Vox amps 2021 release

School Band Instrument Question? Click Here. School Rentals Click Here. Throughout the s, the company introduced amplifiers and organs heard on countless rock, pop, and psychedelic recordings. To scratch the surface of their sonic influence, Vox is known for providing the Beatles with amplifiers that could power over their massive, captivated — and infatuated — audiences, and also in part crafting the sound of the Doors through their Continental organ.

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• NAMM 2021: Vox revive the Bobcat guitar, launch VGH amplifier headphones and maple Telstar drum kit
• A Guide To Vox Amps: Which One Is Right For Me?
• Vox ac30 handwired schematic
• The Vox Bobcat Returns!
• NAMM 2021: Vox introduces new Bobcat semi-hollows and Mini Go portable amps
• Vox Valvetronix
• Vox AC-30 Amplifier
• Vox reveals a wealth of new guitars in development with intriguing Future Product Preview
• NAMM 2021: Unlimited movement with the new guitar amps of the Vox Mini GO series!
• Vox - News and Rumours

WATCH RELATED VIDEO: Vox AC-15 C1 (This SHOULD Be Good)

NAMM 2021: Vox revive the Bobcat guitar, launch VGH amplifier headphones and maple Telstar drum kit

This hybrid physical modelling, valve and solid-state design, presented in a classic ACstyle format, aims to offer the best of all possible worlds. How far does it succeed? The Vox Valvetronix Amp designed by Korg, who now own title to the Vox name is a modelling amplifier with a difference -- instead of trying to use digital modelling to emulate absolutely every aspect of the sound, the designers have instead created a hybrid of a conventional guitar stage amplifier and a modelling amplifier.

Physical modelling is used to take care of that part of the amplifier responsible for voicing, EQ and overdrive characteristics, and the built-in effects are all-digital too. Even the panel cosmetics and pointer knobs are classic Vox. Indeed, if you didn't examine the panel controls you could easily believe the Valvetronix was an AC Photo: Mark Ewing Because effects like reverb sound better in stereo, each speaker is fed from its own power amplifier. A number of power settings are available, via a rear-panel selector switch, to allow optimum audio performance at different sound levels.

The available power settings on the W review model were 1, 15, 30 and 60 Watts per channel a 60W Valvetronix is also available. There's an optional foot controller not available for review that facilitates easy patch switching, as well as pedal control over certain of the built-in effects such as rotary-speaker speed or wah and volume. A stereo effects loop allows external rack effects to be integrated into the system and, for use with a PA or recording system, there's also a stereo line out and a headphone outlet with volume control.

Everything about the Valvetronix is extremely intuitive. It utilises familiar guitar-amp controls Gain, Volume, Treble, Middle, Bass, Presence and Master volume , augmented by a rotary Amp Type selector switch, plus dedicated effects sections that each have controls very similar to what you'd expect on a simple stomp box. There are four effects sections in all, the first of which emulates pedals connected before the amplifier, while the remaining three deal with modulation effects, delay and reverb.

All that remains is a very simple patch-memory section, where up to eight banks of four programs each can be accessed. Pressing the Bank Up and Bank Down buttons together puts the amp into manual mode, so that what you dial up on the control panel is exactly what you get. A single numeric display shows the bank number -- not, as you might expect, numbered , but , then again with a dot after the number. Four numbered buttons with status LEDs access the programs within the currently selected bank.

In this area there's also a guitar tuner, which uses the patch buttons' status LEDs as a readout. A fair description of the amp models available might be 'the usual suspects'. There are two input jacks for high- and low-sensitivity pickups, just as there was on the original AC In conjunction with bit conversion at the input to the digital section, this means that there's no need for any additional gain trim.

The first set of effects is designated 'Pedal', because these treatments come before the amplifier in the signal path. They are all addressed using just two rotary controls, labelled Drive and Level, the functions of which change slightly depending on the pedal type selected.

Most of these effects can be used without an external pedal, with the exception of wah, which needs a pedal to sweep through the wah filter range. To the right of this area on the control panel is the modulation effects section, where Chorus, Flanger, Phaser, Tremolo or Rotary effects can be chosen. These have Speed and Depth controls, with the option of controlling Speed via the external pedal, if connected.

When the Rotary effect is being controlled in this way, the speed ramps up and down gradually, as it does with the real thing. Delay effects comprise a straight delay, a tape-style delay with limited bandwidth and a bit of degeneration thrown in , and a multi-tap delay.

A Tap Tempo button sets the repeat rate, and there are rotary controls for delay Level and Feedback -- very simple, but perfectly effective.

