I want to share with you my excitement of getting my new VOX today. As recommanded by Amanda and others, I left the Bypass on. Any special setting for the early Shads sound? I am getting a pretty bright sound, and if I increase the CUT (Clockwise), it sound bassy. How can I get a dry yet full sound?
Contents. History The Vox AC30 was originally introduced in 1959 at 's request as the 'big brother' of the fifteen (15 W) AC15 model, Vox's original flagship amplifier, because the AC15 was not loud enough with the screaming fans at 's concerts. The AC15 was powered by a pair of, an -driven 'Normal' channel, an -driven 'Vib-Trem' channel, and rectified by an EZ81. The original first-generation AC30 used a GZ34 tube rectifier, three ECC83s (12AX7) for the Normal channel and the tremolo/vibrato oscillator/modulator circuits, one ECC81 (12AT7) phase inverter, and EL34 tubes in the power amplifier circuit.
This first generation of AC30s were housed in 'TV-front' cabinets, much like the early to mid-50s tweed amps, and had a single 12-inch Goodmans 60-watt speaker, as opposed to the later, conventional twin 12-inch speaker configuration. These early amps sported a thin white covering ('Rexine') with a small printed diamond pattern and larger diamond pattern grill cloth. However, the EL34-powered AC30 was short lived, and a new AC30 version appeared in late 1959.
This second generation AC30/4 had two channels with two inputs, hence the '4' in the model name, and a single tone control, and was powered by a quartet of EL84 (6BQ5) power tubes, making it truly a doubling of the AC15 power amp circuit. The AC30/4 also carried over the AC15's preamplifier circuit, which included the EF86 pentode in its 'Normal' channel.
Vox initially offered a 1×12' version but subsequently introduced the 2×12' AC30 Twin, which solved the volume problem at larger venues. The first AC30 Twins used two Goodmans Audiom 60 15-Watt Speakers, followed by G12 speakers. By 1960, Vox had forsaken the more conservative TV-front look for the now legendary cabinet design that has remained largely unchanged since 1960.
The new cabinets featured a different covering known as fawn Rexine, which was a sort of beige leathercloth with a subtle printed grain. The front baffle was now divided by a thin gold-toned strip with the upper valence covered in fawn Rexine, and the lower grille covered in brown diamond cloth. Ventilation was provided by three small brass vents on the top of the cabinet, and the TV-front's single suitcase type handle was replaced with three leather straps. 's almost-original Vox AC30/6 from 1964, housed in a '70s cabinet on stage. It is known that it is the 'brilliant' model (or top boost) and it was Edge's earliest amp used to record every album Since the higher output AC30/4 shared its preamplifier design with the lower powered AC15, Vox discovered the high-gain EF86 tube was susceptible to microphonics, or even failure, when exposed to the increased vibration present in this uprated amp. Vox soon tired of the problem so to cure AC30/4 reliability issues caused by the troublesome EF86 preamp tube, in late 1960 Vox redesigned the preamp circuit, replaced the EF86 with an ECC83 (12AX7), and released this new design as the AC30/6. The AC30/6 was now an amp with three channels, each channel having two inputs.
About this time, the 'Top Boost' (or 'Brilliance') feature became available as Vox's optional addition of a rear panel-mounted that introduced an extra gain stage and tone controls for bass and treble (as opposed to the single 'tone' control of earlier AC30s). The unit became so popular that its features were soon incorporated in newer AC30/6 models, and the controls moved from the rear panel to the control panel.
![Vox ac30 Vox ac30](/uploads/1/2/5/6/125653506/798420638.jpg)
Vox AC30/6 amplifiers from around 1963 had already implemented the top boost, and therefore had three tone controls. People began to refer to these amplifiers as AC30TBs. Later on, Vox also offered additional versions of the AC30 unit.
