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this was mentioned as a reference source for the free coursera The Music of the Beatles course http://www.andybabiuksfabgear.com/beatles-gear/beatles-gear/may be available from your local library
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They used the gear that they were TOLD to use...
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They used the gear that they were TOLD to use... Guess you didn't read the book. In the beginning, they used what they could afford. Later, they used what they liked.
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They liked what they were told to like.
Look, The Beatles were a seriously backed bidness endeavor to bring US dollars into Britain in a successful effort to create a good export industry at the time the country sorely needed same.
The book might just be more of same, actually.
The effect of the Marshall Plan was far reaching and also imitated by nations other than the ones that lost WWII.
Not that I'm knocking it, though, the "British Invasion" of popular music represented yet another way that we could share our largess with an important ally.
Maybe the kids got to make some choices, but judging from the brands they chose, I'm absolutely convinced that the choices had to come from products made in England. The two famous guitars notwithstanding, the brand-new-always Vox amps, even those funny little mics with the perspex "ring of saturn" around 'em...
The sad thing to me is that it appears that far too many think they know what happened merely from their experience as consumers viewing the situation from the outside.
HMG does not hand out titles for songwriting.
You get knighted for bringin' wealth to the realm.
--Mac
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"They liked what they were told to like." Really? By whom? Queen Elizabeth or George Marshall?  "Look, The Beatles were a seriously backed bidness endeavor to bring US dollars into Britain in a successful effort to create a good export industry at the time the country sorely needed same. The book might just be more of same, actually." It might be, but it isn't really. The book was published in 2001. That Marshall Plan really was long-lived, no? "Maybe the kids got to make some choices, but judging from the brands they chose, I'm absolutely convinced that the choices had to come from products made in England. The two famous guitars notwithstanding, the brand-new-always Vox amps, even those funny little mics with the perspex "ring of saturn" around 'em..." Yup. Hofner, Rickenbacker, Fender, Gibson, Epiphone, Hohner,Telefunken; all of those British brands. The Vox amps they played in the U.S. Were U.S. Made Vox amps, not the British ones. That's also in the book.  "The sad thing to me is that it appears that far too many think they know what happened merely from their experience as consumers viewing the situation from the outside." Yes, sad indeed.
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A book published in 2001. About a subject that took place in the 60's. As for Vox amps made in USA, surely you must know that the parent company was British. Notice that up above I said that there were those who copied what the Marshall Plan put forth, it is part and parcel of business history that success gets copied. And copied. Look, it is no big secret, we had the likes of Motown, Wrecking Crew, etc. and Britain followed suit. As for being told what to use, the history of endorsement contracting in the music industry is as old as the instruments themselves and continues to this very day. Again I say that this is not a bug, its a feature, part and parcel of good business practice IMO. Frank Zappa is one who laid it all out in writing, a really good read IMO. Speaking of FZ and Beatles, check this out about what took place the one time John and Yoko appeared with The Mothers - and the rather low thing John and Yoko pulled by releasing an album of it afterwards, in which the two claimed the songwriting credits: http://suckmybeatles.com/2007/10/29/reason-1754-the-ballad-of-john-and-frank/
Its all part of a long line of undocumented theft and disrespect towards the inimitable Zappa who saw through them from the beginning. He released the worlds first concept album and double album in ’66 with his major label debut Freak Out!.
McCartney owned a copy, and called Zappa to ask permission to use the idea. Expecting to get a drugged out hippie on the phone drooling over his famous moptop, he was instead met with a fiercely intelligent composer and business man who expected to be compensated for his own ideas. Instead of all that fuss, the beatles just stole the idea and claimed it as their own. Zappa retaliated with the famous We’re Only In It For The Money, an album vilifying hippie pretensions, sporting on the cover a parody of Sgt Peppers.
Be sure to listen to the audio of Frank on that link, "in his own words..." --Mac
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“A book published in 2001.
About a subject that took place in the 60's.”
What's your point? They're still writing books about Lincoln. He's been dead for 149 years.
