Roadhouse USA location:
Vintage Early 80s Vox Custom 24 Guitar Model 3001.
This rare Vox was made from 1982-1985 in very limited quantities.
In addition to being rare, this is an excellent playing Vox that appears to be completely original as well.
Excellent vintage condition with a few small marks here and there, but for its age, overall very, very, clean.
Comes as pictured with original case.
If you are a Vox collector, this is one that does not come around in this type of condition very often.
|The Return of Vox Guitars
After a ten year absence in the market, Vox started offering guitars again in 1982. Here’s a brief history.
The first guitars and basses produced by Vox were introduced in the 1962 “Choice of the Stars” catalog. These earliest Vox guitars were assembled in the Vox plant in Dartford Kent from bodies and necks fabricated by several UK furniture companies.
As the demand for guitars grew on the heels of the “British Invasion,” Vox reached out to the Italian manufacturers Crucianelli and Eko to expand the range of models offered. Italian made Vox guitars filled the pages of the 1964 through 1968 Vox product catalogs.
As the demand for Vox products waned in 1968, Vox suspended in-house production of stringed instruments. Most of the Italian made Vox models were also dropped in favor of new Japanese models: a six string guitar named the “V.G.6,” a twelve string guitar named the “V.G.12” and a bass guitar named the “V.G.4.” The body shape of all three instruments resembled the Gretsch Country Gentleman. The result of these changes can be seen in the 1969 “Giant Sounds” guitar catalog.
The 1970 Vox catalog eliminated all of the former Italian made Vox guitars. Three additional Japanese instruments joined the line: a Les Paul clone named the “V.G.2,” an SG guitar clone named the “SG 200” and an SG bass clone named the “SG Bass.” A “Classic” acoustic guitar was also offered. At the same time, Vox was faltering as a company and put up for sale in 1972.
Upon the 1973 purchase of Vox by Dallas Arbiter all guitar offerings were dropped. For the next six years, Dallas struggled to regain the prior glory of Vox while selling only amps, effects and an occasional Italian made keyboard. Unfortunately, retail sales failed to meet expectations. Dallas Arbiter gave up in 1978. The Vox brand was again put up for sale.
The UK based musical distributor Rose Morris purchased Vox from Dallas Arbiter in 1978. However, the purchase from Dallas Arbiter offered Rose Morris only the European rights for the Vox trademark. Due to a deal struck between JMI and Thomas Organ in 1966, Thomas still retained the exclusive North American trademark and distribution rights for Vox. This thirteen year old agreement blocked the importation of Vox gear from the UK to the US.
Rose Morris successfully negotiated the purchase of the US trademark and distribution rights for Vox from Whirlpool, the parent company of Thomas Organ, in 1979. Vox was again reunified as a single, UK based company. Rose Morris could sell now Vox gear anywhere in the world.
As they were a distributor rather than a manufacturer of musical products, Rose Morris did not have any facilities to build amplifiers or guitars. Prior to the sale to Rose Morris, Dallas Arbiter manufactured Vox amplifiers in their facility in Shoeburyness, Essex, England. As the former Vox facility was still operational, Dallas Arbiter offered to continue Vox amp production for Rose Morris. A deal was struck between Dallas and Rose Morris and Vox amps continued to roll out of the Shoeburyness facility. With amplifiers out of the way, Rose Moris now turned its attention to guitars.
Rose Morris chose Matsumoko, a Japanese private label guitar manufacturer, to build their their new guitar line. Matsumoko produced guitars for Epiphone, Aria Pro and Washburn, among others. Owned by the US based Singer Corporation, Matsumoku also manufactured wooden cabinets for sewing machines and consoles for television sets.
The Vox Standard 24 Guitar (Models 3502 and 3503)
Unlike the Fender influenced Standard 25, the Vox Standard 24 guitar was designed to appeal to fans of Gibson guitars. The Standard 24 (seen above) featured a nato wood body with a cherry (Model 3502) or black (Model 3503) polyester finish, set neck, two pickups, three way pickup selector and separate volume and tone controls for each pickup. Vox offered these guitars from 1982 through 1985.Although the name of the guitar might seem to suggest a 24″ scale length, the scale of the Standard 24 was actually 24¾.” This 24¾” scale was identical to the Gibson Les Paul and enhanced the tonal warmth of the guitar.
The 22 fret “neck through body” had a “C” profile and a rosewood fretboard. The top of the head stock was contoured into a Gibson style “moustache.”
The Standard 24 featured two DiMarzio Super Distortion pickups. In their website, DiMarzio explains that the Super Distortion pickup has 4-conductor wiring that allows instant access to Strat®-like split and series-parallel modes. DiMarzio also credits the use of this pickup to such artists as Ace Frehley of Kiss, Al Di Meola, and Paul Gilbert.
The Standard 24 included a micro-adjustable “Tune O Matic” style bridge and a stopbar tail piece.
The Vox Custom 24 Guitar (Model 3001)
The Vox Custom 24 was equipped with a pair of DiMarzio X2N humbucking pickups. DiMarzio desctribes the X2N as a “take no prisoners, in your face” humbucker. The DiMarzio website also states that the X2N is their highest output pickup and is designed to push tube amps into “total overdrive.”
Master luthier and guitarist Adrian Legg designed the passive electronics used to control these pickups. In addition to a three position pickup selector and individual volume/tone controls for each pickup, the Custom 24 guitar also included a Series/Parallel switch for each pickup and an In/Out phase switch for pickups when in the mix position.
The 24 fret maple “neck through body” had a “C” profile and an ebony fretboard. The top of the head stock was contoured into a Gibson style “moustache.”
The Custom 24 included a brass micro-adjustable “Tune O Matic” style bridge, stopbar tail piece and a brass nut.
A close comparison of the location of the bridges on the Standard 24 and Custom 24 reveals another important feature of the Custom 24. The bridge on the Custom 24 is located closer to the mid point of the body than on the Standard 24. While both the Standard and Custom 24 guitars both offer a 24¾” scale, the relocated bridge and 24 fret neck of the Custom 24 allowed access to two full octaves of playing range.