In addition to the 'Normal' version without the Top Boost, and the Top Boost version (which was a Normal version with the 'Brilliance' unit added), Vox, with slight circuit modifications, created two more versions that were 'voiced' in Brilliant (Treble), and Bass styles. Over the years many different AC30 models appeared but many consider the AC30 'Super Twin' to be the ultimate AC30, with a 'trapezoid' shaped head and a separate speaker mounted on a trolley (see The Vox Story, Petersen & Denney 1993, p.39; see also the Vox showroom web site). In the late '60s Jennings drifted into financial problems and the company experienced various owner changes.
Quality control was also inconsistent. During the Vox brand's early '70s ' period, the tube rectifiers of AC30s were replaced by rectifiers, which became standard on later AC30TB models. In the late 1970s Vox also introduced a AC30 (AC30SS), which is the AC30 model that was used. A tube AC30TB with spring reverb feature was reintroduced in 1978. In spite of at least one AC30 production run titled 'Limited Edition' of 100 units with starting serial number 0100 (1991) (no reverb), production of the AC30 has practically never ceased: Newer AC30s are reissues of the various top boost AC30/6 (AC30TB) models. AC30s made between 1989 and 1993 also had spring reverb as a standard feature. The Rose Morris company, who owned the Vox name through the 1980s, sold Vox to in the early 1990s, who then manufactured a reissue of the early '60s AC30 Top Boost, correcting previous inconsistencies ranging from the correct style grille cloth to the GZ34 rectifier tube.
These AC30 amps were mostly offered in the traditional black Tolex/brown diamond grille configuration, but were also available in limited numbers with purple, red, or tan tolex. These amplifiers, like all AC30s to this point, were manufactured in. These were available with a choice of 'Blue' or 'Greenback' speakers. In the mid 1980s, a company in Marlborough, MA, called Primo, imported and began re-distributing the AC30s in the U.S.
AC30HW Limited (2003) In 2003, Vox created the 'AC30 Heritage Handwired Limited Edition' amplifier (AC30HW). This amplifier differed from the standard offering in notable ways. First, the circuitry was constructed using old-fashioned tag strips. According to Vox this was far more labor-intensive, but it allowed for easier repair versus circuit boards because there were no copper tracks to burn. According to the Vox showroom site: '1960s era Vox amps were hand wired on tag strips. The connecting lead (or wire) from each electronic part was manually wrapped around a terminal, or 'tag,' and then soldered.
This mode of amp construction is very labour-intensive and the workmanship and accuracy of the employee building the amp will affect the performance of the product. It was for this reason that most electronics manufacturers transitioned to phenolic printed circuit boards by 1970.' The second notable difference was the features and control layout.
Guitar Player magazine reviewed the amp in its 'Exotica' feature, December 2002. The article specifies details of the amp, including price, and its control layout: 'The AC30 HW ($4,000; head $3,250; 2×12 cab $1,350), which was developed with input from boutique amp designer Tony Bruno, features the famous Top Boost preamp, but has a control that is quite different from the standard model. For starters, there are only two inputs, which are marked Hi and Lo (AC30s traditionally have six inputs). To the right are the volume, treble, bass and tone-cut controls, a tremolo section with speed and depth knobs, a reverb section with reverb and tone controls, and a master volume.' And further into the article: Top of the Marque. The AC30HW is by far the best AC variant to date.
Few amps come close to matching its radiant complexity and those that do typically don't offer reverb and tremolo. The only downer about the HW is that only 350 of them will be made (along with 200 heads and cabinets).' AC30 Custom Classic Series In 2004, Vox introduced a new series of amplifier called the AC30 Custom Classic. It claims to combine attributes of the original AC30 with what Vox sales literature refers to as a 'boutique' of features. Specifications of the AC30CC series are two Inputs (Top Boost and Normal), an Input Link Switch for blending channels, a Normal Volume knob, a Brilliance Switch, a Top Boost Volume knob, a Treble knob, an EQ Standard/Custom Switch, Bass and Reverb Controls (Tone, Mix, and a Dwell Switch), Tremolo Speed & Depth knobs, a Tone Cut knob, a Master Volume knob, a Standby and a Power Switch, switchable cathode bias (Output Bias switch: '50 Hot': 33W at full power, '82 Warm': 22W at low power), switchable filter values (vintage/modern), and a true bypass effects loop. Newer AC30CC (or 'Custom Classic') reissues (CC1, CC2X CCH head) are produced in. AC30 Custom Series At the 2010 Winter NAMM expo Vox introduced the Custom series; these models were updates to the 2004 Custom Classic series amplifiers and featured two channels (Normal and Top Boost) with two inputs for each channel (High and Low), more akin to the original AC30/4 layout released in 1958.
