Let's talk about the new VOX

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cerealchamp2000

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I'll add a few things I've learned. The 1-12 has a MONO headphone out which can be used for direct out. The 2-12 has stereo line outs. These both have power amp attenuaters which let you run at 1,15,30 or 60 watts. On a pure SS amp this would appear strange, as volume increase is strictly linear (barring speaker clipping). This amp has a 12ax7 in the power amp section so there must be some clever saturation technology at work.

I've only heard a few comments from the NAMM show. What I hear is this thing stole the show. I wonder if H2H wants to post up a few thoughts here. C'mon bro.
 
YOU ASKED FOR IT

WHAT A DIGITAL MODELING AMPLIFIER SHOULD BE.



DIGITAL MODELING AMPS THAT DELIVER

When we set out to create Valvetronix, the goal was clear—design a digital modeling amp that sounded and felt great. A versatile amp that could superbly re-create every detail, even’ nuance of a collection of the world’s most sought after guitar amplifiers. An amp that actually lives up to the promise that digital modeling amplifiers appear to offer, but have never achieved—until now.

THE BEST OF ALL WORLDS

We realized that reaching this goal wouldn’t he easy. That it would require top-notch digital technology plus a tube power amp capable of modeling the power amp sections of a ton of classic and modern tube amplifiers. In over four tone-filled decades, VON amplifiers have achieved classic, even cult, status. They’re the amps of choice for countless pros. But we knew it would take more than our own guitar amplifIcation expertise. We also needed the skill and experience of a high—tech music equipment innovator. From this need, the collabora­tion between VON and Korg’s ToneWorks division was born.

Korg is the undisputed leader in the technology-laden world of digital music products and the force behind ToneWorks the first company to master and patent “digital distortion with oversampling." This breakthrough actually made high-quality digital recreations of gui­tar effects and amplifiers (that sounded and felt like the real thing) a reality. Together, Vox and Toneworks have created Valvetronix— the ultimate, hybrid digital modeling amplifier that sounds, feels and operates like a guitar amp, with no compromises or excuses.

THE FRONT END, WHERE IT ALL STARTS

The preamp sections of the Valvctronix combos rely on Korg’s propri­etary REMS~ technology. REMS (Resonant structure and Electronic circuit Modeling System) accurately reproduces the complex circuitry in each of the modeled amplifier’s signal paths and re-creates the tonal­ity originally created in those amps. It even replicates their unique tone—stack networks so the Valvetronix’ tone controls interact exactly as they do in the amplifiers being modeled! Play a new Al)60T or AD120VT and you’ll hear and feel the difference immediately.

VALVE REACTORTM TECHNOLOGY, THE BIG DIFFERENCE

The power amp section—as well as the relationship and interaction between the output tubes, output transformer and speakers—are a critical part of any great tube amj). Rverv classic amplifier’s power amp has its own unique set of characteristics, and to accurately model a great sounding guitar amp, we had to precisely model its power stage, too. Because we were intent on modeling not one, but 16 different, amazing amplifiers, we had to have a power amp that could actually change itself to model each and every one of those amplifiers.

I low did we accomplish this? By inventing a new type of modeling, tube, power amplifier. Our patented Valve Reactor power amp consists of a tube power amp with an output transformer electronically coupled to a solid—state power circuit in such a way that the relationship between the output tubes, output transformer and speakers is unal­tered. (See the sidebar on the last page for more detailed infirmation.)

This ingenious design delivers a number of benefits. All of the great sounding amps we’ve modeled are tube amps. VON’s Valve Reactor technology enables the new AD6OVT and AD120VT to produce the high dynamic range associated with these traditional tube amps— something a solid-state amp simply couldn’t do. ‘I’hat dynamic range is one of the reasons why tube amps sound and feel so much louder than solid—state amps rated at the same output power. Also, the AD6OVT and ADI2OVT are better able to capture the sound and feel of the amps they’re modeling because their output power can be con­figured to be exactly the same as those amps. For instance, a 50 Watt AC 15 may he an interesting curiosity, but tIle original was 15 atts.'

