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James Werner, noted for his Fender serial number lists, put Sampson together with a trader in England Sampson describes as “…sort of the British inverse of me.” Soon, Fenders were being shipped to England and Voxes, Marshalls, and Hiwatts were coming to Iowa.“I was exposed to the British side of design and manufacturing,” says Sampson.I did a lot of reverse engineering of those English amps. If you had a piece owned and documented by someone famous, it was worth more, but not much.A lot of them were in various stages of disrepair, which kept the prices down. I remember buying a bass rig off one of the guys from Badfinger. I wish I’d kept it.” Sampson’s band was his testing ground.
One of the store’s more notable customers was Prince (back in the days when he had a name).I tried to tell them, ‘Just don’t worry about me, I’ll come through.You take care of your deal and we’ll be fine.”‘ Listening with a critical ear to a variety of British amps, Sampson began to note the differences in sound design.“There is a peculiar midrange thing all British amps do that American amps do not.And, of course, between British amps there are big differences.
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Although the 10″ speakers tend not to have the midrange character a Celestion might have…to my ears.” Sampson saw how cultural differences between Americans and Brits influenced their amp designs.