It was available with either Greenback speakers (C2) or Alnico Blue Speakers (C2x), and was also available as the AC15. Later limited edition models include the AC30BL, a tygoon blue tolex with grey speaker cloth, an AC30C2RD with a red finish, an AC30C2-BRG a British Racing Green tolex finish with a grey speaker cloth and the AC30C2 Black Comet; featuring a patterned finish all are identical to the C2. The amp featured an option known as 'Jumping' where the High-Normal channel could be linked to the Low-Top Boost channel with a patch lead, whilst the guitar is plugged into the High-Top Boost channel, allowing both channels to sound and create a fuller, thicker overdrive sound.
The amp also featured a solid-state rectifier to increase reliability. Controls include a Normal volume, Top Boost Volume, Treble and Bass controls, Reverb Tone and Level controls, Tremolo Speed and Depth controls, a Tone Cut control (to add further control over the higher-frequencies), a Master Volume, and a Standby and Power Switch. A true bypass effects loop, extension cab output and external cab output were also included; as well as an input for the external foot switch (to control Reverb and Tremolo). The amps are produced in China.
The amps were released to critical success, garnering awards such as Music Radar's 'Guitarist Choice' award. Pittman, Aspen (2003). John Teagle (May 1998).
Vintage Guitar. The Vox Showroom. The Vox Showroom. Glen Lambert. Archived from on 2009-10-26. Hahlbeck, Gary.
North Coast Music. Retrieved 21 December 2012. Thompson, Art (December 2002). Guitar Player.
36 (396): 141–142. Randall Aiken. Aiken Amps technical pages. Randy Jamz. Tales from the Tone Lounge.
Mark Breecher & Shane Dolman. Steve Rowse. Steve's Amps blog pages.
External links.
Contents. History Beginnings The Jennings Organ Company was founded by in, England after.
Jennings's first successful product was the Univox, an early self-powered electronic keyboard similar to the. In 1956 Jennings was shown a prototype guitar amplifier made by Dick Denney, a big band guitarist and workmate from. The company was renamed Jennings Musical Industries, or JMI, and in 1958 the 15-watt Vox amplifier was launched. It was popularised by and other British rock 'n' roll musicians and became a commercial success. The AC30.
The Vox AC30 amplifier In 1959, with sales under pressure from the more powerful Twin and from The Shadows, who requested amplifiers with more power, Vox produced what was essentially a double-powered AC15 and named it the AC30. The AC30, fitted with magnet-equipped 'blue' loudspeakers and later Vox's special 'Top Boost' circuitry, and like the AC15 using valves (known in the US as tubes), helped to produce the sound of the, being used by, and the, among others. AC30s were later used by of (who is known for having a wall of AC30s on stage), of (who also assembled a wall of AC30s), of and guitarists,. The Vox AC30 has been used by many other artists including, who was instrumental in getting the AC30 made, and many others. AC30 Top Boost Once became tied to Vox amplifiers (a deal was struck early in their recording career whereby they would be provided Vox equipment for exclusive stage use), the quest for more power began.
's first Vox was a fawn-coloured twin-speaker AC15, while 's was a fawn AC30 with a top boost unit installed in the rear panel. They were later provided with twin black-covered AC30s with the rear panel top boost units. Was provided with one of the first transistorised amplifiers, the infamous T60, which featured an unusual separate cabinet outfitted with a 12' and a 15' speaker. The T60 head had a tendency to overheat, and McCartney's was no exception, so he was then provided with an AC30 head which powered the T60's separate speaker cabinet.
