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Watkins Electric Music
Watkins Electric Music
Watkins Electric Music
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Watkins Electric Music (WEM) is a British company known for manufacturing PA systems, the Copicat tape echo unit, guitar amplifiers, and electric guitars.

Key Information

History

[edit]

The company was co-founded by musician Charlie Watkins and his brother Reg Watkins in 1949, initially as a record shop in Tooting Market, London. Two years later the brothers moved to a small shop in Balham and began selling accordions and guitars.

Watkins Electric Music was one of the first to manufacture and sell guitar amplifiers in England, introducing the Watkins Westminster in 1954, followed up by the V-fronted Dominator.[1]

In 1958, Watkins Electric Music introduced the Copicat, one of the first-ever portable tape echo units. The shop sold the entire first production run of 100 Copicats on the first day, including the very first Copicat sold to Johnny Kidd of Johnny Kidd & the Pirates, whose guitarist used it on the group's UK hit song "Shakin' All Over".[2] The Copicat would become one of the company's most successful products, with various different Copicat models released over more than 50 years.[3] By the end of the 1950s, selling amps, echo units, and a line of solid-body electric guitars designed by Reg, Watkins Electric Music was one of the top 3 companies of the U.K. music trade.[1]

A WEM 100 watt PA dating from 1969

In 1967-1968 The Who used the WEM (Watkins Electric Music) Audiomaster five-channel mixer and multiple WEM 100-watt transistor PA amplifiers chained together as their sound system.[4] In the concert movie Pink Floyd: Live at Pompeii (1972), the band is shown using WEM PA equipment as it performs in the ruins of an ancient amphitheatre in Pompeii, Italy. Jimi Hendrix and his Band of Gypsys also used WEM PA equipment at outdoor venues in the UK. WEM amplification can also be seen in footage of the Miles Davis Electric Band playing at the Isle of Wight festival in 1970, in Led Zeppelin's 1969 supershow in London, and in The Stones in the Park, one of the Hyde Park Free Concerts. The amps were also used by Jack Bruce of Cream. In a 2023 interview on That Pedal Show on YouTube, Noel Gallagher discusses his use of WEM amplifiers in conjunction with other amplifiers to produce his signature sounds, especially those used in the early years that made Oasis famous.

A scaled down version of the company still operates, focusing on accordions and a new handmade version of the Copicat tape echo units.

References

[edit]
[edit]
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Watkins Electric Music

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Watkins Electric Music (WEM), founded in 1949 by brothers Charlie and Reg Watkins as a in London's Market, evolved into a leading British manufacturer of innovative electric musical instruments, amplifiers, and sound reinforcement equipment during the mid-20th century. The company gained prominence for its Copicat tape echo unit, introduced in 1958, which became a staple for guitarists and produced the distinctive echoing sound heard on hits like ' "." WEM's amplifier lineup, including the affordable Westminster (launched 1954), the powerful Dominator (1957), and the Joker (1963) with integrated echo, powered countless performances in the 1960s and 1970s rock scene, favored for their robust tone and reliability by artists ranging from to . The firm also produced solid-body electric guitars like the Rapier series starting in 1957—one of the earliest British models—and revolutionized live sound with the Slave PA system in 1966, culminating in a pioneering 1,000-watt PA setup, possibly the world's first, at the 1967 Windsor Jazz & Blues Festival, along with inventions like the five-channel Audiomaster mixer and wedge-shaped foldback monitors (though PA production ceased in 1974). These advancements were pivotal for major events, including the 1970 , where WEM's Festival Stack PA supported acts like and The Who. Following Charlie Watkins' death in 2014 at age 91, the company's legacy endures through his widow June, who oversaw Watkins Electric Music as of , while a license for production has enabled modern recreations that preserve the brand's vintage British sound for contemporary musicians.

History

Founding and Early Years

Watkins Electric Music was founded in 1949 by brothers Charlie Watkins and Reg Watkins as a record shop in Tooting Market, . Charlie, a professional accordionist with a background in the during , sought financial stability through the venture, which initially focused on selling records to local customers. The brothers' shared interest in music laid the groundwork for future expansions into musical instruments and equipment. In 1951, the business relocated to a larger premises in , , where it broadened its offerings to include accordions and guitars, capitalizing on the growing popularity of these instruments among amateur and professional musicians. This shift marked the company's transition from retail-only operations to a more diverse music supplier, reflecting Charlie Watkins' firsthand experience performing in bands and recognizing the demand for accessible musical gear. By the early , Charlie began experimenting with , designing initial guitar amplifiers to address the amplification needs he observed in live settings, starting with small 4-watt models that combined power sections from existing suppliers with custom preamps. The company's first major product, the Watkins Westminster amplifier, was introduced in 1954 as a 10-watt AC-powered combo featuring a single 10-inch Elac speaker, designed for safer and more reliable use compared to earlier AC/DC prototypes that had been recalled due to hazards. This model represented a significant step in Watkins' manufacturing efforts, establishing the firm as one of the early British producers of guitar amplification equipment. Family involvement deepened with the later addition of brother Syd Watkins in production roles, supporting the growing operations. By the late 1950s, these foundations enabled brief forays into echo units and electric guitars.

