The Amplifiers Used On Sargent Pepper's Lonely Hearts Club Band.

Sargent Pepper's Lonely Hearts Club Band

This year marks the 50th anniversary of The Beatles Sargent Pepper’s Lonely Hearts Club Band LP. There is currently a wonderful television program that goes into great detail about the production and history of each song.

Sargent Pepper recording session

While much of the music was done on keyboard and string instruments, McCartney’s bass, and some guitar is featured on the recordings.  The TV special mentioned said little about the guitars and nothing is noted about the amplifiers used on the album.

Paul McCartney with 1967 Bassman

The television program showed  only one amplifier; the Beatles’ blonde 1964 Fender Bassman. Aside from the Vox AC30, we know this Bassman amplifier was used on many of the Beatles albums.

We know that McCartney first used this amp in 1965 and continue to use it until 1967 in the recording studio.

This also may have been the first album where McCartney plugged his guitar directly into the mixing board for some of the songs.

After that Lennon and Harrison both put that Bassman to use.  Lennon continued to use it in the studio on some of his solo work. This Fender Bassman was the 1964 6C6-B circuit and featured twin Utah 12” speakers. It was a similar circuit to the one used on in the same era Bandmaster.

Beatles with Vox AC30's

The Beatles and many other British groups preferred to use Vox amplifiers since they were readily available and less expensive than imported United States brands, such as Fender. The Vox AC30 was perhaps the most used by the Beatles during their early days.

1964 Vox AC30

The Vox AC30 was a 30 watt class A amplifier, which technically speaking is very inefficient, because the power tubes are operating at full power. However class A is very pleasing to the ear and makes for a great performing amplifier.


The Vox AC30 had cathode biasing and no negative feedback loop. In my opinion the AC30 is one of the best amps ever made.

Despite the popularity of Vox amps in the U.K., the company was facing financial difficulties as early as 1964.

Jennings and Denney

Vox' manufacturer was JMI or Jenning’s Musical Instrument and run by Tom Jennings along with musician/guitarist/amplifier designer Dick Denney. In 1964 the partners had sold the company to a conglomerate called The Royston Company. Both men maintained posts in the organization through 1967 at which time they left the company. Perhaps the two men saw the writing on the wall, as the following year Royston filed for bankruptcy.

Some of the former JMI employees cut a deal with the bank that held the assets and they were able to procure the Vox name. Vox equipment was then produced under the name Vox Sound Equipment until 1969 when yet another bankruptcy ensued.

Vox Birch Stolec AC30

A company called Birch Stolec Industries purchased Vox from the holding company. One of the sales managers for this company was none other than Rick Huxley, the bass player for the Dave Clark Five. This firm built Vox amplifiers which included printed circuit boards and also produced some solid state versions of Vox amplifiers.

But let’s back up to before 1967 when Sargent Pepper was being made. Even before that date, when the Beatles and other bands were touring, as early as 1964, the folks at Vox realized the AC30 at full volume was not going to cut through the screams of the female fans. So they investigated producing a larger version.

Vox AC50 MKII

They had already come up with the AC50 MKII that McCartney can be seen using in concerts. (He still uses this amp today.)

Vox AC100

What they came up with was the Vox AC100 aka the Vox Super Deluxe. This was a a one channel amplifier that came with a large speaker unit, which contained four 12" Celestion speakers. It was Vox' answer to the Fender Dual Showman amplifier. The Beatles can be seen using this amp in concert footage.



Later in 1964 JMI reached an agreement with the Thomas Organ Company of the United State that they would be the sole US distributor for Vox. This may sound like an odd arrangement, if not for the fact the JMI was once known as the Jennings Organ Company. It may have been short-sighted of the former Jennings Organ Company to believe a US organ manufacturer would be a great vehicle to distribute Vox amplifiers. But during the guitar boon era, many companies were trying to get a piece of the pie.