To quote the publisher on the author:
“He is a staff consultant to the Rock & Roll Hall of Fame and consultant to major auction houses in London and New York. Babiuk is the foremost authority on the equipment used to create the Beatles' music. Andy perceived the need for a book about The Beatles' gear when he tried to emulate some of their recorded sounds for his own band, The Chesterfield Kings. Andy then embarked on six years of research for Beatles Gear, during which time he interviewed over 400 people who worked with or were closely associated with The Beatles, listened to hundreds of recordings, watched miles of film, and amassed a vast library of documents and photographic evidence of The Beatles using their instruments and equipment. The result is this most detailed account of The Beatles and the tools that they used, on-stage and in the studio.”
I found it a very comprehensive look at the gear the Beatles used on stage and in the studio, but then I actually read the book.
“As for Vox amps made in USA, surely you must know that the parent company was British.”
Quite rightly; but the amps they played on tour in the USA were made at the American Vox factory.
You neglected to comment on the Hofner, Rickenbacker, Fender, Gibson, Epiphone, Hohner,Telefunken gear they used. None of them are British companies.
“Notice that up above I said that there were those who copied what the Marshall Plan put forth, it is part and parcel of business history that success gets copied. And copied.”
I wasn't aware that Brian Epstein was 'copying' the Marshall Plan. Very edifying, albeit bizarre.
“Look, it is no big secret, we had the likes of Motown, Wrecking Crew, etc. and Britain followed suit.”
“As for being told what to use, the history of endorsement contracting in the music industry is as old as the instruments themselves and continues to this very day.
Again I say that this is not a bug, its a feature, part and parcel of good business practice IMO.
Frank Zappa is one who laid it all out in writing, a really good read IMO.
Speaking of FZ and Beatles, check this out about what took place the one time John and Yoko appeared with The Mothers - and the rather low thing John and Yoko pulled by releasing an album of it afterwards, in which the two claimed the songwriting credits”
And that is germane to the subject....somehow?
Since we're way out here in Left Field, I did happen to attend one of the Mother's debut concerts at the Cafe au Go Go in the Village. Great shows.
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You neglected to comment on the Hofner, Rickenbacker, Fender, Gibson, Epiphone, Hohner,Telefunken gear they used. None of them are British companies.
...The two famous guitars notwithstanding,...
The only Telefunken "gear" that I know to have been associated with The Beatles is the mixing console at Abbey Road, which is not exactly gear "chosen" by the Beatles themselves, although the studio itself might have had some input from the fab four as to the one selected, or might not have been. All the other brands are the guitars, of which fair Britain had few examples to offer, those gawdawful Vox creations that Paul Revere and the Raiders touted may or may not qualify. --Mac
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Aw c'mon, they never used that mic onstage in live performance, did they.
And, it likely belonged to the recording company or studio owner, pulled from the mic locker.
The point is that there was plenty of marketing involved, as there is with any endeavor of that size and scope.
You keep talking about Vox amps being built stateside as if it did not help the British company's sales when thousands of young white kids who, for the first time in history, really, had access to amounts of money to spend hitherto never before seen.
Seeing the Beatles live with all Vox amps served as advertisement that did indeed effect the bottom line sales for the company here.
Even the few times the Beatles used a keyboard onstage, such as at Shea, they used a brit combo organ.
Look, I don't slight a guy for staying true to his nation's products. That's just good business practice.
And things like that don't happen by accident. It is a safe assumption that mfrs like Vox sent sales and marketing staff to the fab four acconmpanied by truckloads of dropoffs.
--Mac
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“Aw c'mon, they never used that mic onstage in live performance, did they.” Of course not. It's a studio condenser, not a live mic. Splitting hairs now? “And, it likely belonged to the recording company or studio owner, pulled from the mic locker.” Probably. Your point? “The point is that there was plenty of marketing involved, as there is with any endeavor of that size and scope.” Oh, I see. “You keep talking about Vox amps being built stateside as if it did not help the British company's sales when thousands of young white kids......” That statement speaks for itself.
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Beatles Vox amps - its a matter of record (Dick Denney - Mr Vox)that the first Beatles amps, AC15s, were bought from a Music Shop in Liverpool (Hesseys) just like almost everyone else gets their gear.