Expansion in the 1950s and 1960s

In 1957, Reg Watkins established a factory in , , dedicated to the production of , marking a significant step in the company's shift toward manufacturing its own instruments. This facility enabled the development of the , which achieved widespread international sales in the thousands and helped solidify the company's reputation in the burgeoning market. Building on the foundations of early 1950s amplifiers like the Westminster, the Chertsey operations expanded production capacity to meet growing demand from the and rock scenes. The launch of the Copicat tape echo unit in 1958 represented a pivotal product introduction that propelled Watkins Electric Music's commercial growth. On its debut day, all 100 units sold out immediately, with the first unit purchased by Johnny Kidd of , who incorporated it into their 1960 hit "Shakin' All Over." The Copicat's success, selling around 1,000 units per month in the early 1960s, funded further expansion, including a new factory on Offley Road in by 1961, and contributed to the company's recognition as one of the top three UK music trade firms by the late 1950s. By the mid-1960s, Watkins had introduced additional amplifier models that enhanced its product lineup and market position. The Joker, launched in 1963 as a 30-watt model with an integrated Copicat echo, catered to performers seeking versatile, all-in-one solutions. Complementing this was the Dominator, a 15- to 17-watt amplifier known for its distinctive V-front design and reliable tone, which became popular among British musicians. Early international sales of these echo units and amplifiers, alongside the Rapier guitars exported at rates of 500 units per month to the US by 1965, established Watkins as a key contributor to the "Sound of the 60s."

Festival Era and Peak Innovations

In 1966, Charlie Watkins invented the WEM Slave PA system, a modular setup that linked a master to multiple slave units for scalable power output, revolutionizing live sound reinforcement for large audiences. This innovation built on earlier designs but was specifically tailored for outdoor events, allowing for chained amplification without signal loss. The system debuted at the 1967 Windsor National Jazz and Blues Festival, where a 1,000-watt configuration powered Fleetwood Mac's performance, astonishing attendees with its clarity and volume using Goodmans Axiom speakers. Watkins was briefly arrested for disturbing the peace due to the system's unprecedented loudness, though the charge was dismissed. By 1967-1968, WEM advanced its PA technology with the Audiomaster mixer, a five-channel solid-state unit with equalization and slave outputs that could be chained for expanded control, priced at around £65. Complementing this were 100-watt PA amplifiers that formed the backbone of festival stacks, including configurations with 15-inch and 6x10-inch speakers plus horns. The Who adopted these systems for their high-volume shows, with the Audiomaster becoming a staple for sound engineering during this period. Major deployments followed, such as the 1,500-watt setup at ' 1969 Hyde Park concert, audible up to seven miles away, and systems at the of Festivals from 1968 to 1970, including Jimi Hendrix's final performance. In 1973, WEM provided 50 Slave amps delivering 5,000 watts at the Festival, pushing sound levels to 128 dB and highlighting the scale of their festival dominance. Despite these peaks, encountered significant challenges, including technical failures like a faulty demonstration for at the and issues with wind interference at events. By 1973, escalating crowd violence—such as at the festival—and intensifying competition from rivals like Kelsey-Morris prompted Watkins to withdraw from the festival circuit after , citing health concerns and the scene's deterioration. Charlie Watkins earned the moniker "Father of British PA" for these pioneering contributions, which transformed festival audio from inadequate setups to professional-grade systems capable of supporting rock's explosive growth.