US made Vox Super Beatle

Once Thomas Organ inked the deal they realized that JMI/Vox was not capable of manufacturing an adequate number of amplifiers to make the deal profitable. Thomas Organ, not at all happy about the situation and proposed a deal that they become licensed manufacturers of Vox amplifiers in the United States and Canada. Probably due to the financial situation at JMI, they agreed.

This is how the US Vox Super Beatle and other US amplifiers came to be made by the Thomas Organ Company aka Vox US.

Dick Denney traveled to the USA in 1965 to visit the Thomas Organ/VOX US manufacturing facility to see their products first hand. He was impressed with their solid state amplifiers. This lead him to come up with his own solid state/tube hybrid versions.

The guitar amps that Denney designed were called the UL7 series and the bass versions were the UL4 series.  UL was suggestive of Underwriters Laboratories, a group the put its approval on electronic merchandise.

Vox UL705

The UL705 was a 5 watt amplifier,while the UL710, and UL715 produced 15 watts. Both had solid state preamps, with tube based power amplifier sections.

Vox UL730

In 1966 a Vox UL730 was delivered to Abbey Road Recording studios for The Beatles use.

The power tube (or valve) selection of the UL730 included one ECC83 and a quartet of EL84 tubes. The ECC83 is actually a preamp tube, but was used as a phase inverter.

Vox UL730

The UL730 was a two channel amplifier with two inputs per channel, a boost switch for each channel. Channel One featured volume, treble, middle, and bass potentiometers, and controls for tremolo speed and depth.

Vox UL730 front panel

A distortion control was included in this channel. Channel Two included the volume, treble, middle, and bass controls, and added a reverb control.

The separate speaker cabinet was loaded with twin 12” Celestion speakers. Of course the amplifier featured the trolley.

The Beatles session
with the UL730

Vox manufactured only 100 units. This was not a popular amplifier since out of the 100 units sold, 76 units were returned. Some may have been defective, while others were exchanged for another amp of the era. The 76 units that were returned were said to have been destroyed.

Harrison's UL730

The amplifier that was delivered to the Beatles included a promotional sticker inside of it that stated it was “Promotional Stock - Model No. 760 Amp A/C Current - Serial # 3020 - Artist The Beatles”.


It is said to have been in George Harrison's procession and was to be auctioned on 12/15/2011, but the seller withdrew the offer prior to the sale date.

Vox single spring reverb

This was likely the amplifier that the Beatles used on the Sargent Pepper recordings. The UL730, and most Vox amplifiers included the Vox single spring reverb since Tom Jennings did not want to pay Hammond the $1 per unit royalty for use of their 3 spring version.


To avoid this fee he and Denney came up with their own reverb design.

McCartney using UL730

During the albums creation, McCartney played his Rickenbacker 4001S bass through it on most of the songs. Although it is said that he employed the UL430 bass amp on Lucy In The Sky.

Vox UL430

The UL430 was essentially the UL730 with no effects except for the boost switch. Other than that the tube compliment, speakers, and electronic design were similar. These amps look different from the VOX AC design. The UL amps, except for the UL705 feature controls in the front of the amplifier unit. They all still had the signature Vox grill cloth fabric. The UL730 and its companions are a part of our unique guitar history.

In addition to the Bassman and the Vox UL730, The Beatles utilized a 1967 Fender Showman amplifier that was in the studio.

1967 Fender Showman

The 1967 Fender Showman was a black faced and from the final year Fender made black face amplifiers. The amp had an 85 watt  head. The cabinet was loaded with a single 12” JBL speaker. The preamp section was made up of two 7025’s and the power tubes included a quartet of 6L6’s.

It is also written that Paul McCartney used a Selmer Thunderbird Twin 50 MkII on Good Morning, Good Morning, which he may have used early in The Beatles career.

Selmer Thunderbird Twin 50 MKII

The Selmer Thunderbird was finished in what is called “croc-skin”. The preamp and power amp were housed in the cabinet. The amplifier had two inputs, a“Selectortone” push button tone control feature, along with tremolo and reverb contols. This amp came with a stand to raise it off the floor.