It was Brian Epstein who later "persuaded" Vox (JMI) that giving them new AC30s would be to their mutual advantage. In the end they "traded in" their AC15s plus some small amount of cash for them. And Dick Denney should know.
The Beatles together and individually used Vox amps long after they had ceased to tour.
None were made in the USA for The Beatles. Thomas Organ, under a licence and develop agreement started to produce Vox branded transistor amps c1965 including the so-called "Super Beatle" which was never actually used by The Fab Four. They used the UK produced AC100/Beatle cabinet all-valve set up. However, later developments of Thomas designed "Vox" amps (Series4 and 7)were used in recording parts of "Revolver" and Sgt Pepper" as, whilst being a bland and uninspiring amp tone-wise, it had some effects, like Fuzz, that interested the Beatles at that time.
Ian
Last edited by sixchannel; 02/17/14 03:26 AM.
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Beatles Vox amps - its a matter of record (Dick Denney - Mr Vox)that the first Beatles amps, AC15s, were bought from a Music Shop in Liverpool (Hesseys) just like almost everyone else gets their gear.
It was Brian Epstein who later "persuaded" Vox (JMI) that giving them new AC30s would be to their mutual advantage. In the end they "traded in" their AC15s plus some small amount of cash for them. And Dick Denney should know.
The Beatles together and individually used Vox amps long after they had ceased to tour.
None were made in the USA for The Beatles. Thomas Organ, under a licence and develop agreement started to produce Vox branded transistor amps c1965 including the so-called "Super Beatle" which was never actually used by The Fab Four. They used the UK produced AC100/Beatle cabinet all-valve set up. However, later developments of Thomas designed "Vox" amps (Series4 and 7)were used in recording parts of "Revolver" and Sgt Pepper" as, whilst being a bland and uninspiring amp tone-wise, it had some effects, like Fuzz, that interested the Beatles at that time.
Ian Ian, That is all true. The entire story is in the book referenced by the OP. My actual statement was: “...the amps they played on tour in the USA were made at the American Vox factory.” Which is also true, according to the author. I will defer to his six years of exhaustive research to determine if it's a 'matter of record'. The point I was trying to make was that they also used gear from other than British manufacturers. They also used a Fender Bassman, Bandmaster, Silverface Twin, Deluxe, Deluxe Reverb, etc. I did not mean to cast aspersions on Vox – I love their amps. Regards, Bob
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Beatles Vox amps - its a matter of record (Dick Denney - Mr Vox)that the first Beatles amps, AC15s, were bought from a Music Shop in Liverpool (Hesseys) just like almost everyone else gets their gear.
It was Brian Epstein who later "persuaded" Vox (JMI) that giving them new AC30s would be to their mutual advantage. In the end they "traded in" their AC15s plus some small amount of cash for them. And Dick Denney should know.
The Beatles together and individually used Vox amps long after they had ceased to tour.
None were made in the USA for The Beatles. Thomas Organ, under a licence and develop agreement started to produce Vox branded transistor amps c1965 including the so-called "Super Beatle" which was never actually used by The Fab Four. They used the UK produced AC100/Beatle cabinet all-valve set up. However, later developments of Thomas designed "Vox" amps (Series4 and 7)were used in recording parts of "Revolver" and Sgt Pepper" as, whilst being a bland and uninspiring amp tone-wise, it had some effects, like Fuzz, that interested the Beatles at that time.
Ian Ian, That is all true. The entire story is in the book referenced by the OP. My actual statement was: “...the amps they played on tour in the USA were made at the American Vox factory.” Which is also true, according to the author. I will defer to his six years of exhaustive research to determine if it's a 'matter of record'. The point I was trying to make was that they also used gear from other than British manufacturers. They also used a Fender Bassman, Bandmaster, Silverface Twin, Deluxe, Deluxe Reverb, etc. I did not mean to cast aspersions on Vox – I love their amps. Regards, Bob Hi Bob No aspertions taken, my friend. Its just that the OPs info is at odds with the book written by Dick Denney, who of course, "invented" Vox. "The Vox Story" - Dick Denney and Davis Petersen. AFAIC there was no VOX FACTORY in the USA. There was a Thomas Organ factory in the USA making their own design Vox amps, all transistor originally. According to my book, The Beatles didnt use the Thomas made "Super Beatle" in the USA, or anywhere else, they stuck with the all valve AC100. Wouldnt it be great to have a selective Time MAchine and pop back and check WHO was right? lol! I love Vox amps. I had one of the first AC30/6 Twin Top Boost amps in the early 60's and wish I had never sold it. I now have a Vox AD60VT for my gigging. Its till big but I dont need to wear Tenors Truss to lift it!! Ian
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Ian,
You are indeed correct. There are two different accounts in the “Gear” book. One states that they used Vox amps from the US factory, and the other states that they did in fact bring their AC's with them on the first US tour. I'll take Denney's word for that – he was there and a major player. I stand corrected.
