The craft
From thinks to things
Every Colson of York amplifier requires mastery of a range of skills and disciplines, from the selection and shaping of hardwoods, to cabinet design, analogue electronics and the final sound.
Most of my creations begin long before I pick up a tool. They start as ideas that take up residence in my head, sometimes for months, gradually evolving as I imagine how they might look, how they might work and, ultimately, how they might sound.
Colson of York is where those thoughts find their way into the world. It’s a meeting of music, design, engineering and a curiosity that gains momentum. An idea for a cabinet becomes an experiment with hardwoods. A question about sound leads to another circuit on the workbench. One discovery invariably suggests the next.
What emerges is rarely the same as what I first imagined. And that’s part of the pleasure. Taking something that once existed only in my mind and turning it into a boutique guitar amplifier that someone can make music with, own, enjoy and live with for a lifetime.
Most of my creations begin long before I pick up a tool. They start as ideas that take up residence in my head, sometimes for months, gradually evolving as I imagine how they might look, how they might work and, ultimately, how they might sound.
Colson of York is where those thoughts find their way into the world. It’s a meeting of music, design, engineering and a curiosity that gains momentum. An idea for a cabinet becomes an experiment with hardwoods. A question about sound leads to another circuit on the workbench. One discovery invariably suggests the next.
What emerges is rarely the same as what I first imagined. And that’s part of the pleasure. Taking something that once existed only in my mind and turning it into a boutique guitar amplifier that someone can make music with, own, enjoy and live with for a lifetime.
01 / THE TIMBER
Hardwoods with history
Long before an amplifier takes shape, there’s the timber.
Some of the Yorkshire sycamore I’ve worked with was harvested near Harrogate almost twenty years ago, and has been slowly seasoned ever since. I’ve personally cared for the timber for a decade, watching its character develop.
I also use English sweet chestnut, sapele and other carefully selected hardwoods, each with its own grain, colour, figure and natural characteristics that influence my designs.
There’s something satisfying about taking a piece of timber with its own history and giving it a new purpose, transforming it into something that can be enjoyed for generations to come.
Some of the Yorkshire sycamore I’ve worked with was harvested near Harrogate almost twenty years ago, and has been slowly seasoned ever since. I’ve personally cared for the timber for a decade, watching its character develop.
I also use English sweet chestnut, sapele and other carefully selected hardwoods, each with its own grain, colour, figure and natural characteristics that influence my designs.
There’s something satisfying about taking a piece of timber with its own history and giving it a new purpose, transforming it into something that can be enjoyed for generations to come.
02 / THE CABINET
The architecture of sound
I design each Colson cabinet to combine beauty with practicality. The distinctive sloping front directs more of the sound towards the player, rather than across the floor, while its proportions are carefully considered to complement the chosen speaker and amplifier circuitry.
I work with solid hardwoods, shaping each cabinet individually rather than relying on conventional MDF construction or standardised box enclosures.
The grain and natural character of the timber often influence my final design, while details such as rounded edges, carefully fitted joints and integrated carrying handles bring everything together.
There are no production lines or identical cabinets. Each one is the result of countless small decisions, adjustments and refinements, combining traditional woodworking techniques with a contemporary approach to guitar amplifier design.
I work with solid hardwoods, shaping each cabinet individually rather than relying on conventional MDF construction or standardised box enclosures.
The grain and natural character of the timber often influence my final design, while details such as rounded edges, carefully fitted joints and integrated carrying handles bring everything together.
There are no production lines or identical cabinets. Each one is the result of countless small decisions, adjustments and refinements, combining traditional woodworking techniques with a contemporary approach to guitar amplifier design.
03 / THE ELECTRONICS
A connection with the player
For me, a great guitar amplifier is about the connection between the instrument, the electrical circuits and the person playing it. The way a note responds to a lighter touch, how an overdrive pedal opens up, or how a guitar’s individual character comes through.
That’s why I’ve chosen to work with analogue amplification. Not because digital technology is inherently inferior, but because I enjoy the direct relationship between a changing electrical signal and the components that shape it. I want an amplifier that feels like an organic extension of the guitar, rather than something standing between the guitar and the music.
