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1. Dating your Vox amplifier. Because the Vox name has been used by such a variety of companies in different locations, no lists of serial numbers are available. Even so, certain characteristics can help narrow the date of manufacture to within a year or so. These characteristics can be applied to most amplifier models prior to 1985.
2. Well that's a new one! I didn't know that at all. I don't see a difference in quality though. I don't personally own a vox, but my friend has an AC30, AC15, lil' night train head, and a hand wired AC30 head, and I can't tell much of a difference in sound between the two AC30s when played through the same cabinet.
3. Serial number in the 7000s / 8000s - currently in Europe Probably new grille cloth, logo, and piping (note its whiteness). Red CCL filter caps, yellow Dubilliers, and the small pots used in the Vox solid state amps.

How do i put a date on a Vox AC30 with no serial number? Discussion in 'Amps. This usually indicates who actually made the amplifier, Vox, that's just a trademark. 20 RandyS 4 years ago. Okay, so I got hooked on Thomas Vox in 1966 and then in 1967 won a Super Beatle in the Teen Fair Battle-of-theBands. We were the Pacific Northwest Champions. The Vox AC30 is a guitar amplifier manufactured by Vox. It was introduced in 1958 to meet the growing demand for louder amplifiers. Characterised by its 'jangly' high-end sound it has become widely recognized by British musicians and others.

The Vox AC30 is a guitar amplifier manufactured by Vox. It was introduced in 1958 to meet the growing demand for louder amplifiers. Characterised by its 'jangly' high-end sound it has become widely recognized by British musicians and others.^[1]

• 1History

History[edit]

The Vox AC30 was originally introduced in 1959 at Hank Marvin's request as the 'big brother' of the fifteen watt (15 W) AC15 model, Vox's original flagship amplifier, because the AC15 was not loud enough with the screaming fans at Cliff Richard's concerts. The AC15 was powered by a pair of EL84tubes, an EF86-driven 'Normal' channel, an ECC83-driven 'Vib-Trem' channel, and rectified by an EZ81. The original first-generation AC30 used a GZ34 tube rectifier, three ECC83s (12AX7) for the Normal channel and the tremolo/vibrato oscillator/modulator circuits, one ECC81 (12AT7) phase inverter, and EL34 tubes in the power amplifier circuit.^[2]

This first generation of AC30s were housed in 'TV-front' cabinets, much like the early to mid-50s tweed Fender amps, and had a single 12-inch Goodmans 60-watt speaker, as opposed to the later, conventional twin 12-inch speaker configuration. These early amps sported a thin white covering ('Rexine') with a small printed diamond pattern and larger diamond pattern grill cloth. However, the EL34-powered AC30 was short lived, and a new AC30 version appeared in late 1959. This second generation AC30/4 had two channels with two inputs, hence the '4' in the model name, and a single tone control, and was powered by a quartet of EL84 (6BQ5) power tubes, making it truly a doubling of the AC15 power amp circuit. The AC30/4 also carried over the AC15's preamplifier circuit, which included the EF86 pentode in its 'Normal' channel. Vox initially offered a 1×12' version but subsequently introduced the 2×12' AC30 Twin, which solved the volume problem at larger venues. The first AC30 Twins used two Goodmans Audiom 60 15-Watt Speakers, followed by Celestion G12 alnico speakers.^[3]

By 1960, Vox had forsaken the more conservative TV-front look for the now legendary cabinet design that has remained largely unchanged since 1960. The new cabinets featured a different covering known as fawn Rexine, which was a sort of beige leathercloth with a subtle printed grain. The front baffle was now divided by a thin gold-toned strip with the upper valence covered in fawn Rexine, and the lower grille covered in brown diamond cloth. Ventilation was provided by three small brass vents on the top of the cabinet, and the TV-front's single suitcase type handle was replaced with three leather straps.