1967 Vox Conqueror/Defiant

 Several other sources say that the Beatles used a Vox Conqueror on Sargent Pepper. The Conqueror was the completely solid state amp that replaced the UL730. This 30 watt two channel amp featured germanium transistors. The channel controls were mounted on top of the head and featured a normal and a brilliant channel, while the effects controls were mounted on the amplifiers front panel.

Both channels featured volume, treble, and bass potentiomers and a boost switch. And both had two inputs.

1967 Vox Conqueror
top and front panel

The front panel for the effects  had controls for tremolo speed and depth, as well as a reverb section that allowed reverb on channel one, off, or channel two. It also included a MRB switch that selected tone boost frequencies.


The Vox Conqueror came with a modified trolley that contained the speaker unit only. The head stood on top of the speakers.

Vox Defiant

Vox also made a similar amplifier called The Vox Defiant. The Defiants head was slightly larger than the Conqueror. In fact at first look it resembled the Conqueror. However the Defiant pushed 50 watts instead of 30 watts.  The Defiant amp was featured in the background of a promotional photo for Sargent Pepper. But for the promo video I do not know if this amp was used on the record,

The Beatles also used two other Vox amplifiers; the 7120 and the 4120 bass amp, which they had used on the Revolver LP.

Vox 7120

The 7120 was the most powerful amplifier that Vox had produced. This was another hybrid amp, with a solid state preamp section and a tube power amp section, which consisted of four KT88 power tubes and an EL84 and an ECL86 which acted as phase inverters. It was rated at 120 watts. It utilized one ECL86, one EL84, and a quartet of KT88’s. The amplifier had two channels.

Vox 7120

Channel One was the vibrato channel and had two inputs, a boost switch, a volume, treble, middle, and bass control, along with a tremolo section with speed and depth, and a reverb section, and a distortion control.

Channel two featured two inputs, a boost switch, volume, treble, middle, and bass controls, and a reverb control.

Vox 7120

The 7120 speaker cabinet had two 12” Celestion T 1225 speakers and two Goodman midax horns. The controls on the amplifier section were on the bottom of the amplifier head.

Vox 4120

The Vox 4120 bass amplifier was very similar in the amplifier section. However it lacked the effects associated with the 7120. Everything else was the same. The speaker compliment was quite different. The amp had four 12” Alnico Celestion speakers and two Goodman Midax high frequency 17 watt horns. The 4120 also had an output of 120 watts, It was made for only one year; 1966.

McCartney with a Vox UL730, Harrison and Lennon with Vox Defiant amps

This photo is from the Beatles promotional video for Hello, Goodbye.

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The Steve Miller Guitar Collection - For Sale at the Music Zoo.

Some people call him the space cowboy yeah, 

Some call him the gangster of love, 

Some people call him Maurice, 

'Cause he speaks of the pompitous of love. 

Steve Miller

Over the years, guitarist, singer, and songwriter Steve Miller has amassed a collection of more than 450 guitars. The Music Zoo in Long Island, New York is selling about 25 instruments from his collection. Most notably are his Les Paul guitars.

Miller with Les Paul

Steve Miller gets his affection for Les Paul honestly since Les was his godfather.

Miller’s father was a jazz aficionado who met Les in 1948 when Les Paul and Mary Ford were playing at a Milwaukee jazz club. Dr. George Miller aka Sonny asked Les Paul if he would mind if he recorded his show on his tape recorder. (In addition to being a pathologist, Dr. Miller was a recording engineer).

Afterward, Les listened to the recording with Sonny and Bertha Miller and a friendship developed. It is worth noting that Steve's mother, Bertha, was a gifted jazz singer.) In fact Les and Mary spent the night at the Miller’s house.

As early as age 4, Les Paul encouraged Steve Miller to play guitar. The two men maintained contact with each other up though Les' passing.