We didn’t stop there. This new technology actually has the ability to switch automatically between Class “A” and Class “AB” depending on the amplifier it’s modeling! In addition, it can select whether or not a model will have a negative feedback loop, as well as how much and what kind of feedback there will be. This adds immensely to the over­all accuracy of the model’s sound and feel because you just can’t accu­rately model a Class “A” amp that doesn’t have a feedback loop—like an AC3O, for example—with Class “:l3” circuitry and all kinds of feed­back. This is something the competition just doesn’t seem to grasp.


VERY COOL EFFECTS BUILT-IN

The effects in the AD6OVT and AD120VT aren’t an afterthought. Each one is a carefully crafted model of one of a variety of sought after classic and popular effects. These 10 essential pedals include Compressor, Acoustic Simulation, V( )X Vah, Auto Vah, U-Vibe, Octave Divider. Treble Boost, Tube Overdrive, Fat Overdrive and Fuzz. As pedals, they appear before the preamp models so they can drive the preamp in the same way they would in a traditional setup.

The new Valvetronix combos also feature Modulation, Delay and Reverb effects sections, all of which can be used simultaneously. Just like in a pro guitar amp/rack, these effects sit between the preamp and power amp sections. The Modulation Section includes models of popular Chorus, Flanger, Phaser, Tremolo and Rotary effects. The Delay Section delivers Delay, Tape Echo and Multi-i lead delay. A Tap button is provided for setting the delay tune. The Reverb Section has three types, Spring, Plate and Room. Each section can be controlled independently from the top panel, or, in the case of Modulation, from the optional VC-4 Foot Controller.

GUITAR 4 ONE OF 10 STOMP BOXES 4 ONE OF 16 PREAMP MODELS 4 ONE OF FIVE

MODULATION EFFECTS -> ONE OF THREE DELAY EFFECTS 4 ONE OF THREE REVERB

EFFECTS 4 EFFECTS LOOP 4 ANALOG MASTER VOLUME 4 POWER AMP MODEL 4

CELESTION GUITAR SPEAKER(S)

Signal path is a critical factor in the design of a modeling amp and another reason why the new AD6OVT and ADI2OVT are capable of accurately modeling the sound, tone and feel of so many desirable amplifiers and effects.

It is also another example of the painstaking attention to detail that went into the design of these new amps. We believe we have achieved our goal, that these new Valvetronix combos model the sound, tone and feel of 16 of the world’s most lusted-after guitar amps (plus a clos­et full of awesome effects) like nothing else can. Get your hands on an AD6OVT or AD1 2UVT. We think you’ll agree that everything else is just make—believe.


VALVE REACTOR: THE INSIDE STORY

In the Valve Reactor power amplifier, a 12AX7 dual-triode tube (12AX7s are typically used as preamp tubes) is connected directly to an output transformer. Because of the relatively low Wattage this 100% tube power amp produces, our amp designers had to develop a way to raise the output level to one which could actually drive speakers to stage volume levels while maintaining the integrity of the tube-amp sound and feel. We accomplished this by creating a circuit of proprietary design dubbed the VOX VariAmp Power Circuit. The output transformer is connected to this new VariAmp Power Circuit which uses Constant Current design and Reactive Feedback technology. The VariAmp Power Circuit cannot be overdriven, is totally transparent and can be configured to be 1, 15, 30 or 60 Watts.

The VariAmp Power Circuit does not color or change the signal in any way and the resulting output tone is pure. It also ensures that the output signal maintains the high dynamic range associated with traditional tube amps — something most solid-state amplifiers simply cannot deliver, and one of the primary reasons why tube guitar amps normally sound and feel so much louder and more alive than solid-state amps boasting the same output power rating.

The Reactive Feedback technology used in the VariAmp Circuit “reads” the impedance curve of the speaker and then reports this reactive information back to the secondary side of the output transformer. This information is fed back to the primary side of the output transformer and therefore changes the loading on the tubes, another important part of the vital role an all-tube power amp plays in the creation of traditional tube tone.