Decline and Post-1970s Developments

By the mid-1970s, Watkins Electric Music had begun to retreat from the large-scale public address (PA) systems that defined its festival-era dominance, driven by market saturation and intensifying competition from American brands like , which offered more advanced transistor-based systems. Charlie Watkins, the company's founder, expressed growing disenchantment with the rock festival scene following chaotic events such as the 1973 Grangemouth and festivals, where technical failures, crowd violence, and excessive demands eroded profitability and enthusiasm. This shift marked the end of WEM's near-monopoly on festival sound from 1966 to 1972, leading to a deliberate scaling back of PA production to focus on smaller, more manageable operations. Throughout the 1980s and 1990s, ownership remained firmly within the Watkins family under Charlie's leadership, with no major restructurings or external takeovers recorded, allowing the company to navigate economic pressures through gradual downsizing rather than insolvency. By the 1980s, Charlie Watkins pivoted toward niche markets, particularly accordions, abandoning work with pop musicians to develop specialized products like the WEM Songbird series of solid-state amplifiers tailored for accordionists and dance bands, which gained popularity in the UK. This era also saw the introduction of Watkins-branded accordions, accessories, and the publication of Accordion Today magazine to promote these offerings and engage the accordion community. Into the 2000s, production became increasingly limited, with a focus on select reissues such as updated versions of the classic Dominator amplifiers and continued manufacturing of the iconic Copicat tape echo units, emphasizing handmade quality over mass output. Charlie Watkins sustained this boutique approach until his death on October 28, 2014, at age 91, after which his widow, June Watkins, assumed control, maintaining the family-influenced operations. As of 2025, Limited operates as a micro-entity with net assets of approximately £2,950 and fewer than 10 employees, centered on preserving historical products through small-scale sales of items like Copicat tape loops and referrals for repairs, while upholding the company's legacy via its archival website.

Products

Guitar Amplifiers

Watkins Electric Music entered the guitar amplification market in the mid-1950s, introducing the Westminster model around 1957 as its first widely produced valve-based . This basic design, powered by simple tube circuitry, provided affordable, entry-level amplification for and early rock players, featuring a straightforward combo cabinet with an 8-inch speaker for compact portability. The Westminster's marked WEM's shift toward more robust stage-ready gear, setting the foundation for subsequent models with improved power and tonal clarity. By the late 1950s, advanced its lineup with the Dominator, launched in as an upgrade from the Westminster, delivering 17 watts RMS through a push-pull pair of output tubes and three ECC83 preamp tubes. Known for its clean, articulate tone, the Dominator featured a distinctive V-fronted 2x10-inch combo cabinet with angled speakers for enhanced sound dispersion, along with four inputs for versatile instrument and vocal use. Early versions employed point-to-point hand-wired construction for reliability, though production shifted to printed circuit boards by 1963; its British voicing emphasized midrange punch ideal for , influencing later designs like Marshall's 18-watt models. The Dominator's robust build and stage durability made it a favorite in London's burgeoning music scene during the 1960s. In 1963, introduced the Joker, a compact 30-watt combo using four tubes in a cathode-biased configuration, housed in a 1x12-inch cabinet with a hi-fi driver and high-frequency horn for balanced projection. Designed as a self-contained unit for solo performers, it included innovative features like a master volume control—among the earliest in guitar amps—and tube-driven , contributing to its versatile, roadworthy profile despite limited production of around 400 units. Like its predecessors, the Joker showcased hand-wired elements and sturdy cabinetry, prioritizing reliability for live gigs with a clear, dynamic tone suited to British rock applications. Throughout the to , WEM's guitar amplifiers emphasized hand-wired quality in initial runs, durable cabinets with vinyl coverings for stage resilience, and a signature British voicing that delivered clean headroom and responsive overdrive for rock tones. These models, including variants of the Westminster and Dominator produced into the early , were engineered for consistent performance in demanding live environments, often integrating seamlessly with larger PA setups for band applications.

Echo Units

The Watkins Copicat, introduced in 1958, was one of the earliest commercially available tape delay units, featuring a valve-based design that utilized an endless tape loop to generate echo effects. This original model employed a single record head and multiple playback heads to create variable delay times, drawing inspiration from the echo sounds of the Marino Marini Quartet and revolutionizing accessible delay for musicians. Over time, the Copicat evolved from its valve origins in the late 1950s and early 1960s to transistor-based versions starting in the 1970s, offering improved stability and reliability while maintaining the warm analog character. Production of the Copicat spanned over 50 years, from into the , with key variants including the Copicat Mk2 (introduced around with push-button head selection) and the IC400 (a late-1970s model featuring variable tape speed via belt drive). These units sold hundreds of thousands worldwide, with early models achieving rapid success— the first 100 units reportedly sold out in a single day, and monthly sales reaching about 1,000 in the early . The line's longevity was bolstered by its affordability and adaptability, making it a staple in British music scenes. Technically, the Copicat operated on a continuous tensioned by a spring arm, with tape speeds typically fixed but adjustable in varispeed models like the IC400 to alter timing from short slapback to longer repeats. Core controls included a Sustain knob for feedback to set the number of repeats—from a single to near-infinite sustain—and separate gain inputs for blending signals, often with a footswitch for muting. Many variants integrated spring reverb, such as a Hammond unit in combined echo-reverb models, allowing seamless addition of depth to the delay effect. The Copicat played a pivotal role in shaping the signature British echo sounds, particularly slapback and short-delay effects for electric guitars and vocals, as heard in tracks by and . Its warm, natural decay and multi-head configuration enabled the distinctive twangy repeats that defined surf, , and early pop recordings. Often paired with amplifiers, it formed complete setups for live and studio use in that era.