Miller LP Recording

One of the first items to be sold was Miller’s 1976 Les Paul Recording guitar. Though this guitar never became a hit with players, it was an instrument that Les Paul personally designed and was one of his favourites.

This guitar featured low impedance pickups for recording that could changed to high impedance with the flip of a switch. These low impedance pickups were Les’ ticket to getting all those guitar overdubs back in the early days of multi-track recording.


By bouncing from track to track, the original signal dissipates with each successive pass. This does not happen with a low impedance signal.

The guitar could get a sound like a Rickenbacker, or back it off and it sounded like Wes Montgomery’s Gibson L-5.

Les Paul's personal
Recording Model

Les’ own Gibson Recording guitar sold at auction for $180,000 after his death. The buyer must have known it was Les’ favourite guitar.

In addition to Steve Miller's Les Paul Recording guitar, the Music Zoo is offering twenty-five of Miller’s personal instruments for sale to the public, and some are being sold at a very reasonable price.

Miller's 3 Eric Clapton Beano Les Pauls

Miller is parting with several replicas from the 2010 limited run of Eric Clapton’s famous 1959 Gibson “Beano” Les Paul. Clapton used this guitar when he played with The Blues Breakers.

Blues  Breaker cover -Clapton with Beano comic

The cover photo of LP, Blues Breakers With John Mayall, features a young Clapton reading The Beano comic book. The Beano was a popular collection of comic strips that was available in the U.K. and is still in publication. Guitarists knew about the Les Paul that Clapton used during this era, hence the name. Unfortunately the original Beano guitar was stolen in 1966.

Les Paul Beano

Since then Gibson’s custom shop has made some replicas. Miller’s four Gibson Beano Les Pauls range from an asking price of $10,000 to $30,000 USD.

The Joker

There are also two Miller “Joker” Standard black Stratocasters for sale at $5,000

The Joker

Each guitar has a harlequin-like representation of The Joker on their bodies.

Four other Fender Stratocasters are offered.

Children of the Future

One is called Children of the Future. This was a guitar has a unique design on the front that is based on the cover of Miller’s Children of the Future LP.

Museum Stratocaster

The other strat is a Fender Museum American Standard model in Olympic White with a maple neck and is autographed by other guitarists. Etched in the top of the body is the Fender Museum logo.

Miller Stratocaster

The third strat is a black Fender of unspecified vintage. It has a maple neck and the body is tastefully bedecked with a white/black emblem from the end of the bridge unit to the back of the guitar, and an orange Fender sticker that says “I’m a Champion” with Steve Miller’s autograph.

Bolin Stratocaster

The fourth Stratocaster style guitar that was made by John Bolin guitars of Boise Idaho. The body one this instrument is finished in white, and the neck is made of birdseye maple. There is no logo on the headstock.

There are only two acoustic instruments being offered. Both guitars are 12 string models made by Martin.

Martin J-12 40e

One is a Martin Grand J-12 40E, that has a bound neck, and headstock, and lovely rosette work. The top is made of solid Sitka spruce, while the bookmatched back, and sides are solid east indian rosewood. The Martin logo is inlaid in abalone in the headstock. At $5,000 it is a bargain.

Martin J-12SO

The other Martin is a 12 string Martin Sing J-12SO 60th Anniversary Pete Seeger model baritone guitar meant to be tuned from low to high C. This guitar was based on Pete’s personal 12 string guitar made by luthier G. Stanley Francis of Liverpool, UK, that had unusual pickguards. The top is solid Sitka spruce, while the back and sides are east Indian rosewood. The 27.5” scale neck is made of mahogany with an ebony fretboard. The headstock veneer appears to be made of polished ebony with Seeger’s signature and his sketch of a banjo. It is also selling at $5,000.

Vallee electric
Mandolin

The most unusual instrument being offered is Miller’s 5-string electric mandolin that was made by Joe Vallee. This electric mandolin has a unique shape and comes with a single lipstick pickup and a tune-o-matic bridge. The instruments top is a lovely red-orange burst, while the back shows the natural wood patina. The fitted neck is made of three pieces. Because of the mandolins unusual shape, instead of a case, it comes with a padded “Wilson” brand tennis racket soft case.