Since the higher output AC30/4 shared its preamplifier design with the lower powered AC15, Vox discovered the high-gain EF86 tube was susceptible to microphonics, or even failure, when exposed to the increased vibration present in this uprated amp. Vox soon tired of the problem so to cure AC30/4 reliability issues caused by the troublesome EF86 preamp tube,^[4] in late 1960 Vox redesigned the preamp circuit, replaced the EF86 with an ECC83 (12AX7), and released this new design as the AC30/6. The AC30/6 was now an amp with three channels, each channel having two inputs.

About this time, the 'Top Boost' (or 'Brilliance') feature became available as Vox's optional addition of a rear panel-mounted circuit that introduced an extra gain stage and tone controls for bass and treble (as opposed to the single 'tone' control of earlier AC30s). The unit became so popular that its features were soon incorporated in newer AC30/6 models, and the controls moved from the rear panel to the control panel. Vox AC30/6 amplifiers from around 1963 had already implemented the top boost, and therefore had three tone controls. People began to refer to these amplifiers as AC30TBs.^[5] Later on, Vox also offered additional versions of the AC30 unit. In addition to the 'Normal' version without the Top Boost, and the Top Boost version (which was a Normal version with the 'Brilliance' unit added), Vox, with slight circuit modifications, created two more versions that were 'voiced' in Brilliant (Treble), and Bass styles. Over the years many different AC30 models appeared but many consider the AC30 'Super Twin' to be the ultimate AC30, with a 'trapezoid' shaped head and a separate speaker mounted on a trolley (see The Vox Story, Petersen & Denney 1993, p.39; see also the Vox showroom web site).^[6]

In the late '60s Jennings drifted into financial problems and the company experienced various owner changes. Quality control was also inconsistent.^{[citation needed]}

During the Vox brand's early '70s 'Dallas Arbiter' period, the tube rectifiers of AC30s were replaced by silicon rectifiers, which became standard on later AC30TB models. In the late 1970s Vox also introduced a solid-state AC30 (AC30SS), which is the AC30 model that was used by Status Quo. A tube AC30TB with spring reverb feature was reintroduced in 1978.^{[citation needed]}

In spite of at least one AC30 production run titled 'Limited Edition' of 100 units with starting serial number 0100 (1991) (no reverb), production of the AC30 has practically never ceased: Newer AC30s are reissues of the various top boost AC30/6 (AC30TB) models. AC30s made between 1989 and 1993 also had spring reverb as a standard feature.^{[citation needed]}

The Rose Morris company, who owned the Vox name through the 1980s, sold Vox to Korg in the early 1990s, who then manufactured a reissue of the early '60s AC30 Top Boost, correcting previous inconsistencies ranging from the correct style grille cloth to the GZ34 rectifier tube. These AC30 amps were mostly offered in the traditional black Tolex/brown diamond grille configuration, but were also available in limited numbers with purple, red, or tan tolex. These amplifiers, like all AC30s to this point, were manufactured in Great Britain. These were available with a choice of Celestion 'Blue' or 'Greenback' speakers. In the mid 1980s, a company in Marlborough, MA, called Primo, imported and began re-distributing the AC30s in the U.S.^{[citation needed]}

AC30HW Limited (2003)[edit]

In 2003, Vox created the 'AC30 Heritage Handwired Limited Edition' amplifier (AC30HW). This amplifier differed from the standard offering in notable ways. First, the circuitry was constructed using old-fashioned tag strips. According to Vox this was far more labor-intensive, but it allowed for easier repair versus circuit boards because there were no copper tracks to burn. According to the Vox showroom site:

'1960s era Vox amps were hand wired on tag strips. The connecting lead (or wire) from each electronic part was manually wrapped around a terminal, or 'tag,' and then soldered. This mode of amp construction is very labour-intensive and the workmanship and accuracy of the employee building the amp will affect the performance of the product. It was for this reason that most electronics manufacturers transitioned to phenolic printed circuit boards by 1970.'^[7]

The second notable difference was the features and control layout. Guitar Player magazine reviewed the amp in its 'Exotica' feature, December 2002. The article specifies details of the amp, including price, and its control layout:

'The AC30 HW ($4,000; head $3,250; 2×12 cab $1,350), which was developed with input from boutique amp designer Tony Bruno, features the famous Top Boost preamp, but has a control that is quite different from the standard model. For starters, there are only two inputs, which are marked Hi and Lo (AC30s traditionally have six inputs). To the right are the volume, treble, bass and tone-cut controls, a tremolo section with speed and depth knobs, a reverb section with reverb and tone controls, and a master volume.' [And further into the article:] Top of the Marque. The AC30HW is by far the best AC variant to date. Few amps come close to matching its radiant complexity and those that do typically don't offer reverb and tremolo. The only downer about the HW is that only 350 of them will be made (along with 200 heads and cabinets).'^[8]

AC30 Custom Classic Series[edit]

In 2004, Vox introduced a new series of amplifier called the AC30 Custom Classic. It claims to combine attributes of the original AC30 with what Vox sales literature refers to as a 'boutique' of features. Specifications of the AC30CC series are two Inputs (Top Boost and Normal), an Input Link Switch for blending channels, a Normal Volume knob, a Brilliance Switch, a Top Boost Volume knob, a Treble knob, an EQ Standard/Custom Switch, Bass and Reverb Controls (Tone, Mix, and a Dwell Switch), Tremolo Speed & Depth knobs, a Tone Cut knob, a Master Volume knob, a Standby and a Power Switch, switchable cathode bias (Output Bias switch: '50 Hot': 33W at full power, '82 Warm': 22W at low power), switchable filter values (vintage/modern), and a true bypass effects loop. Newer AC30CC (or 'Custom Classic') reissues (CC1, CC2X CCH head) are produced in China.

AC30 Custom Series[edit]

At the 2010 Winter NAMM expo Vox introduced the Custom series; these models were updates to the 2004 Custom Classic series amplifiers and featured two channels (Normal and Top Boost) with two inputs for each channel (High and Low), more akin to the original AC30/4 layout released in 1958. It was available with either Greenback speakers (C2) or Alnico Blue Speakers (C2x), and was also available as the AC15. Later limited edition models include the AC30BL, a tygoon blue tolex with grey speaker cloth, an AC30C2RD with a red finish, an AC30C2-BRG a British Racing Green tolex finish with a grey speaker cloth and the AC30C2 Black Comet; featuring a patterned finish all are identical to the C2. The amp featured an option known as 'Jumping' where the High-Normal channel could be linked to the Low-Top Boost channel with a patch lead, whilst the guitar is plugged into the High-Top Boost channel, allowing both channels to sound and create a fuller, thicker overdrive sound. The amp also featured a solid-state rectifier to increase reliability. Controls include a Normal volume, Top Boost Volume, Treble and Bass controls, Reverb Tone and Level controls, Tremolo Speed and Depth controls, a Tone Cut control (to add further control over the higher-frequencies), a Master Volume, and a Standby and Power Switch. A true bypass effects loop, extension cab output and external cab output were also included; as well as an input for the external foot switch (to control Reverb and Tremolo). The amps are produced in China. The amps were released to critical success, garnering awards such as Music Radar's 'Guitarist Choice' award.^{[citation needed]}

AC30 Handwired (2007)[edit]

