![]() ![]() These have Speed and Depth controls, with the option of controlling Speed via the external pedal, if connected. 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. 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. 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. Here you'll find Compressor, Acoustic (acoustic guitar simulator), Vox Wah, Autowah, U-Vibe, Octave, Treble Boost, Tube OD, Fat OD and Fuzz. The first set of effects is designated 'Pedal', because these treatments come before the amplifier in the signal path. ![]() In conjunction with 20-bit conversion at the input to the digital section, this means that there's no need for any additional gain trim. There are two input jacks for high- and low-sensitivity pickups, just as there was on the original AC30. Oblique references are made to classic Marshall, Fender, Boogie, Soldano and 'boutique' models, though the only types named directly are, not surprisingly, the Vox amp models (AC15, AC15 Top Boost, AC30 and AC30 Top Boost). Amp & Effect TypesĪ fair description of the amp models available might be 'the usual suspects'. ![]() In this area there's also a guitar tuner, which uses the patch buttons' status LEDs as a readout. Four numbered buttons with status LEDs access the programs within the currently selected bank. A single numeric display shows the bank number - not, as you might expect, numbered 1-8, but 1-4, then 1-4 again with a dot after the number. 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. ![]() All that remains is a very simple patch-memory section, where up to eight banks of four programs each can be accessed. 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. 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. Control ZoneĮverything about the Valvetronix is extremely intuitive. 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. 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. To allow the user to gain a wider stereo spread, there are also sockets for adding external 8Ω speakers. The available power settings on the 120W review model were 1, 15, 30 and 60 Watts per channel (a 60W Valvetronix is also available). A number of power settings are available, via a rear-panel selector switch, to allow optimum audio performance at different sound levels. Photo: Mark EwingBecause effects like reverb sound better in stereo, each speaker is fed from its own power amplifier. Indeed, if you didn't examine the panel controls you could easily believe the Valvetronix was an AC30. Even the panel cosmetics and pointer knobs are classic Vox. Then the digital technology is married to a hybrid valve/solid-state signal path feeding a pair of 12-inch Vox loudspeakers, mounted in an open-backed cabinet styled very closely on that of the original Vox AC30. 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. 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. This hybrid physical modelling, valve and solid-state design, presented in a classic AC30-style format, aims to offer the best of all possible worlds. ![]()
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