Some built by Thomas were tube amps, and some were solid-state. Many of these organs probably could have used an impedance buffer at the output stage, but that would have added to the cost.Įdit: And when you get into Vox amps, it gets complicated since some Vox amps were made by JMI in England, while a different line of amps, also with the Vox name, was built by Thomas Organ. The ~10k impedance of some modern mixing boards and line inputs thins out the sound a bit. My own experience with a Continental suggests that they like an amp with a higher input impedance, like a guitar amp input. I believe Ray Manzarek used an Acoustic Solid-State amp and speaker cabinet with his Continental. V-15 or V115 Viscount Amplifier - Introduced in early 1966, the first generation V-15 and V115 Viscount circuits were electronically identical and documented on a single schematic from Thomas Organ. The switch had three positions: 'Off,' 'Standby' and 'Operate.' The switch also had three individual circuits. This switch has caused a few service issues, so let's take a brief look at how it works. I know several studios with amp collections. Thomas Organ introduced three generations of the Viscount amplifier between 19. The Super Beatle amp used a rotary power switch (Thomas p/n 69-5202-2) that was custom manufacured for Thomas Organ by Clarostat. The 25-5373-2 circuit board allowed Vox to incorporate 'modular' construction into their guitar. The amp line was coined the Beatle to take advantage of. Thomas Organ owned the rights to distribute Vox in the U.S., though Thomas Organ began designing and building its own VOX amplifiers, albeit of inferior quality. It consolidated all of the preamp and effects circuitry onto one compact and universal board given the Thomas part number 25-5373-2. solid-state version of Vox’s AC-100, which Pete had used in 1965. After Sava Jacobson completed the electronic design for the 'AC-30 based' Vox Viscount at Thomas Organ, speakers needed to be selected for the amp. You might see someone using a larger amp on stage for adequate stage volume, but the guitar solo on the recording may have been recorded using a smaller amp. The third generation preamp board used in the V1154 Viscount combo amp was designed by Stan Cutler of Thomas Organ. Relatively few British amps ever made it to American shores due to this production 'escape' clause written into the US distribution contract between Thomas Organ and Vox. They were different from the UK Vox amps, but they are real, no-fooling Vox amps no matter what SGM may have decided about them. One complicating factor is that what you see musicians playing on stage was not necessarily what they recorded with in the studio. In fact, The designer of the UK Vox amps worked on location at Thomas Organ to get the Thomas Vox amps to an agreeable level of quality. There is a good bit of information on the web regarding musicians and the gear they used, especially if it was a signature sound of some sort.
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