As the crowds at Beatles shows got louder, they needed louder amps. Jennings provided Lennon and Harrison with the first AC50 piggyback units, and McCartney's AC30/T60 rig was replaced with an AC100 head and an AC100 2×15' cabinet. Lennon and Harrison eventually got their own AC100 rigs, with 4×12'/2-horn configurations. In 1966 and 1967, The Beatles had several prototype or specially-built Vox amplifiers, including hybrid tube/solid-state units from the short-lived 4- and 7-series.
Harrison in particular became fond of the 730 amp and 2×12 cabinet, using them to create many the guitar sounds found on. Lennon favoured the larger 7120 amplifier, while Harrison preferred the 730 and McCartney had its sister 430 bass amplifier. Vox (exhibited at ) In the early 1960s the Brothers Grim became the first American group use Vox Amplifiers. Joe Benaron, CEO of Inc.
/, the United States distributor of Vox, along with Bernard Stockly (London), importer of Challenge pianos to the United States, arranged for the boys to have full use of the tall Super AC 100 Vox amps (4×12' speakers). The solid-state version of this amp (known in the USA as the ') was produced to cash in on the Beatles-Vox affiliation, but was not nearly as successful as the valve AC30 and AC15 models.
A modern popular rock artist known for use of the Super Beatle is, although in the April 2008 issue of Premier Guitar, lead guitarist revealed that the Super Beatle backline was, on their thirtieth anniversary tour at least, primarily used only as a stage prop, though Petty used his 'on a couple of songs.' In the group's early days, the Vox equipment was chosen because it was relatively inexpensive in 1976, yet had a handsome appearance.
A photograph included in the article showed Campbell's guitar sound was coming from other amplifiers hidden behind the large Super Beatles, which Campbell stated were 'a tweed and a blackface together behind the Super Beatle, and an isolated Vox AC30 that I have backstage in a box.' The concealed themselves in large empty Vox cabinet and emerged from them as a grand entrance to the opening of the shows on the 1967 tour and they used real Vox amps for the performances. Instruments Guitars Vox Phantom VI Vox Mark VI Vox's first electric guitars, the Apache, Stroller and Clubman were modelled after solid-body, bolt-neck, which at the time were not available in the UK. A four-string Clubman Bass followed shortly after.
These first guitars were low-priced, had unusual output jacks and were produced by a in, Essex. Vox president Tom Jennings commissioned London Design Centre to create a unique new electric guitar, and in 1962 Vox introduced the pentagonal Phantom, originally made in England but soon after made by of Italy. The first Phantom guitars were given to The Echoes to trial and were used by them until 1970. They can be heard on many of their recordings and records they did with other artists such as. Aside from the unusual body and shapes, Phantoms featured copies of the and its attachment, the Strat's three and standard that in this case copied a unit. Aside from being a bit awkward to hold for seated playing, the Phantom guitars now approached professional quality, performance and price.
Of played a bass (which was eventually retrofitted with a Fender neck). It was followed a year later by the teardrop-shaped, the prototype of which had only two pick-ups (rather than three) and was made specifically for of, again using a Bigsby-like ' bridge. By the end of the decade, Stones bassist was shown in Vox advertisements playing a teardrop hollow-bodied bass made for him by the company, subsequently marketed as the. Many guitar gear authorities dispute that he ever actually used the instrument for recording or live performance. (See also.) Vox experimented with several built-in effects and electronics on guitars such as the Cheetah, and Invader. Ian Curtis of is known to have owned two white Vox Phantom VI Special effects guitars which had push button switches on the to activate the effects cicuits. Another innovation was the, which featured miniaturised VOX circuitry activated by the contact of the on the, producing organ tones in key with.
This instrument was heavy and cumbersome with a steel and external circuit boxes, and rarely worked correctly, but was a hallmark of the ingenuity of this company. Vox guitars (Phantom XII is right white one) In the mid-1960s, as the sound of electric became popular, Vox introduced the Phantom XII, which was subsequently used by of, of early English band and; the Mark XII electric 12-string guitar and the Tempest XII, also made in Italy, which featured a more conventional body style. The Phantom XII and Mark XII both featured a unique Bigsby style 12-string vibrato tailpiece, which made them, along with 's 'Ventures' model 12-string, the only 12 string electric guitars to feature such a vibrato. The Stereo Phantom XII had split pick-ups resembling the Fender bass, each half of which could be sent to a separate amplifier using an onboard mix control. Vox produced a number of other models of 6 and 12 string electric guitars in both England and Italy.