Introduced in 2010, the amp featured Hand-wired turret board construction (against cheaper PCB construction), Birch-ply cabinets featuring solid bracing and a natural high frequency diffuser (versus MDF cabinets and no high frequency diffuser); All-tube design (different from the Custom series tube pre/power amp but solid-state rectifier); ECC83/12AX7 preamp tubes (×3) EL84 power tube quartet; (AC30 models); EL84 Duet (AC15 models); GZ34 rectifier (AC30 models); EZ81 rectifier (AC15 models); came factory-fitted with matched Ruby Tubes to provide extended dynamic range; maintained the traditional VOX two-channel design (Top Boost and Normal. High and Low inputs for each channel); the Normal channel features an additional BRIGHT switch; The top boost channel features a HOT/COOL switch to achieve even more gain. A Master Volume/BYPASS switch completely bypasses the Master Volume section allowing incredible levels of gain and sustain to be achieved. OP mode switch cut the amp's Output Power level in half (30 > 15 on the AC30, 15 > 7.5 on the AC15) allowing higher levels of saturation to be achieved at lower volumes. A Vintage fawn-colored vinyl covering, reminiscent of the 1960 classic AC30 and was available with either Celestion Alnico Blue or Celestion G12M Greenback speakers. A VFS1 footswitch controls the Top Boost channel's HOT/COOL switch was also included.^{[citation needed]} The Heritage series 50th anniversary models incorporate the classic EF86 pre-amp tube, which although subject to failure in the late '50s had been re-introduced and improved. The classic EF86 pre-amp tube is remarkable for its high gain and for the notable harmonic overtones it produces and feeds to the power tubes when driven into distortion, providing the creamy distinctive VOX sound of the early hand made amplifiers produced by Jennings of Dartford. Clapton, Cream, Pink Floyd and Queen are ambassadors to the success of the early AC30s. The Heritage series 50th anniversary model stands alone as either the AC15 or AC30 with this distinct circuitry not found in the current VOX line-up.

AC30BM[edit]

Recently, Vox released a limited edition version of the amp, the AC30BM, based on the tone of one of the amp's most prominent and consistent endorsers, Brian May of Queen. The amp is limited to only a few hundred examples worldwide, in a 'never-to-be-repeated' run. As the amp is designed to replicate May's tone, there are no controls on the amp except for a single volume control, though a switch enables the user to halve the number of output valves (therefore reducing the output to 15 watts as well as the volume, making it more suitable for home use), and there is a boost function operated from the included footswitch.^{[citation needed]}

JMI returns[edit]

As of 2006, a company having licensed the name JMI (Jennings Musical Instruments) began manufacturing period correct, British made AC30 'copy' amplifiers, available in both black and beige. Since this incarnation of JMI has never owned the Vox brand, their official website lists the disclaimer 'JMI amplification are in no way affiliated with Vox amplification (Korg)', and the models are listed as 30/6 (6 input) and 30/4 (4 inputs, sans 'Brilliant' channel). As originally the case in the 1960s, Top Boost is offered as a retrofit upgrade and is not standard, and the original configuration 4/6 inputs are offered with options for Green/Blue speakers, the blue speakers being similar in appearance to the Celestion alnico speaker but made by Fane International with fiberglass voice coils, which allow them a much higher 100 watt power rating. JMI later changed alnico speakers to ones made by Tayden.^{[citation needed]}

AC30VR[edit]

Another recent addition is the VOX AC30VR (Valve Reactor). According to the Vox website, this version of the AC30 includes both 'solid-state' and 'tube' technology. Originally designed for the Valvetronix modelling amplifiers, the Valve Reactor circuit places a 12AX7 dual triode vacuum tube (or 'valve') into the power stage, which is a tube configured to act as a small power amplifier. Too small to be used as an amplifier on its own, the output of this Valve Reactor circuit is fed to a solid state power amp that boosts the output signal.^{[citation needed]}

Electronics[edit]

Though widely believed to be a class A amplifier, the AC30 is in fact class AB.^[9][10][11] It uses a quartet of cathode-biased EL-84 output tubes in push-pull configuration. The high bias condition is believed by some to be the source of the amplifier's famous immediate response and 'jangly' high-end, though the lack of negative feedback, minimal preamp circuit, simple low loss tone stack, and the use of cathode biasing on the output stage play at least as large a role, if not larger.^[12] The Celestion 'Blue' speakers that are integral to the AC30 also contribute much to the sound of the unit. The two 12' 15-watt speakers, often overdriven and at the brink of their power handling capability, provide a cutting mid-range speaker sound that is immediate and sharp and a distinction from the Marshall or Fender-style amplifier.