Electric Guitars

Watkins Electric Music introduced the series of solid-body electric guitars in 1957, positioning them among the earliest British-made models of their kind, following closely behind the Tuxedo as a pioneer in manufacturing. Designed primarily by Reg Watkins at the company's , factory, the series included variants such as the 22 with two pickups, the 33 with three, and the 44 with four, alongside bass versions like the Bass featuring two pickups. These guitars were handcrafted with a focus on affordability, priced between £20 and £30, making them accessible to emerging rock and pop musicians in the late 1950s and 1960s. The guitars featured contoured, double-cutaway solid bodies inspired by American designs like the , constructed from or similar woods for resonance and playability, often finished in bright red or black. Bolt-on necks were standard in later models, promoting easier production and repair, while early versions occasionally used glued necks; headstocks evolved from three-a-side to a Fender-style six-in-line configuration by 1961. Pickup configurations emphasized versatility for rock and pop tones, with Watkins-manufactured single-coil units—often featuring a forward-slanted middle pickup on the 33—delivering bright, articulate sounds; by the mid-1960s, these included "toaster"-style slotted covers. Hardware highlights included the proprietary Watkins Vibra system, introduced in 1957 and later rebranded as Hi Lo, which provided stable tuning for stage use. Production occurred exclusively at the facility, where Reg and oversaw assembly by a team of up to 25 workers, each guitar taking 6-7 hours to complete; output peaked at around 300 units per month by 1965, with significant exports including 500 monthly to the under names like España EL-31. Bass variants mirrored the guitar designs, offering similar pickup options and bodies scaled for four-string play. Though thousands of Rapiers were produced through the —far fewer than the company's dominant amplifier lines like the Dominator—the series represented a limited but targeted run, with branding shifting to Wilson in 1968 amid ongoing manufacture until around 1978. In the UK guitar market, the series gained influence by offering high-quality, domestically produced alternatives to imported American instruments, supporting the and early scenes while establishing Watkins as a key player alongside brands like Burns and Vox during the boom. Their innovative polyester spraying technique and craftsmanship helped democratize access for young British players, contributing to the era's musical evolution without overshadowing the company's amplification innovations.

Public Address Systems

Watkins Electric Music () developed public address (PA) systems in the mid-1960s, leveraging their earlier transistor amplifier technology to create scalable solutions for live sound reinforcement. These systems were designed for robustness in demanding environments, emphasizing modular construction that allowed for easy expansion and transport. The Slave PA system, introduced in 1966, marked a pivotal innovation in modular PA design. It featured stackable 100-watt solid-state power amplifiers that could be chained together in a "slave" configuration, where additional units drew power and signal from a master amplifier, enabling seamless scalability. This setup supported outputs up to 5,000 watts, as demonstrated at large events like the 1970 , where 50 Slave units were deployed for stadium-level volume without excessive distortion. The system's durability was enhanced by its transistor-based architecture, which provided greater reliability and resistance to feedback compared to contemporary valve systems, making it suitable for outdoor use under variable conditions. Complementing the Slave amplifiers, the Audiomaster mixer debuted in as one of the first dedicated multi-channel consoles for live applications. This five-channel solid-state unit allowed for independent control of vocals, instruments, and effects, with built-in spring reverb for tonal enhancement during performances. Its compact, portable design facilitated on-stage mixing, supporting the Slave system's by distributing balanced signals to multiple amplifier chains. For speaker components, the Festival Stack, developed around 1969, optimized the PA for large-scale outdoor events. Each stack included two 15-inch woofers for low frequencies, two 12-inch drivers for high bass, six 10-inch units for , and compression drivers with horns for highs, powered by 100-watt Slave heads. This configuration delivered clear, high-volume projection over distances, with the column-like stacking promoting stability and feedback suppression through directional dispersion. Overall, PA systems scaled effectively from intimate club setups—using a single Slave unit and basic speakers—to full stadium rigs, prioritizing rugged enclosures and efficient power handling to withstand touring rigors.