• AMP MODELS: 16 types

• EFFECTS: 21 types (Drive: 10 types, Modulation: 5 types, Delay: 3 types. Reverb: 3 types)

• PROGRAMS: 32 (8 Bank x 4 Channel)

• IN/OUTPUTS: 2 x Guitar Input (High, Low), Loop Return

(AD6OVT = Mono, AD12OVT=L & R), 1 x Headphone, Line

Out (AD6OVT=Mono, AD12OVT=L & R), External Speaker

Out (AD6OVT=Mono, AD12OVT=L & R), 1 x Foot Controller

• SPEAKER: lx 12’ Custom-voiced Celestion (AD6OVT). 2 x 12” Custom-voiced Celestion (AD12OVT)

• POWER: 60W RMS@8ohm (AD6OVT), 2 x 60W RMS@8ohm (AD12OVT)

• TUNER: Auto Chromatic Tuner [Measurement range: 27.5 Hz-2,093 Hz (A0-C7), Calib. A=438-445 Hz]

• DIMENSIONS: 530(W) X 267(D) x 559(H) mm /20.87” (W) x

10.51” (D) x 22’ (H) (AD6OVT). 699(W) x 267(D) x

559(H) mm / 27.52e (W) x 10.51” (D) x22” (H)

(ADI2OVT)

• WEIGHT: 19.6kg / 43.2 lIbs (AD6OVT), 26.2kg / 57.76 lbs (AD 1 2OVT)

12AX7 (DUAL TRIODE) PUSH-PULL OUTPUT



CLASS A OR AB

MODEL DEPENDENT

ADSO VT/AD1 2OVT OPTIONS



VC-4 VOX FOOT CONTROLLER



• CONNECTORS: Vox bus jack, Volume jack

• DIMENSIONS: 417.0(W) x 158.4(D) x 63,3(H) mm / 16.42(W)’ x 6.24(D)” x 2.49(H)”

• WEIGHT: 1.8 KG /4.82 LBS.

• ACCESSORIES: 10 Base-T cable (straight type)

• OPTIONS: V850 Volume Pedal

Specifications subject to change without notice
 
BTW-

I played it and loved it, and I'm buying one as soon as they're in stores. They are about $3-400 cheaper than the Cybertwin, also. And I like it better.

H2H
 
Oh, and that above was the VOX NAMM brochure scanned on my scanner, so the funny text is due to OCR, but you can probably figure it out.

H2H
 
We sure don't need another Line 6 or Cyber Twin. The consensus is that somebody must raise the bar in the modelers. If this has tone ala zentara, then I'm buying it on the spot.

H2H-Why do you like this amp so much? Did you listen to all the tones? How bout effects and gain pedals? Did it respond to your pick? Was it good at low volume?
 
This thing is working differently...it's all in the way it sends power through the very unique power output section. It can send variable power from the transformer to the tubes, and then it is increased to put power to the speakers...it just seems to work, at least for me.

"Also, the AD6OVT and ADI2OVT are better able to capture the sound and feel of the amps they’re modeling because their output power can be con­figured to be exactly the same as those amps. For instance, a 50 Watt AC 15 may be an interesting curiosity, but the original was 15 Watts."

The thing that nailed it for me. The Korg room had a large iso room with the ValveTronix, an AC30RI, a AC15RI, and a couple of Marshall amps (which are also Korg now, if you didn't know). The VT nailed the AC-30 and AC-15 seperately. Now, I own a 1963 AC-30 and those of us who play with them know there's a huge difference between it and an AC-15. Most modeling amps group them together, then it really sounds nothing like either one anyways. This nailed them individually, as it did the Marshall sound, and a sparkly Fender tone.

As far as low volume playing..it depends on the amp you're modeling...and it SHOULD!! Because these amps respond differently at lower volumes. Yes, you have to crank this one a bit to nail the Vox tome, just like the real thing. But you can get low level distortion using a high gain model.

I am not big on using any effects, in fact I only own a JD Crybaby and a Boss OD-1. So I didn't really play with them, but they're there. The amp is just great, I think. And for the $679 (1x12) and $899 (2x12) street prices they will be going for, I think they're a good value.

The pedalboard looked easy to use and sturdy, probably would be a great addition to the purchase.

H2H
 
Well done H2H

Did I mention I just got a full-on new DAW? MAC 867/DP3/MOTU1224 , new pres&compressors and lots of WAVES sw.

Should be here next week. The new amp is icing on the cake. I'm hoping beyond hope that this new VOX is the answer. zenTara is too big, heavy, loud and expensive but with beautiful tone. Cyber Twin and Linr 6 are good tries but not quite there yet. The new Vetta is more than double price of the VOX.

