The Vox AC-30SRT amp head is considered by many to be the ultimate AC-30 amplifier. In his

1992 book, "The Vox Story," former Vox lead engineer Dick Denney reported that this version of the AC-30 had the reputation of having the best sound of any Vox amplifier.  

The three channel trapezoid amp head was offered in two versions, the "Super Twin" and "Super Reverb Twin."

The AC-30/6 Super Twin and AC-30/6 Super Reverb Twin both

The "Cut" control was installed on the control panel alongside the treble and bass controls. This control rolled off the treble response on all three channels and was not part of the Top Boost circuitry.

By 1964, Vox recognized that reverb was becoming popular as an onboard effect in a number of Fender amplifiers. As a result, Tom Jennings, the director of JMI Vox, investigated the possibility of adding a Hammond reverb circuit to Vox amps. Hammond charged a one dollar per amp licensing fee to manufacturers that incorporated their patented reverb circuits. This ongoing license fee so infuriated Jennings that he led Vox to develop their own proprietary reverb circuit that included the infamous Vox crystal phono cartridge reverb pan. This circuit just barely skirted the design patents on the Hammond design.

The Vibrato channel had much lower gain and was not as clean as the Normal or Brilliant channels. As a result, the Vibrato channel was not all that popular with musicians. The input jacks for the Vibrato channel had white nuts for easy identification. In addition to two control panel mounted controls, a Vox "egg" foot switch remotely activated the effect.

Thomas Organ obviously was impressed with the design of the JMI Vox AC-30/6 Super Twin amp head. They closely modeled their Super Beatle, Royal Guardsman, Buckingham, Westminster and Sovereign amp head cabinets after the trapezoid AC-30/6 Super Twin.