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The Phantom XII Stereo arrived a bit late and is much rarer than the standard model. The Vox 12-strings in general were fairly popular and successful guitars in the mid-'60s, the bright sound of Vox pickups being particularly well-suited to a 12-string application. This early model did not have any indication on the pickguard of how the controls were to be operated - later examples actually spelled it out with engraved legends, hopefully helping the likely baffled users figure out what the guitar was doing! Whether the world needed this or not, it's an impressive range of tones available. Each half-pickup is provided with its own tone and volume control, with a standard 3-way selector offering "Stereo-Mono-Off" and a bank of 3 lever switches selecting different modes: stereo, mono, and "reverse" or out-of phase. These are not humbuckers but have a separate half-coil on each side for the treble and bass strings. The Phantom XII Stereo has one of the most cluttered facades ever offered to guitarists - it features three special double-coil Vox pickups used only on this model. The regular Phantom XII was already a good seller for the company, so perceiving a deluxe 12-string niche, Thomas jumped in with both feet with this deluxe and (originally) very expensive variation. The reasoning behind a special stereo 12-string (and only the 12-string was marketed) is obscure, but it was quite likely Thomas noticing that Rickenbacker (also in southern California) was months back-ordered on the suddenly popular stereo Model 360-12 and decided to cop some of the action. With a wide, comfortable neck and 3 single coil pickups, the Vox 12-strings were already fairly successful in 1965.
VOX PHANTOM FULL
The Phantom series - designed originally in England around 1962 - already encompassed a full family including 6-string, 12-string, and bass versions. By that point virtually all the Vox guitars sold in the US were made in Italy, and Thomas was actually designing their own models, or in this case a variation on an existing JMI design.
![vox phantom vox phantom](https://i.pinimg.com/originals/93/9f/89/939f89ea93e52a64f2f8e9d75ff11000.jpg)
The Phantom XII was a later addition to the Thomas line, appearing in late 1965 or 1966. By the time Thomas Organ in California formalized American distribution of JMI's products in 1965, nearly all Vox guitars sold in the US would be of Italian parentage. These Eko-made Vox guitars are more consistent than their English cousins, and in many cases are better-playing instruments. Vox's Parent company JMI (Jennings Musical Industries) in Dartford, Kent was already overstretched by 1964 supplying Vox amplifiers to the UK and world markets, so instead of expanding their meagre guitar-making facilities, Jennings outsourced the great bulk of instrument production to the Italian firm. This Stereo 12-string is one of the more obscure variations, and certainly unmistakable! Like most Vox-branded instruments sold in the US, this one was built at the Eko factory in Recanati, Italy.
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One of the all-time great "posing" guitars, the vaguely trapezoidal Vox Phantom XII is still utterly distinctive and an instant 1960s classic.
VOX PHANTOM SERIAL
Having said this, there are a lot worse guitars out there, and as well as being historically important, the 1820 bass can certainly provide the goods when required.Vox Phantom XII Stereo V-246 Model 12 String Solid Body Electric Guitar (1966), made in Recanati, Italy, serial # 257115, black polyester finish, mahogany body, maple neck with ebony fingerboard, black gig bag case. Over the course of the 70s, the Japanese output improved dramatically, and in many ways these early 70s models are a low point for the brand. These new Epiphones were based on existing Matsumoku guitars, sharing body shapes, and hardware, but the Epiphone line was somewhat upgraded, with inlaid logos and a 2x2 peghead configuration. The Matsumoku factory had been producing guitars for export for some time, but the 1820 bass (alongside a number of guitar models and the 5120 electric acoustic bass) were the first Epiphone models to be made there. By the end of the 1960s, a decision had been made to move Epiphone guitar production from the USA (at the Kalamazoo plant where Gibson guitars were made), to Matsumoto in Japan, creating a line of guitars and basses significantly less expensive than the USA-built models (actually less than half the price).