Jimmy page explains which amp and cabinet he used on whole lotta love. He used a Vox Super Beatle and the Rickenbacker Transonic cabinet.

In this image the vox super beatles amp can clearly be seen behind Harrison's back.

In this image the vox super beatles amp can clearly be seen behind Lennon's back.

In this photo taken at the Monterey Pop Festival in 1967 Pete can be seen smashing his guitar into a rented Thomas Organ manufactured, trapezoid head shell Vox Super Beatle with matching trolley and cabinet (the amp head is turned around backwards for easier access to the controls the same way the Beatles set them up during their final tour of the USA).

Mentioned in this March 1983 Musician article.

Ever loyal to their roots, both Petty and Campbell play through very cool looking Vox Super Beatle amps, jazzed up with Echoplex and MXR Dyna Comp.

Chris Stamp, the Who’s manager, signed the group to an exclusive agreement with Vox to use their gear in the States. On the first 1967 U.S. tours, including the March/April 1967 “Murray the K – Music in the Fifth Dimension” shows in New York, and the Monterey Pop festival in June, the Who used rented U.S. Thomas Organ (VOX) ‘Super Beatle’ 120w solid amplifiers and 4x12 (w/two horns) cabinets.

Mentioned in this September 15, 2008 post on the official Allman Brothers Band website forum.

Here is an excerpt from the first draft of Johnny's book:

"Duane was playing a Telly with a Strat neck and he and Gregg both had super Beetle Vox amps. I had an early '60s Fender Bassman amp Duane really liked so we took it out to California with us. As loud as we were playing at that time, the speakers in the amp were going and not quite loud enough so we put JBLs in it. I kept that amp until my friend, Butch Owens, borrowed it and it was stolen. He later replaced it with something as good as or maybe even better than what I had. It's a good amp and I still have it. I think it was one he got from Joe Walk. Paul played an A-100 with a leslie cut down to be portable. It wasn't a B-2 but it was close to it and we had a Wurlitzer piano that Gregg played. When Pete joined the band he played a Jazz bass with a custom amp. The amp belonged to a guy who lived in Decatur. We had a Fender 12-string Gregg would use sometimes and maybe an acoustic/electric guitar. Gregg didn't play guitar very often but he wrote a lot of songs on one. He became friends with Jackson Browne when we were out there and Gregg learned a lot from him. I think they learned from each other. Gregg went through a folk phase with his writing but his style changed with different instruments. I've still got the Wurlitzer from the band and it has a story that came with it. Several of us went to a music store in L.A. and picked out this particular Wurlitzer for Paul to play since he was playing most of the Wurlitzer parts then. Actually, Gregg and Paul set up close together so they could swap between the Wurlitzer and B-3 when they needed to but Paul was primarily on the Wurlitzer. The salesman showed us how to hook it up to an amp which was essential because you couldn't play it off the little speaker that came in it. Once we figured it out, it sounded great. The Wurlitzer is still my favorite keyboard. Duane had borrowed a '59 gold top Les Paul from Tommy Compton, who still lives in Decatur, and he didn't want to give it back to Tommy. And Tommy definitely wanted it back. Eventually it worked around to Gregg trading the Wurlitzer for the guitar. The guitar was worth more than the piano but Tommy had a use for it and was trying to keep Duane from getting busted because Tommy's dad was ready to go after Duane to get the guitar back. So, the piano was sent back to Decatur and Duane kept the guitar. Of course that guitar would be worth a fortune now, certainly more than the piano is worth. Tommy eventually sold the piano to a guy who sold it to Eddie Hinton. After Eddie died in '95, his mother sent the piano back to the guy who'd sold it to Eddie and I bought it back from him a year or so later to use in my studio."

On pgs. 3-4 of this interview in Tone Quest Report Vol. 9 #5, published March 2008, Mike Campbell states the following about the Super Beatle:

We went to a store out in the Valley that had a bunch of Super Beatles, and we didn’t care if they were solid state or tube, we just wanted that look, and we got them, we really liked the sound of them and started using them on tour, and that became our live sound for several years. (...) In the early days, there weren’t many pedals that I’d use. I would use the preamp in the Echoplex for my edge if I needed distortion, as the Super Beatles were really clean. I think the secret to my distortion and sustain is the Echoplex driving into the Super Beatle. I occasionally used a wah wah, but most of my sound is that old, noisy tube Echoplex into the Super Beatle.

The Echoplex is also mentioned in this March 1983 Musician article.

Ever loyal to their roots, both Petty and Campbell play through very cool looking Vox Super Beatle amps, jazzed up with Echoplex and MXR Dyna Comp.

Asheton satisfied his guitar amp needs with the Vox Super Beatle (“Because the Beatles and the Stones had it”), until the Stooges supported Cream at Detroit’s famed Grande Ballroom.

On page 6 of the document "Lynyrd Skynyrd - Allen Collins Equipment History" by Sean on Scribd, the text mentions "Vox Super Beatle," confirming that Allen Collins used the Vox Super Beatle V1141 / V1142 amplifier.

Fred Smith and I got 100-watt Vox Super Beatle amplifiers. Before the Beatles they were just called AC-100s. They were really great; nothing in America had 100 watts. The biggest amps were Fender Dual Showmans at 65 watts with two 15? speakers. The Super Beatles were 100 watts with four 12? speakers and two high-frequency horns mounted in a tubed frame cabinet you could tilt back. It was a huge piece of machinery and very intimidating because it was black. We had two of them; a T60, the transistor bass amplifier with a 15? and 12? speaker and two Vox columns for our PA system with six or eight 10? speakers mounted on chrome stands that went on each side of the stage. In those days, that was the state-of-the-art PA system; there was no such thing as monitors or side-fills.

UG: "But you did find one at a music store?"

Glenn: "Yeah, so there it was sittin' in this box and I'm like, Does that thing work? and the guy goes [in salesman's voice], Let's plug it in and see. And I plug it in and go, Oh, hell, yeah; great. I've been lookin' for one of those for like 20 years. When I blew up back up in the day there was this guy that was fixin' ended up beating a guy who used to hang out with Les Paul and George Benson and everything and he died. And all my stuff, my old Vox Super Beatle PA head and all this other stuff all got like in his estate and I never got it."