References[edit]

1. ^Pittman, Aspen (2003). The Tube Amp Book. Hal Leonard. pp. 95–98. ISBN978-0-87930-767-7.
2. ^John Teagle (May 1998). 'Vox AC-30 The First AC-30?'. Vintage Guitar.
3. ^'The AC-30/4 Twin'. The Vox Showroom.
4. ^'JMI Vox AC-30/6 Normal, Treble and Bass Models 1960–1967 A Detailed Look 'Under the Hood''. The Vox Showroom.
5. ^Glen Lambert. 'Vox AC30 Topboost - Reasons & Origins A?'. Archived from the original on 2009-10-26.
6. ^'The VOX Showroom - The Vox AC-30/6 Super Reverb Twin'.
7. ^Hahlbeck, Gary. 'Vox AC30HW and AC30HWH/CV212LTD Hand Wired Amp Series - Made in the UK'. North Coast Music. Retrieved 21 December 2012.
8. ^Thompson, Art (December 2002). 'Exotica Vox AC30HW'. Guitar Player. 36 (396): 141–142.
9. ^Randall Aiken. 'Is the Vox AC-30 Really Class A?'. Aiken Amps technical pages.
10. ^Randy Jamz. 'Vox AC30 Myths'. Tales from the Tone Lounge.
11. ^Mark Breecher & Shane Dolman. 'Class Distinction'.
12. ^Steve Rowse. 'Voxiness: What makes the Vox AC30 sound that way?'. Steve's Amps blog pages.

External links[edit]

Marshall amplifiers made hard rock possible. While Fender and Vox amps have their place in moving electrified guitar forward, the creations of Jim Marshall fostered an entirely new sound and allowed guitarists to fill stadiums with it. Marshall amps had such precedent-setting wattage and tone that their history can hardly be separated from the history of rock itself.

We recently wrote an article detailing that rich history (which you can read here), but for those simply looking to figure out how old their Marshall amp is, we offer this shortcut. The guide below will help you quickly and clearly date Marshall amps and cabinets, without us waxing poetic about their influence.

Before we begin, a few caveats:

• Marshall model numbers look like years. If your amp says Model 1986 on the inside, that does not mean it was made in 1986. This is probably the biggest area of confusion when dating Marshall amps.
• True serial numbers weren't really used by Marshall until July 1969, so specimens made prior to that can only be accurately dated to a fuzzy span of several years.
• All Marshall amps originally came with Celestion speakers, so in cases where the speakers are original, speaker date codes can be used to date earlier amps.
• Marshall cabinets didn't officially include serial numbers until October 1992. As a result, dating cabs can be more art than science.

The best approach is to cross-reference the serial number with known features for the model during different eras and the personal account of previous owners. Getting the correct year is one thing, but getting the story behind an amp is the fun part. The guide for that is much simpler: be nice, ask questions, offer beer.

Marshall Amps By Series

If you have absolutely no idea whether your Marshall is old or new, a good place to start is the model name or series. This will give you an approximate idea of the era during which your amp was manufactured. It's also one more piece of evidence to pair with the serial number to corroborate the actual year.

The first Marshall amps were made in England starting in 1962. Production has continued there uninterrupted through today, though some lower-priced models are now made in China, India or Korea, depending on the series.

JTM-45 Models: 1962 - 1966
Bluesbreaker Combos: 1964 - 1972
Four-Digit Models (no series): 1965 - 1981
JCM 600 Series: 1997 - 1999
JCM 800 Series: 1981 - 1991
JCM 900 Series: 1990 - 1998
JCM 2000 Series: 1998 - 2008
Silver Jubilee Series: 1987 - 1989
30th Anniversary Series: 1992 - 1999
JTM Series: 1995 - 1998
35th Anniversary Series: 1997 only
Solid State 5000 Series: 1984 - 1991

Valvestate Series: 1991 - 2000
AVT Series: 2000 - 2007
Mode Four Series: 2003 - 2008
MB Series: 2006 - 2012
Hand-Wired Reissue Series: 2004 - present
JVM Series: 2007 - present
Vintage Modern Series: 2007 - present
Haze Series: 2009 - present
MA Series: 2009 - present
MG Series: 1999 - present
JDM:1 Series: 2010 - present

Some amps won't fit into these series (like the recent Class 5 Combo or various signature and limited edition models), so using the serial number will be your best bet to hone in on a specific date of manufacture.