Pity you sold that AC30/6 Twin Top Boost – it would be worth a fortune today!
Regards,
Bob
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“Aw c'mon, they never used that mic onstage in live performance, did they.” Of course not. It's a studio condenser, not a live mic. Splitting hairs now? Don't see how it is "splitting hairs" when my point is still the same, that the concept that these young lads selected ALL of the equipments used to both record them and for them to use in live performance is not exactly the way things like that work in the real world. Look, in that era the singers did not have much say in the type of microphone or brand of microphone that would be used to record them. That task invariably fell to the Recording Engineers for Tracking Sessions or perhaps in a few cases, the choice of the "hands on" Producer. Not very likely that any of those stodgy engineers would have accepted any demand to use a certain mic from what they certainly viewed as four young teenagers.
“And, it likely belonged to the recording company or studio owner, pulled from the mic locker.”
Probably. Your point?
“The point is that there was plenty of marketing involved, as there is with any endeavor of that size and scope.”
See the above answer. The teenagers would not have been in a position to CHOOSE or use that Telefunken mic.
“You keep talking about Vox amps being built stateside as if it did not help the British company's sales when thousands of young white kids......”
That statement speaks for itself.
That statement speaks of the reality that is US history. I heartily recommend you to find and read Frank Zappa's essay on the subject of the recording companies, rock and roll music, record distribution, and most importantly perhaps, the effects of the inherent racism of the United States and its impact on same. I can't find it readily online somewhere, but will keep looking for it in an effort to help the better understanding of the truth and the reality. The 60s were not all that they were cracked up to be. Unfortunately. --Mac
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Pity you sold that AC30/6 Twin Top Boost – it would be worth a fortune today!
Regards,
Bob
And don't I know it!  Bought c1964, I used it, often several times a week, for 11 years. It was terribly abused and never let me down. Sold it to a Dealer (I know! I know! :o) cos I wanted out of the G-Dd music business. Today a "good" one of the same Vintage (if you can get one) is probably $3000 or thereabouts. Don't even ask me how much I got for my 62 Fender Strat and Harmony H75 (see avatar). 20-20 Hindsight is a wonderful thing. Ian
Last edited by sixchannel; 02/17/14 05:48 AM.
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Maybe I should start a new thread (S)-
"Gear we wish we'd kept" and
"Gear we were glad to get rid of"
Think I will
Ian
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“Aw c'mon, they never used that mic onstage in live performance, did they.” Of course not. It's a studio condenser, not a live mic. Splitting hairs now? Don't see how it is "splitting hairs" when my point is still the same, that the concept that these young lads selected ALL of the equipments used to both record them and for them to use in live performance is not exactly the way things like that work in the real world. Look, in that era the singers did not have much say in the type of microphone or brand of microphone that would be used to record them. That task invariably fell to the Recording Engineers for Tracking Sessions or perhaps in a few cases, the choice of the "hands on" Producer. Not very likely that any of those stodgy engineers would have accepted any demand to use a certain mic from what they certainly viewed as four young teenagers.
“And, it likely belonged to the recording company or studio owner, pulled from the mic locker.”
Probably. Your point?
“The point is that there was plenty of marketing involved, as there is with any endeavor of that size and scope.”
See the above answer. The teenagers would not have been in a position to CHOOSE or use that Telefunken mic.
“You keep talking about Vox amps being built stateside as if it did not help the British company's sales when thousands of young white kids......”
That statement speaks for itself.