Finally, there's the Reverb, offering a choice of Plate, Spring and Room, with just a single knob to adjust the relative reverb level. As the amplifier was designed in conjunction with the Korg Toneworks team, it comes as no surprise that the effects function to the same high standard as Korg's range of dedicated guitar-processor pedal effects.

All the effect types have status LEDs, so it's really just a matter of using the selector button to step to the one you want, then adjusting settings with the rotary controls. While the Valvetronix has two line outputs that can be used for direct recording, there's no official way to turn off the internal speaker.

Both the line outs and the headphone out are controlled by the same knob on the rear panel, and plugging in headphones does mute the amplifier, as you'd expect. Of course, you don't want your headphones buzzing away when you're trying to record, so if you need to DI the amp you can simply plug in a stereo jack with nothing attached, to fool the output into muting.

The line output is fed through an integral speaker simulator. Unfortunately, I found that it didn't sound nearly as nice as the speakers, being thinner and a little buzzy.

Even readjusting the EQ wasn't a complete solution. I also had problems with ground-loop hum as soon as I connected the amp into my mixer, so my conclusion is that the best way to record this amplifier is to mic it up.

This is reasonably convenient, given the choice of power settings; even the 2W setting produces a powerful sound, with no loss of character. Taking the amp sounds first, I was quite favourably impressed with the Valvetronix, not only because it captures the essential character of the different amp types, but also because it seems more responsive than some of the modelling amps I've tried, and it has a reasonable playing 'feel'.

It is also honest in modelling the leaden, overstuffed sound of the original Vox AC30 I sold both mine for 30 quid each and never looked back! In fact, the only amp model that I think really doesn't do full justice to the original is the 'Recto', no doubt based on the sound of a Mesa Boogie, which I felt to be over-edgy and lacking in weight.

The American Tweed-style amps do work well, however, as do the classic British rock models, and if any of these are lacking in overdrive you can always use the Pedal section to add Tube OD, Fat OD or Fuzz. For blues, I really like the Tweed or AC30 Top Boost models, with a little compression up front and a hint of spring reverb.

The only problem I encountered was a fairly loud buzz if I wasn't touching some metal part on my guitar. While this is partly down to the quality of the guitar screening I was using noise-cancelling pickups , it is also related to amplifier input-stage design, particularly impedance.

In comparative tests, my other amplifiers fared better in this respect. Photo: Mark Ewing. There are few surprises in the effects section, though the U-Vibe and Octave settings in the pedal section are rather unexpected. These work much like their pedal equivalents, so when using the Octave octave divider setting you need to play monophonically.

U-Vibe is based on the Univibe pedal and sounds like a hybrid of phasing and modulated EQ -- perfect for those slow Hendrix numbers. In the main modulation section, the chorus stands up well against analogue pedals, while the flanger is the closest I've heard to an Electro-Harmonix Electric Mistress for a long time. While not entirely accurate, the rotary effect is nice, too.

The unproblematic phaser and tremolo do pretty much as you'd expect. In the delay section, the Tape Delay gives a good impression of the overall tonality of a tape-loop echo machine, while the Multi-tap version is great for those old 'Surf' sounds and Shadows covers. Delay settings are stored within a patch, but you can quickly reset the repeat rate using the Tap button. Finally, there's the reverb, which is pretty limited in that you can't vary the decay time, but sounds absolutely right for use with a guitar amplifier.

The Spring emulation is especially effective. All three variations have a hint of spring-like flutter, but on an electric guitar they sound quite authentic. While modelling amps have yet to equal the amplifiers they set out to imitate in terms of feel as well as sound , they're getting closer all the time. The Valvetronix comes closer than most, no doubt due to its ingenious hybrid design, which features a miniature valve power stage followed by a pair of 60W solid-state amplifiers.

I found it much easier to get a usable and believable sound than I did from my old Line 6 Flextone combo, but then the Flextone is now quite an old design, and was also very much cheaper than the Valvetronix.

Because of the less-than-ideal speaker-simulated line output see the ' Recording ' box , my recommendation is to mic the amp rather than to DI it which you can do without deafening the neighbours, thanks to the switchable power settings. That being the case, the Valvetronix will probably appeal most to the gigging guitarist who wants an amp capable of emulating most of the classic guitar amp and effects combinations at the touch of a button.

If that same guitarist has a project studio, the Valvetronix also makes a great recording amplifier, because it sounds and feels like a real amplifier, despite its chameleon-like sonic abilities.

It may not be the cheapest modelling amplifier around, but it looks and plays like a true thoroughbred. This is one of the better-sounding modelling amps I've used to date, but to get the best results from it in the studio you need to mic it up, not DI it. Recording While the Valvetronix has two line outputs that can be used for direct recording, there's no official way to turn off the internal speaker.