Legacy

Notable Users and Cultural Impact

Watkins Electric Music (WEM) equipment found widespread adoption among prominent rock and jazz artists during the late 1960s and early 1970s, shaping live performances and recordings in the British music scene. The Who relied on WEM's Audiomaster five-channel mixer and chained 100-watt transistor PA amplifiers as their primary sound system from 1967 to 1968, enabling clearer vocal and instrument reinforcement during high-volume tours. Jimi Hendrix and his Band of Gypsys incorporated WEM PA systems for outdoor concerts, including at the 1970 Isle of Wight Festival, where the robust amplification handled the demands of large-scale events. Pink Floyd prominently featured WEM PA gear in their 1972 concert film Live at Pompeii, using it to project their experimental sound across the ancient amphitheater's acoustics. Led Zeppelin engineers, including Phil Dudderidge, collaborated with WEM founder Charlie Watkins for PA setups in the early 1970s, leveraging the systems' reliability for arena-level shows. Similarly, Miles Davis's electric band utilized WEM amplification during the 1970 Isle of Wight Festival, as captured in performance footage, integrating it into his fusion jazz explorations. The Copicat tape echo unit played a pivotal role in defining the sonic textures of the and , providing slapback effects that enhanced guitar tones in recordings and live sets by artists like ' touring contemporaries. Its warm, analog delay contributed to the genre's atmospheric depth, influencing bands experimenting with reverb-drenched riffs during the mid-1960s shift toward more experimental sounds. WEM's innovations in PA technology were instrumental in establishing festival audio standards, powering events that drew tens of thousands and setting benchmarks for clarity and power in outdoor settings. The company's 1,000-watt system debuted at the 1967 National Jazz and Blues Festival in Windsor, marking one of the first high-output rigs capable of covering large crowds without distortion overload. By 1969, the Watkins Festival Stack—a four-way design with dedicated bass, midrange, and high-frequency drivers—became a template for modern reinforcement, used by major acts to accommodate growing audiences at events like the Isle of Wight Festival. This advancement addressed the era's poor live , transforming festivals from intimate gatherings into mass spectacles with balanced audio distribution. As icons of and British , systems embodied the DIY ingenuity that fueled the rock explosion, dominating the market for amplifiers and PA gear among UK acts and leaving a lasting imprint on the development of live sound engineering. Their equipment's prevalence at key venues and tours underscored a cultural shift toward louder, more immersive performances that defined the period's rebellious energy.

Modern Revivals and Availability

In the , Watkins Electric Music has shifted to smaller-scale operations, emphasizing handmade production of Copicat echo units and specialized combo amplifiers tailored for instruments such as accordions, flutes, clarinets, saxophones, and acoustic guitars, rather than rock-oriented gear. These units maintain the brand's legacy of innovative echo technology, with the Copicat remaining an industry standard evolved from its origins, available directly through the company's contact channels for custom orders. Revivals of classic WEM amplifiers have been spearheaded by entities like Britampco since the , producing hand-built reissues of models such as the Dominator and Westminster under license from Charlie Watkins, replicating the original 1960s and 1970s designs for authentic tone and construction. Limited-edition runs, including a 2010 series of 100 signed Dominator units, highlight the demand for these reproductions among enthusiasts seeking vintage British sound. New and reissued WEM products are available through specialty retailers and platforms, including the wemwatkins.co. site for direct inquiries and sites like Reverb and for both modern builds and vintage stock. As of October 2025, KMC Music was named the exclusive U.S. distributor for WEM amplifiers, expanding availability in the American market. Vintage models command significant collector value; for instance, early Dominator amplifiers often sell for around £1,200, while guitars from the same era fetch £250 to £500 depending on condition. WEM's designs continue to influence the amplifier market, with reissues and modifiable vintage units like the Westminster Mk II prized for their warm, robust tones and historical ties to early British rock amplification, inspiring custom builders and players seeking alternatives to mainstream brands.

References

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  2. https://www.soundonsound.com/people/charlie-watkins
  3. https://www.guitarplayer.com/gear/heres-how-the-watkins-copicat-tape-delay-helped-define-the-sound-of-an-era
  4. https://www.chicagomusicexchange.com/blogs/news/introducing-hiwatt-wem-amplifiers
  5. https://reverb.com/news/charlie-watkins-wem-pa-and-the-rise-of-festival-sound
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  37. https://www.wemwatkins.co.uk/frontpage1.htm
  38. https://reverb.com/brand/wem?condition=used
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  43. https://reverb.com/news/6-more-vintage-british-amps-worth-tracking-down
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