The Vox brand was also applied to Jennings's electronic organs, most notably the of 1962, whose distinctive trademark 'wheedling' tone was immortalised by on ' track '. In 1962 the Vox Continental was given to The Echoes to trial on stage and use on records they cut with and as well being featured on their version of ' 1963 as well many other records, and later used by Paul Revere of, as well as on most songs recorded by and by on ' track ', both in the studio and live at their 1965 concert. Of used it on ' and other songs of the group. Mike Smith of and of also made frequent use of the instrument. Of the can be seen playing the unusual looking Vox organs several times during the Monkees TV series (1966–1968). In newer popular music, the organist of the UK garage band can be seen using a Vox Continental.
A famous Vox organ riff can be heard on '96 Tears'. Of has frequently used his vintage 1965 single Continental in the studio with the band since 1976 and still uses the instrument today. Another famous signature Vox organ sound was created by Augie Meyers when playing with the Sir Douglas Quintet, as heard in the songs 'Mendocino' and 'She's About a Mover.' The Continental and other Vox organs such as the Jaguar, the Continental II, Super Continental, and the Continental 300 share characteristic visual features including orange and black vinyl coverings, stands made of chromed steel tubing, and reversed black and white keys. The English wood key single manual Continental (V301J) is increasingly collectable, although the wood key American-built (V301H) and plastic key Italian-built models (V301E, V301E/2 and V302E) also command premium prices. Jennings sold production rights for the Vox Continental organ to an Italian subsidiary of Thomas Organ in 1967. Under the new production agreement, the Continental was gradually and subtly altered in quality and sound, and reliability became questionable.
For example, of had been using a Vox since 1966, but could no longer trust it during performances because of the problems in quality after 1967, and thus was forced to look elsewhere for an organ. He settled on the, because it had a flat top like the Vox Continental, so it could accommodate the physical requirements of the Fender Piano Bass, which was the bass instrument for The Doors in concert.
GuitarOrgan. The Vox V251 GuitarOrgan In 1966, Vox introduced the problematic V251, a Phantom VI guitar with internal organ electronics.
Was given one in a bid to secure an endorsement, although this never happened. According to Up-Tight: the Story, of the also tried one; when asked by the Velvets if it 'worked', his answer was negative. The V251 connects to a mains power-supply unit via DIN plugs and a four-conductor cable (power, guitar output, organ output and common). The PSU in turn has individual amplifier outputs for guitar and organ.
Organ tones are sounded in one of three ways; in 'normal' mode, by pressing any string onto a fret; in 'percussion' mode, by fretting any string and touching the included brass plectrum (connected to a short wire plugged into a socket on the scratchplate) onto any metal part of the guitar; or by pressing one of the six 'open string' buttons. There is an option to silence the lowest two strings, and the organ section, as a whole, can also be switched off. There is a four-position octave selector, a six-position effect selector, a four-way selector for the percussion and a flute selector. The guitar section is equipped with two Vox pick-ups, a three-way selector, and conventional volume and tone controls.
In common with Phantom models, it has a Bigsby-style tremolo unit, a fixed-intonation bridge and individual Vox-branded tuners. The V251 is somewhat awkward to play as the neck is wider at the nut end than at the body, and a player's natural tendency to bend a string results in it slipping off the divided fret. Additionally it is very heavy, weighing, nearly 9 lbs. The instrument never became popular though it was a precursor to the modern guitar synthesizer.
Of is sometimes believed to have used a GuitarOrgan, but he actually owned two white Phantom VI special with onboard effects. Decline Vox quickly grew. In 1964 Tom Jennings, to raise capital for JMI's expansion, sold controlling interest in JMI to the Royston Group, a British holding company, and sold American rights to the California-based.