Just a few more Q's: Did you hear BOTH the 1 and 2-12's?

Did you hear either amp with the power amp attenuater at low volumes?

CC2
 
By the way, I was unimpressed with the Vetta. I really thought it just sounded like the other Line6 models. I just don't like them. Sure, they had the head running through two cabinets, so it was set up as a full stack, but lots of volume does not make a good amp. I honestly didn't give it much of a listen, just listened to a guy playing it.

I played both models, primarily because I wanted to know if I could skimp on buying the smaller model and save some money. My answer was yes, I think I can. Especially since I'm not into stereo effects and such. And I only usually mic one speaker anyways.

I did not mess with the power attenuator, because they had such a nice iso room and I was enjoying myself for the bit I played...I also had to play on the AC30RI and AC15RI...before I got kicked out :)

H2H
 
Thanks for all the good news. I might have actually bot some stupid other amp had I not stumbled on your post. Craig Anderton is pretty high on it and has already given a review over to Guitar Player.

Double good news about Vetta not breaking new ground. I want to feel good about spending 1000 not 2000 and feeling I got the better product.

Peas on erth

cc2
 
People talk this or that about the pod, but just like use a distorted model and pluck the sixth string open and let it ring and its sooo obvious that its NOT a tube amp. ..When its real dirty, but you play laid back not driving it.. the sound is solid state CRUD not that fuzzyness..same with sort of clean sounds when you push them harder with just your playing to get dirty the pod will adjust and get dirtier, but it sounds like a solid state crate amp or some shit. As long as you dont mess with those dynamics its fine he he he ;-)...

Theres a test of mettle for tube amps, the one that seperates the crispy chips from the soggy ones... when you play the little run of notes then at the end do the blues lick bending the note and holding it, picked a little more sternly and make that face like your constipated while pointing a finger towards the sky and holding the note...You know, like a voodoo chile note... like the plexi is cranked with ALL the dials on 10 big muff up front..that sort of bended note.the pod dont do that, the vetta it seemed can simulate much better a tube amps response to those daring manuevers, at least from the crappy demo video at harmony central. And that guitarist wasnt great at all, neither was the sound, but I could tell there was something new here by the way the amp was responding to the playing. Now a good tube amp will actuall GIVE to you in the heat of the moment, it allows you to pull notes from those secret places by just the way you use vibrato, pluck the note and bend the string. I need to know do these new modelers have those "special" notes..the pod does NOT...that is en englais, it lacks that dynamic richness that is oh so necesary...

And what I am curious about is with the korg/vox after the doodley run when I do the blues bend and am holding the note will it inspire me to point to the sky and if its that good will I even wink at the drummers girlfriend afterwords???...cause that would mean its a pretty good amp!!! If it aint got those extra juicy notes comin out of it its a piece of shit as far as Im concerned...and if you've never experienced extra juicyness just disregard this whole post because it wont make sense....:-)
 
Technically...the Vox IS a tube amp. It even has tubes in the power amp section.

I understand what you're saying. It's more like asking "Does it have the mojo of a tube amp?" I dunno...I guess you'll have to wait till it comes out and I buy it and I use it a little more.

I haven't watched the HC video or the Vetta, but I saw it in use at NAMM. Lets put it this way..it wasn't interesting enough to me for me to hang out for a half hour, like I did in the Vox room. I should have gotten the pamphlets for it though, for you guys. Seems like it's being hyped up on the internet WAY more than it was at NAMM. There honestly wasn't that big of a draw on the thing. The new Fender professional tube amps were more popular a draw.

I tried to look for things that drew a crowd....and the Marshall/Vox room was very busy, but you should have seen the Taylor room, you almost couldn't squeeze in!

IMO the buzz on the Vetta is being driven by the company itself and the people who Line6 advertises with. I'm just a lowly guitar player who likes what I like...and makes my choices based on my ears.

H2H
 
By the way.............................................................................................................

It's now 3 years later and I finally got the AD120 and I really love it. And that's coming from a tube amp junky. It's my only non all-tube guitar amp in about ten years, maybe more, but it is one of my favorite amps I have ever owned.

H2H
 
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