Bolin Pegasus

Miller’s collection includes one archtop, jazz style model, which was made by Bolin guitars. It is called The Pegasus. The top appears to be spruce, with maple used for the sides, back, and neck. The “F” holes are done in an unusual Pegasus design. This guitar has twin EMG pickups with one volume and two tone controls. The bound maple neck is topped with a rosewood fretboard with unique position markers. The headstock shape is also quite unique and topped with birdseye maple veneer. The strings go over and ebony bridge with adjustable saddles and are attached to an ebony violin style tailpiece.

Bolin
Semi-Hollowbody

Miller's collection includes two other Bolin model. This one is in the shape of a Gibson ES-335. The bound top is flamed maple that is book matched with a sunburst style. The guitar includes two humbucking pickups, with only a single volume and tone control, plus a selector switch. The bound back is equally impressive with book matched flamed maple. The flamed maple neck has a single skunk stripe. It is offered at $5,000.

Bolin Les Paul Style Guitar

The other is a gorgeous Les Paul style guitar in a cherry sunburst finish with Seymour Duncan 50th Anniversary pickups. It is priced at $5,000.

2011 Lou Pallo

Another one of Miller's Gibson Les Paul is available for $5,000. This is a 2011 Lou Pallo Signature model. It has a beautiful black top and a natural back. Lou Pallo was the guitarist that played in the Les Paul Trio.

Gibson EDS-1275

The Miller collection includes not one, but two Gibson EDS-1275’s, The first custom shop double six 12 string has an all white finish. It is wired in the same manner as Don Felder of the Eagles had his guitar wired, and is even autographed by Felder on the back of the headstock and numbered. It comes with a certificate and a copy of sheet music for Hotel California that is signed by Felder.

Gibson EDS-1275

The other EDS-1275 is a 2008 custom shop version of the famous double neck used by Jimmy Page on Stairway to Heaven. It comes with a certificate of authenticity and is one of 250 instruments produced. Both double necks come with the original hard-shell cases.

Gibson Les Paul Jr.

Steve Miller is also offering his White Les Paul Jr that was made by Gibson’s custom shop.

Aside from the Clapton Beano replica Les Paul’s, Miller has three other excellent Les Paul guitars.

Pearly Gates LP

Two of them are Gibson Billy Gibbons Pearly Gates Les Paul guitars with VOS (vintage original spec) nitrocellulose finishes.

Pearly Gates LP

Both are 2009 models that were produced in limited editions from Gibson’s custom shop and are replicas of the Reverend Gibbons famous 1959 Les Paul right down to the exact neck profile. Both guitars contain twin Seymour Duncan Pearly Gates pickups with vintage hardware.

Haynes LP

The final Les Paul is a Gibson custom shop recreation of Warren Hayne’s 1958 Les Paul in what is described as “Haynes-burst”, which is a faded out cherry sunburst finish that has been faithfully  recreated on this instrument. The guitar is autographed by Haynes on the back of the headstock.

It features all the changes that Warren Haynes included on his own instrument. The frets come over the binding, which most professional luthiers and guitar techs would frown upon, but this is Haynes’ preference.

The pointer under the controls lay flat against the body, and this instrument is equipped with Gibson’s CAE sound-unity gain buffer, which keeps the levels consistent on both pickups when raising or lowering volume. The Haynes Les Paul is equipped with twin Burstbucker pickups.

Asher Tele style

The final guitar offered from the MIller collection is a black 2010 Asher Telecaster style guitar. This is a custom made guitar from Los Angeles luthier Bill Asher. The body is made of alder and the 22 fret neck is Birdseye maple, with a six on a side headstock. The pickups are hand wound Asher T-blade models. It features a Glendale bridge and chrome hardware. It is offered at $3,500 USD.

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