Displeased with the direction his old company was taking, he left the company in 1967, which was around the same time that overtook Vox as the dominant force in the British guitar amplifier market. While Royston's Vox Sound Equipment division set up new operations in the Kent town of Erith, Tom Jennings set up a new company in his old Dartford location, joined later by Dick Denney. Jennings Electronic Industries operated for several years, making an updated and rebadged version of the AC30 along with other amplifiers, as well as a new range of organs. Meanwhile, Royston, due to the loss of a lucrative government contract in one of its other companies, went into liquidation in 1969. As a result, Vox went through a series of owners including a British bank and Dallas-Arbiter.
The AC30 continued to be built alongside newer solid-state amps, but in a series of cost-cutting moves different loudspeakers with ceramic magnets began to be used, as were printed circuit boards and solid-state rectification. Particleboard replaced some plywood parts in cabinet construction, and at one point an all-solid-state version was introduced alongside the classic tube-powered model. Rose-Morris, Marshall Amplification's British distributor, bought Vox in the 1980s when their deal with Marshall ended.
They tried to reinvigorate the Vox brand, continuing to build the AC30 along with a few other decent modern designs. In 1990 they sold the company to Korg. Meanwhile, in Sepulveda, Thomas Organ, after importing JMI's British-made amps for a short period in 1964–65, began to produce a line of mostly amplifiers in the United States that carried the Vox name and cosmetic stylings. With some assistance from Dick Denney, these amps effectively paralleled JMI's own transistorised amplifiers but were different from the British and Italian made Voxes in sound and reliability. To promote their equipment, Thomas Organ built the, a roadster dressed up to look like a Phantom guitar, complete with a Continental organ and several 'Beatle' amplifiers. Despite the huge marketing effort, Thomas Organ's Vox products did much to damage the reputation of Vox in the North American market for many years.
By 1968, the company had also marketed a line of Vox drum sets (actually made by a German drum company, known as ), which included a kit that featured a conical-shaped bass (kick) drum, that looked more like a wastepaper basket left on its side, and another with a bass (kick) drum, that looked like a flat tire. Such gimmicks did not help sales, and by the early 1970s Vox's American presence was virtually nonexistent. Vox AC30 CC2 Current products The AC10 was one of the first amplifiers to bear the VOX name and has long been adored for its ability to achieve rich, articulate tube tone at very manageable volumes.
For this reason, the AC10 has become a highly coveted piece of VOX history since its discontinuation in 1965. It was re-introduced in 2015 as model AC10C1 and has proven to be very popular as a quality option to the Fender Blues Jr. And Fender Princeton. Renewal Vox Amplification Ltd.
Has been owned by since 1992. Korg revived the tube and for their version of the AC30 in what is considered the most faithful version of the amp produced for many years. Korg have also used the Vox name for a new range of digital modelling amps.
In 2005 manufacturing was moved to Vietnam, including a yet-newer redesign of the venerable AC30, designated the AC30CC, which has now been superseded by the AC30C2. A hand-wired, heritage version, the AC30H2 (and the wooden cased AC30H2L) were also produced. The AC30CC and AC15CC were later replaced with the AC30C2 and AC15C1 which had solid state rectification and a revised chassis. In 2010 Vox released a Hand-Wired version of the AC30 and AC15 with turret board construction, valve rectification and a choice of Celestion Greenback or Alnico Blue speakers.
In 2011 a Hand Wired version of the AC4 was also released. Less expensive consumer versions of the retro AC4 have been marketed in recent years as well: various sizes of AC4TV. Night Train Vox entered the 'lunchbox' amp market in 2009 when it introduced the Night Train (NT15H) head. This compact, all valve amp is a 15W head with two 12AX7 preamp tubes, a pair of push-pull EL-84 valves in its power section, and a solid state rectifier. It uses a cathodyne splitter, and its power section is cathode biased. The amp is solidly constructed on a black steel chassis with a bright mirror chrome finish, diamond-perforated steel tube cage, giving it a physical appearance reminiscent of a lunchbox (some comparisons to a toaster have been made as well). The NT15H also set the cosmetic and operational template for two additional releases, also all valve heads, that book-ended its output power: the 2W Lil Night Train (NT2H) in 2010, which uses two 12AX7 preamp tubes and a 12AU7 dual triode as its power section, and the 50W Night Train 50 (NT50H) in 2011, a two channel head with four 12AX7 preamp tubes and a pair of EL-34 valves in its power section.