That statement speaks of the reality that is US history. I heartily recommend you to find and read Frank Zappa's essay on the subject of the recording companies, rock and roll music, record distribution, and most importantly perhaps, the effects of the inherent racism of the United States and its impact on same. I can't find it readily online somewhere, but will keep looking for it in an effort to help the better understanding of the truth and the reality. The 60s were not all that they were cracked up to be. Unfortunately. --Mac I find your reference to " white kids" inherently racist, and your blame shifting inherently disingenuous.
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Introducing Xtra Styles PAK 21 – Now Available for Windows Band-in-a-Box 2025 and Higher!
Xtra Styles PAK 21 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest Xtra Styles PAK installment—the all new Xtra Styles PAK 21 for Band-in-a-Box version 2025 (and higher)!
Rejoice, one and all, for Xtra Styles PAK 21 for Band-in-a-Box® is here! We’re serving up 200 brand spankin’ new styles to delight your musical taste buds! The first three courses are the classics you’ve come to know and love, including offerings from the rock & pop, jazz, and country genres, but, not to be outdone, this year’s fourth course is bro country! A wide ranging genre, you can find everything from hip-hop, uptempo outlaw country, hard hitting rock, funk, and even electronica, all with that familiar bro country flair. The dinner bell has been rung, pickup up Xtra Styles PAK 21 today!
In this PAK you’ll discover: Energetic folk rock, raucous train beats, fast country boogies, acid jazz grooves, laid-back funky jams, a bevy of breezy jazz waltzes, calm electro funk, indie synth pop, industrial synth metal, and more bro country than could possibly fit in the back of a pickup truck!
Special offers until December 31st, 2025!
All the Xtra Styles PAKs 1 - 21 are on special for only $29 each (reg $49), or get all 21 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 21.
Video: Xtra Styles PAK 21 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Introducing XPro Styles PAK 10 – Now Available for Mac Band-in-a-Box 2025 and Higher!
We've just released XPro Styles PAK 10 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 28 RealTracks and RealDrums!
Few things are certain in life: death, taxes, and a brand spankin’ new XPro Styles PAK! In this, the 10th edition of our XPro Styles PAK series, we’ve got 100 styles coming your way! We have the classic 25 styles each from the rock & pop, jazz, and country genres, and rounding out this volume's wildcard slot is 25 styles in the Praise & Worship genre! A wide spanning genre, you can find everything from rock, folk, country, and more underneath its umbrella. The included 28 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Here’s just a small sampling of what you can look forward to in XPro Styles PAK 10: Soft indie folk worship songs, bumpin’ country boogies, gospel praise breaks, hard rockin’ pop, funky disco grooves, smooth Latin jazz pop, bossa nova fusion, western swing, alternative hip-hop, cool country funk, and much more!
Special offers until December 31st, 2025!
All the XPro Styles PAKs 1 - 10 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 10 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Introducing Xtra Styles PAK 21 – Now Available for Mac Band-in-a-Box 2025 and Higher!
Xtra Styles PAK 21 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest Xtra Styles PAK installment—the all new Xtra Styles PAK 21 for Band-in-a-Box version 2025 (and higher)!
Rejoice, one and all, for Xtra Styles PAK 21 for Band-in-a-Box® is here! We’re serving up 200 brand spankin’ new styles to delight your musical taste buds! The first three courses are the classics you’ve come to know and love, including offerings from the rock & pop, jazz, and country genres, but, not to be outdone, this year’s fourth course is bro country! A wide ranging genre, you can find everything from hip-hop, uptempo outlaw country, hard hitting rock, funk, and even electronica, all with that familiar bro country flair. The dinner bell has been rung, pickup up Xtra Styles PAK 21 today!
In this PAK you’ll discover: Energetic folk rock, raucous train beats, fast country boogies, acid jazz grooves, laid-back funky jams, a bevy of breezy jazz waltzes, calm electro funk, indie synth pop, industrial synth metal, and more bro country than could possibly fit in the back of a pickup truck!
Special offers until December 31st, 2025!
All the Xtra Styles PAKs 1 - 21 are on special for only $29 each (reg $49), or get all 21 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 21.
Video: Xtra Styles PAK 21 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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