Pros Very friendly user interface. Sounds and feels very much like a valve stage amp. Can be switched to a number of power settings, from a couple of Watts to Watts. Includes simple yet good sounding on-board effects.

Summary This is one of the better-sounding modelling amps I've used to date, but to get the best results from it in the studio you need to mic it up, not DI it. Prices include VAT. Previous article Next article. You may login with either your assigned username or your e-mail address.

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A Guide To Vox Amps: Which One Is Right For Me?

Already tried google and came across a dozen schematics, not a Vox expert by any means. It is one of the classic most recognisable British amps to this day. I always loved the sound of a guitar through a Vox AC30 amplifier. Please view schematic for details. The guitarists of my favourite bands play such amplifiers.

Vox ac30 handwired schematic

Without a doubt, for vintage audio they are the three best amplifiers ever, true legends of tone. The teams that we will see here have marked the sound that our parents or even our grandparents grew up with. To start with the early classic amps, check out Fender, who defined vintage American audio. They are characterized by their clean and bell sound. They are tube amps with good headroom, that is, they keep the audio clean at high volumes. The popular Spring reverb is a trademark of the Blackface and later Fender lines. There are also other models that are characterized by other more medium and hoarse tones. An example is the Deluxe and the legendary Bassman, which is actually a bass amp that guitarists made their own. Other classic amplifiers par excellence are the Vox. They use EL84 power tubes and Celestion speakers — initially with alnico magnet and later ceramic — which have different tonal characteristics from those used by Fender.

The Vox Bobcat Returns!

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NAMM 2021: Vox introduces new Bobcat semi-hollows and Mini Go portable amps

Published on 10 March Back in the 60s, they created a whole catalogue of unusual instruments like the Phantom and the Teardrop. Even the maestro himself, Prince, almost exclusively used Vox guitars during his last few tours. In , Vox released the Bobcat, a hollow-bodied model based on a more traditional and pretty famous Gibson design.

Vox Valvetronix

As the name suggests, this is the 2. Our hand-wired tube amplifiers are stylish, roadworthy, and backed by a lifetime guarantee. In excellent condition like new. See the information in this site about our Heritage, Prophet, Coppperhead and Dragon series all tube amps. Ideal for gigging musicians who need plenty of stage volume and lots of distortion, the Jet City tube amp rocks everything from soft, melodic tones to downright dirty riffs.

Vox AC-30 Amplifier

Since , Vox has been owned by the Japanese electronics firm Korg. Jennings's first successful product was the Univox, an early self-powered electronic keyboard similar to the Clavioline. It was popularised by The Shadows and other British rock 'n' roll musicians and became a commercial success. Vox released the watt AC10 in late as a student model, originally as a 1xinch combo and later as a 2xinch combo.

Vox reveals a wealth of new guitars in development with intriguing Future Product Preview

RELATED VIDEO: NEW Boss IR-200 - The Most Powerful Amp Simulator Yet?!

This hybrid physical modelling, valve and solid-state design, presented in a classic ACstyle format, aims to offer the best of all possible worlds. How far does it succeed? The Vox Valvetronix Amp designed by Korg, who now own title to the Vox name is a modelling amplifier with a difference -- instead of trying to use digital modelling to emulate absolutely every aspect of the sound, the designers have instead created a hybrid of a conventional guitar stage amplifier and a modelling amplifier. Physical modelling is used to take care of that part of the amplifier responsible for voicing, EQ and overdrive characteristics, and the built-in effects are all-digital too. Even the panel cosmetics and pointer knobs are classic Vox. Indeed, if you didn't examine the panel controls you could easily believe the Valvetronix was an AC

NAMM 2021: Unlimited movement with the new guitar amps of the Vox Mini GO series!

Not even a couple of hours into the first day of NAMM , and Vox has already made us well aware of its productive Being released alongside a new series of portable guitar amps, the company also announced another product series. This time, in the form of practice-specific amplification headphones called the VGH Series. Created for those who need to practice guitar or bass without emitting any noise whatsoever. If that sounds like your situation, a pair of cans from the new Vox VGH series might be just what you need. Each of these brings a unique character to the resulting tone. Where those who are looking for a more accentuated tone to stand out in rock and metal situations might look towards the VGH-Rock.

Vox - News and Rumours

As guitar players, we are constantly trying to carve out our own unique sound in an effort to stand out from the crowd - and a big part of that comes from the amp we choose to play our electric guitar through. While it's true, our choice of six-string certainly influences our guitar tone greatly - as do our hands and overall technique - we would argue that our amp selection plays an equal-sized role in the quest for tone as the guitar. So, therefore, choosing the best guitar amp for your needs is not a decision to be made lightly.