All models feature the ability to choose between the familiar 'chimey' Vox voice and a high gain voice that bypasses the EQ section, via the Bright/Thick switch. Note though that each Night Train model's feature set also provides some unique capability apart from its siblings.
For example, the NT15H output power can be switched between 15W pentode and 7.5W triode modes. The NT2H provides a headphone/line out jack with on-board speaker emulation (for practice or direct recording use). Lastly, the NT50H offers two channels by adding a second,optionally foot-switchable, higher gain 'Girth' channel, a 'Tone Cut' control and a 'Tight' switch in its master section, plus a bypassable, JFET-driven effects loop. All models were designed for use with most any 8 ohm or 16 ohm cabinet, although Vox also offers a matching cabinet (NT15H/V112NT, NT2H/V110NT, NT50H/V212NT) for each model.
In 2013 Vox released updated 'G2' versions of the 15 watt and 50 watt heads, and added a combo version of the NT15H-G2 called the NT15C1. Compared to the original NT15H, the NT15H-G2 adds a foot-switchable Girth channel (which first appeared on the original NT50H) with an additional 12AX7 in the preamp section, a 'Dark' switch, a digital reverb, and an effects loop. However, Vox did not retain the pentode/triode output section modes from the 'G1' version that allowed for full or half power operation as well as a broader tonal palette. The NT50H-G2 differs from the original NT50H with the additions of an XLR D.I. Out and a digital reverb, and the deletions of one 12AX7 preamp tube and the 'Tight' switch.
It also appears the FX loop is no longer bypassable. Gone is the bright chrome look of the 'G1' models as both heads received new cosmetics in the form of a black mirror finish on the tube cage and a new suitcase-type handle. Vox also released 'G2' versions of their matching cabs: the V112NT-G2 (one Celestion G12M Greenback speaker), and the V212NT-G2 (two Celestion G12H 70th anniversary model speakers), each also sporting the suitcase-type handle. The new NT15C1 combo combines an NT15H-G2 chassis with a single 16Ω 12” Celestion G12M Greenback speaker in a black tolex cabinet with a suitcase-type handle. In August 2014 Vox released two Night Train limited editions, both of which were cosmetic updates to the NT2H set and the NT15C1 combo respectively, that recall a more traditional Vox aesthetic.
For the Lil' Night Train NT2H-GD-SET, Vox supplied the NT2H head with a matte gold coloured tube cage and black control knobs, and then covered its V110NT cab with a retro-traditional “Brown Diamond“ grille cloth and basket weave covering (since there was no 'G2' version of the Lil Night Train, this limited edition NT2H seems to mark the end of the line for this model as Vox makes no further reference to it). For the NT15C1-CL (Classic) combo amp Vox applied a similar treatment with the installation of a gold logo badge and trim on the front of the NT15C1 combo as well as adding the “Brown Diamond“ grille cloth. As of Fall 2017, it appears the Night Train series has been completely discontinued and the Vox website no longer references any Night Train amplifiers in its online catalogue. Valvetronix. AD100VT half stack with a. Recently Vox has emerged as a leader in the digital amp modelling market with the release of its Valvetronix line of digital amplifier modellers. Utilising Korg's REMS modelling software, the Valvetronix are driven via a low-power tube preamp stage and a solid state power amp.
The latest line, the AD15VT / AD30VT / AD50VT / AD100VT, has received awards and praise for its recreation of eleven classic guitar amplifiers. The company did not reveal which non-Vox amplifiers were modelled in the product manual. The eleven amplifier types as named on the dial are. Valvetronix XL-Series The valvetronix XL-series builds on the success of the original valvetronix digital amplifier. A range of tube-powered modelling amplifiers, with hi-gain sounds designed to span the entire range of heavy rock music. The XL-series uses VOX's patented Valve Reactor technology, producing the sound and feel of an all-tube amp.