Marshall Serial Numbers

To find the serial number on your Marshall amp, start by looking at the back panel of your amp. For models made between 1979 - 1981, the serial number will be on the front panel.

Keep in mind that no reliable serial number information exists for pre-1969 Marshall amps, so if your amp doesn't have a number matching one of the formats below, it is likely pre-1969 and identifiable by features rather than serial number.

Click on the links here to jump directly to the serial number style that matches your instrument:

Early Models: 1962 - 1964

The earliest Marshall amp models did not have model codes or any official serialization, though some models had a simple sequential four-digit numbering system inside the back panel. These numbers supposedly started with 1001 and progressed from there, starting with 2001 at the beginning of 1964. Often these specimens produced between October 1962 and December 1964 had an offset chassis. Look for original black levant covering, a gray grille and the old block-style Marshall logo.

Model Codes Without Serial Numbers: 1965 - 1969

From January 1965 to June 1969, model codes were used but no known serial numbers accompanied them. This era saw the advent of Plexiglas panels (giving rise to the 'Plexi' name) and four-digit model numbers. Amps from this era still have the block-style Marshall logo and a centered chassis.

The model codes below should help you identify which model you have, while the characteristics described for each year should help with dating.

1965 Features

• Cream back panels
• JTM-45 block logos changed to gold-plated plastic script (these are rarely original, as they broke easily)
• Small round gray cabinet feet
• Plastic handles with larger ends compared to earlier models
• KT66, 6L6 and 5881 tubes in the power section
• RS Spares or Drake transformer used in the JTM-45 (the Drake rated at 8000 ohms)
• Some JTM-100 amps appear with the JMT-45 badge in late 1965 (check for two 50W transformers and a solid state rectifier)

1966 Features

• EL34 or 6550 tubes in the power section
• JTM-50 and JTM-100 logos debut, indicating the amp's wattage.
• Single 100W Drake transformer for 100W models (rated at 4000 ohms)
• GZ34 rectifier no longer used
• Corner-lock joints on cabinets with a quality control signature inside

1967 Features

• Reverse JTM logo (aka 'Black Flag') used for half the year, carrying over from late '66
• Gold Plexigas back panel (as opposed to cream-colored)
• Dagnall transformers used in the JTM-100 (replacing the Drake)
• Chassis construction transitions from aluminum to steel in late '67

1968 Features

• White logo (as opposed to gold)
• Amp model prefix changed from JTM to JMP (Jim Marshall Products)
• Transformer turned 90 degrees in comparison to earlier models (to reduce hum)
• Curved lip under the control panel (previously straight lip)

1969 Features

• Larger black cabinet feet circa July '69 (earlier feet were small and gray)

Model Code-Serial-Date Code: 1969 - 1983

Starting in July 1969, Marshall starting using official serial codes. They were initially broken down into three parts: the model code, the serial production number and the date code. Marshall used letters as a date code to represent year of production. It's important to note that, prior to 1984, this letter came last. The letter B was skipped, as were the letters I, O and Q since they might be confused for numbers.

Use the model codes and date codes below to determine the model and age of your amp. For example, the number S/A 8481 E tells us that this is 50W amp (S/A) made in 1973 (E), production number 8481.

Model Codes

Date Codes 1969 - 1983

Model Code-Date Code-Serial: 1984 - 1992

From January 1984 to September 1992, the three-part coding was used by Marshall but the date code letter was moved from the end to the middle. The same model codes from the previous section of this article still apply, although the model code 'RI' is also seen for reissues. The additional date codes for this era are below.

An example from this era might be SL/A X 10059. This would indicate a 100W Super Lead (SL/A) built in 1989 (X), production number 10059.

Date Codes 1984 - 1992

Nine Digits On A Sticker: 1992 - 1997

Starting in October 1992, Marshall moved away from stamped metal plate serials and began using stickers with a xx-xxxxx-xx format serial and a bar code. Cabinets had serials at this point as well. The sticker-based nine digit scheme lasted through July 1997.

