it happen. He had the longest fingers I have ever seen on a human being. They seemed to be able to stretch half the neck length. He plucked and hammered the strings with his right (fretting) hand and waved his pick in the air. He played behind his head and he plucked the strings with his teeth, all while keeping the barrage of sound bouncing off the walls. “Foxy Lady” was a hit here too, as was “Hey Joe” and “Like A Rolling Stone” by the time he got to “Wild Thing” the joint was rockin’.

Nice 1965 Gibson Firebird V

1965 Gibson Firebird V

My buddy Jim MacGregor found this at the Midway Swap meet for $175 !!!

Vox Amplifiers, The JMI Years is a complete and accurate history of the Golden Age of the Vox amplifier. Told in a clear, concise style, it covers all aspects of Vox amplifiers from before their inception in 1957 through the end of the JMI-era in the late 1960s. Twelve years in the making, this 682 page book contains many behind the scenes stories, providing an insider’s perspective on the rise and fall of Jennings Musical Industries and Vox amplifiers.

Inside the 10″ x 12″ hardcover format are hundreds of newly shot hi-resolution photos of over 100 vintage Vox amplifiers, hundreds of contemporary photos from the 1950s and 1960s, as well as details from dozens of vintage Vox catalogues and promotional items.

Never before has such a large and complete work been completed on any guitar amplifier brand.

In seven sections, Vox Amplifiers, The JMI Years discusses virtually every detail of Vox amps, presenting them in such a way that you can begin reading anywhere in the book, and have fun.

1) The history of Vox, set against the larger history of guitar amplifiers and British and American Music.

2) A series of chapters on all of the parts that make up Vox amplifiers, such as cabinets, coverings, speakers, grillcloths, valves, handles, stands, etc.

3) The entire start to finish process of bringing an amplifier to life, including production totals.

4) The details of each of the Vox amplifier models, covering their developments and circuits. A large chapter in this section rates 45 different models of Vox amplifiers for their sound, and for their suitability for live, studio, and home use.

5) 100 pages that tell about the groups that used Vox amplifiers, with The Shadows and The Beatles each having their own chapters. As expected, there are plenty of gear shots, including some unseen and seldom seen photographs of The Beatles.

6) How to date your amplifier. The secrets of date codes, serial numbers, and serial number plates are revealed. Also included is a month-by-month chart for dating A.C.30 Twins.

7) A full Vox chronology and a full listing of JMI employees is included, along with source materials.

Included in the book are:

· Production figures

· Parts date codes explained.

· How to accurately date your Vox amplifier.

· All of The Beatles’ Vox amplifiers, including rare and unseen photographs.

· The real story behind the Top Boost.

· All of The Shadows’ Vox amplifiers and echo units are shown and discussed.

· Also covered are the Vox amplifiers of many other players and groups

   including The Who, The Yardbirds, Brian May, and Mike Campbell.

· The development of the A.C.30 Twin (including the 4-input model) is

    explained.

· 45 Vox amplifier models are rated for their sound, and for their suitability

   for home, studio, and live use.

· The complete history of the JMI years, including early TV front amps, and

   JMI’s pre-Vox amplifiers.

· The Fawn amps are covered in great detail.

· The story of the Custom Color amplifiers, including all the covering

    variations, is discussed and pictured.

· Stands and Trolleys are presented.

· The various versions of the protective covers are presented.

· Over 60 Vox speakers are explained

Tutmarc, Paul (1896-1972), and his Audiovox Electric Guitars

Audiovox Steel Guitar Model #436-A

Videos of Paul Tutmarc

Bronco Busters Rag performed on lap steel by Paul Tutmarc

Check out Paul Tutmarc and Bonnie Guitar;

Midget Auto Blues Bonnie Guitar and Paul Tutmarc

VOX Joe Satriani

dual-mode “Big Bad Wah” pedal

NEW IN BOX

Main features

• Dual-mode design offers two distinct wah sounds in a single pedal
• Wah One is classic VOX; with that decidedly sweet UK tone
• Wah Two provides Joe Satriani’s original drive and voice controls, delivering a wide range of sound-creation possibilities.

Big Bad Wah features a dual-mode design. Wah One faithfully replicates the classic VOX wah sound that conquered the world.

See The Video

Wah Two delivers all the wah pedal know-how that Joe has accumulated over his many years of experience. The Drive knob mimics the Wah 1 gain at its lowest setting, and delivers a 10 dB boost at the maximum settings for those aggressive, growling overtones. One of the most powerful aspects of Wah Two is the Voice switch, providing traditional wah voicing; or a dark, resonant tone reminiscent of a vintage talk-box.
This is the ultimate wah pedal not just for Joe Satriani fans but for any wah pedal user who enjoys creating their own sound.

Big Bad Wah specifications

• Control: Drive knob, Voice toggle switch, Inductor switch, Wah 1-2 footswitch
• Jacks: 1x INPUT, 1x OUTPUT, 1x DC9V
• Input impedance: 1M-ohms
• Output impedance: 22k-ohms
• Power supply: 9V battery (6F22, 6LF22/6LR61) or AC adapter (sold separately)
• Current consumption: 4 mA
• Battery life: approximately 90 hours (when using zine-carbon battery)
• Dimensions (W x D x H): 130 x 253 x 78 (mm) /5.12 x 9.96 x 3.07 (inches)
• Weight: 1.2 kg /2.65 lbs. (without battery)
• Included items: 9V zine-carbon battery (6F22)

Guitar Archeology is proud to announce,

we are now an

Authorized

VOX Dealer !

Many great VOX products are on the way and will be listed soon.

First up is the NEW

AC4TV Modern Classic

Check it out.  I just put together a montage of Guitars and gear that passed thru my hands over the years.  The song Apache is one of the first songs I learned on guitar.  This recording was done at Gordy Kjelberg’s Studio One in White Center Washington.  It features me )Mick) and Al Katz.  Enjoy the pics and music.

Cheers,

Mick

Someone find this car, I need a new ride!