Models: AD15VT-XL 15-watt 1×10' speaker, AD30VT-XL 30-watt 1×12' speaker, AD50VT-XL 50-watt 2×12' speakers, AD100VT-XL 100-watt 2×12' speakers. Each amplifier has eleven inbuilt amp sounds:.
Glass / Funked / Buzzsaw / Crunched / Thrashed / Raged / Modern / Fluid / Molten / Black / Damaged Hi-quality modern effects are also built in, giving more control over the output:. Octave / Comp / Comp + Phaser / Comp + Chorus / Chorus + Delay / Chorus + Reverb / Flanger + Reverb / Tremolo + Reverb / Rotary + Reverb / Delay / Reverb Cooltron. Vox Valve-tone stomp box MV50 In January 2017, Vox introduced the MV50 amp head and amp sets. Described by Vox as a hybrid amp, the amp heads are called the MV50 AC, the MV50 Clean, and the MV50 Rock. When paired with the BC108 cabinet, each is then described as the MV50 AC set, the MV50 Clean set, and the MV50 Rock set respectively. Vox states the MV50 AC is designed to provide the sound of a VOX AC30, and that the MV50 Clean is designed to provide clean tones with a lot of headroom as inspired by the sound of American amplifiers.
Vox states the MV50 Rock is designed to provide the more aggressive high gain sound of vintage British amps. In January 2018, Vox announced two new MV50 amp heads: the MV50 Boutique and the MV50 High Gain. The design goal of these hybrid micro heads was to provide usable power from a compact digital power amp section combined with a real analogue preamplifier in a very small and light metal chassis.
The amps each weigh about 1.1 lbs, and fit in one hand (Dimensions (W x D x H): 135mm x 100mm x 75mm/5.31” x 3.94” x 2.95”). These amps are advertised as 50 watt heads, so the power section is a special Class D design as might be expected. What is unexpected is the preamp design that includes a new type of vacuum tube (valve) called the Nutube 6P1, which is the result of Korg working with Japanese (VFD) company Noritake Itron Corp.(Ise Electronics Corp). As such, the Nutube is a dual-triode vacuum tube packaged similarly to a VFD 'chip' which makes it mountable on a circuit board using holes and pads not unlike a. The miniaturised flat package topography, low power consumption, and low heat, long life attributes of the Nutube are key contributors to deploying an analogue tube preamp in such a small, lightweight footprint. Power consumption is only 3.43 Amps which is provided by a DC19VAC adapter, but Vox rates the MV50 power output at 50 Watts.
However, note the 50W rating is for a 4Ω load; power output specs are as follows: Max 50W RMS at 4 Ohms, 25W RMS at 8 Ohms, 12.5W RMS at 16 Ohms. The amps have a simple control set on the front panel: all versions have Gain, Tone and Volume controls except for MV50 Clean, which has Treble, Bass, and Volume. Also on the front panel is a small 'VU' meter, and a 1/4' input jack. On the rear panel are a 1/4' speaker output jack, and a 1/4' headphones/line out jack. The amp includes cabinet simulation at the line out jack, and can thus be used as a DI to go straight into a mixer or recorder. There is also an EQ switch to select between 'Deep' and 'Flat.' The Deep setting is intended for use with smaller cabinets where mids and highs tend to overwhelm the low frequencies, and Flat is designed to allow the amp to work with larger cabinets where the lower frequencies are more naturally present.
Also present on the rear panel is the DC19V in jack, and the ECO on-off, standby-on, and Impedance switches with the following two exceptions: MV50 Clean has no Impedance Switch but instead has an Attenuator switch allowing the choice of either full power out, 1/10th power out, or 1/100th power out, and MV50 High Gain, which has no Impedance Switch but instead has a Mid Ctrl 'minus/Norm/plus' switch allowing boost or cut of the amp's mid range.