Vox Amplifier Serial Numbers

These serials are much easier to understand, as they don't include any model or date codes.

• The first two numbers indicate the last two digits of the year of production.
• The middle five numbers indicate the production number.
• The last two numbers indicate the week of the year (01 - 52), out of 52 weeks.

For example, the serial number 961002334 would tell us that this amp was made in 1996 (96), production number 10023, and it was made during the 34th (34) week of that year.

Letter-Ten Digits-Letter: 1997 - Present

Starting in August 1997, Marshall moved to their current serial number scheme, which is easier to understand and gives more information than previous schemes. These current serial numbers are arranged in a letter-ten digits-letter format (A-xxxx-xx-xxxx-A). These are still found on stickers with a bar code on the back of the amp.

• The first letter indicates where the amp was manufactured (M for England, C for China, I for India, K for Korea).
• The next four digits indicate the year of production (1998, etc.).
• The next two digits indicate the week of the year during which the amp was produced (01 - 52).
• The next four digits indicate the production number.
• The final letter indicates the voltage setting (for use in different countries - see table below).

For example, a serial number of M-2002-38-1035-B would indicate an amp made in England (M) in 2002 during the 38th week of the year, production number 1035, set up for use in the United States (B).

Voltage Codes

Celestion Speaker Codes: 1963 - Present

If the speakers in your Marshall cabinet or combo are original, they can provide another piece of evidence when determining the date of manufacture. As many cabinets did not have official serial numbers before 1992, this can be especially helpful in dating earlier specimens.

Marshall has always used Celestion speakers standard from the factory, and thankfully, Celestion has been very consistent in coding their speakers. There have been three coding schemes used by Celestion since Marshall's birth as a company, each using some combination of day, month and year.

Using the month and year codes below, and knowing what order they are in for different eras, you can easily decode a Celestion speaker's age. Example: In the mid '60s the order was day-month-year, so a code showing 13DL would indicate a speaker made on the 13th of April, 1966.

The month codes below remained consistent from 1963 forward, but there have been several eras of year codes. Check the era below that applies to your speaker.

Celestion Month Codes

Celestion Year Codes: 1963 - 1967

During this four year stretch, Celestion speaker codes followed a day-month-year format. For example, a 12KM code would indicate a speaker made on the 12th of October (K) in 1967 (M). See the year codes below through 1967. The year codes changed after this, so using other pieces of evidence to make sure you have pre-1968 speakers is important. If you have a speaker older than this, the year codes move backwards through the alphabet to A, which would be 1956.

Celestion Year Codes: 1968 - 1991

You Serial Numbers

During this era, Celestion speaker codes followed a month-year-day format. The year codes started over, with 1968 beginning at A. An example code from this era might be KQ11 - a speaker made in October (K) of 1982 (Q) on the 11th.

Celestion Year Codes: 1992 - Present

Currently, Celestion speaker codes follow a day-month-year format. The year codes started over, with 1992 beginning at B, oddly enough. An example code from this era might be 21KC - a speaker made on the 21st of October (K) in 1993 (C).

Vox Amplifier Serial Numbers

Caveats, Exceptions, Gratitude

The serial number is one part of the puzzle when dating an amp, but cross-checking the originality of the different parts, including tubes, wiring, transformers, knobs, etc. is just as important. If you're about to put down a hefty sum on a vintage Marshall, we strongly encourage you to consult multiple sources to determine the exact age and originality of the amp.

It should also be noted that there may be some signature models and limited editions that will vary slightly from the Marshall serial number formats described here, but in general, determining the year will be the same.

Vox Amplifier Serial Number Lookup

We can hardly express enough how grateful we are for the hard work that the good folks at Vintage Marshall Amps website, Michael Doyle and Nick Bowcott, all of whom have done an immense amount of work to increase the accuracy and availability of information on Marshall amps.

Serial Numbers Microsoft

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