My earlier creations use carefully selected analogue technologies, chosen and adapted to suit the character of each amplifier. More recently, I’ve taken that exploration further, developing my own preamp circuitry from scratch. It’s an opportunity to shape not only how an amplifier sounds, but how it behaves and responds.
The forthcoming Tuxedo Twins will be the first to feature my original analogue circuit design. They’re the next step in a continuing pursuit of something individual, expressive and genuinely rewarding to play.
That’s why I’ve chosen to work with analogue amplification. Not because digital technology is inherently inferior, but because I enjoy the direct relationship between a changing electrical signal and the components that shape it. I want an amplifier that feels like an organic extension of the guitar, rather than something standing between the guitar and the music.
My earlier creations use carefully selected analogue technologies, chosen and adapted to suit the character of each amplifier. More recently, I’ve taken that exploration further, developing my own preamp circuitry from scratch. It’s an opportunity to shape not only how an amplifier sounds, but how it behaves and responds.
The forthcoming Tuxedo Twins will be the first to feature my original analogue circuit design. They’re the next step in a continuing pursuit of something individual, expressive and genuinely rewarding to play.
04 / THE SPEAKER
An ear for detail
Every component has a part to play in the character of a Colson of York amplifier, and the loudspeaker is no exception. My choices are guided by the circuitry, the cabinet design and the musical qualities that I want to achieve.
The Three Sisters of Ainsty feature Celestion G12F-60 loudspeakers, manufactured in Ipswich, England, in 1998. I acquired a batch of four, all produced on the same day. Their clear top end, firm bass response and balanced character work well with the Sisters’ deep, semi-open hardwood cabinets.
I’ve also sourced speakers from Albion, a British company associated with Steve Grindrod. During his career at Marshall and Vox, Steve helped shape some of Britain’s best-known guitar amplifiers before bringing that experience to Albion.
For Clear Evening Sky, I chose a Celestion Greenback to complement its clean Vox Nutube circuitry, bringing its woody character to an amplifier designed to work beautifully with pedals.
These are choices I’ve made as part of my wider process of bringing together the circuitry, materials, dimensions, cabinet and speaker to create unique guitar amplifiers with their own distinctive voices.
The Three Sisters of Ainsty feature Celestion G12F-60 loudspeakers, manufactured in Ipswich, England, in 1998. I acquired a batch of four, all produced on the same day. Their clear top end, firm bass response and balanced character work well with the Sisters’ deep, semi-open hardwood cabinets.
I’ve also sourced speakers from Albion, a British company associated with Steve Grindrod. During his career at Marshall and Vox, Steve helped shape some of Britain’s best-known guitar amplifiers before bringing that experience to Albion.
For Clear Evening Sky, I chose a Celestion Greenback to complement its clean Vox Nutube circuitry, bringing its woody character to an amplifier designed to work beautifully with pedals.
These are choices I’ve made as part of my wider process of bringing together the circuitry, materials, dimensions, cabinet and speaker to create unique guitar amplifiers with their own distinctive voices.
05 / THE FINISHED AMPLIFIER
Beyond the workshop
I get a huge sense of satisfaction from seeing an amplifier come together. The wood has found its shape, the electronics are in place, and all those individual decisions have become something fixed and permanent.
But completing the build is only part of the process. After each amplifier is carefully assembled, checked and played, I spend time listening to how the various elements work together. Then, any final adjustments are made with the same attention to detail.
And then comes the moment I enjoy most. Seeing an amplifier leave my workshop and begin its journey with another musician. Something that began as an idea in my head now has a life entirely independent of me.
Every Colson of York guitar amplifier is a piece of functional art to own and enjoy, and to make music with for a lifetime.
But completing the build is only part of the process. After each amplifier is carefully assembled, checked and played, I spend time listening to how the various elements work together. Then, any final adjustments are made with the same attention to detail.
And then comes the moment I enjoy most. Seeing an amplifier leave my workshop and begin its journey with another musician. Something that began as an idea in my head now has a life entirely independent of me.
Every Colson of York guitar amplifier is a piece of functional art to own and enjoy, and to make music with for a lifetime.
06 / LET’S TALK AMPLIFIERS
A Colson of York amplifier of your own…
Enquire about a particular Colson of York amplifier, upcoming builds or a personal commission. I’d love to hear from you.