______________________________________________________________
Library Creator: Michael
Angel, www.CDSoundmaster.com
Manual Index
Installation
The Programs
About The GTR-VTX For Nebula Pro
About The Hardware
Program List
Installation
For PC Users:
Use the included installer to select
your NebulaTempRepository Folder to install
the collection there. Or, you can simply copy all "n2p"
files to your
Nebula "Programs" folder and copy all "n2v"
files to your "Vectors" folder.
For Mac Users:
The Programs
The "GTR-VTX For Nebula Pro" consists of 152 programs:
You will find these in your CDSoundMaster "GTR" category, under the sub-category "VTX".
Programs are sampled at 96kHz and are tested to retain accuracy at 44.1kHz and 48kHz sample rates with the latest version of Nebula3 Pro.
Programs are fully organized and categorized
for easiest use in Nebula Pro. Under the "GTR-VTX" Menu, you will see the
following categories to choose from:
AMP (Amplifiers)
EQ (Equalizers)
5K (5 Kernel Reduced CPU)
CLN (Clean - No distortion kernels)
CAB (Cabinets)
PDL (Pedals)
The "AMP" programs contain the preamp, power output, to emulated speaker output.
The "EQ" programs contain the same full signal chain as above, with the addition of all eq controls. Each amp contains unique eq sonic signatures and also varied control options.
The "5K" programs are identical to the "AMP" programs, but the harmonic distortion kernels are reduced from 10 kernels to 5, to lower cpu hit and improve performance.
The "CLN" programs are identical to the "AMP" programs as well, but all distortion has been removed for performance and also if one desires to use the programs just for the dynamic frequency response and not for any harmonic content.
The "CAB" programs are the entire signal chain from preamp to power out, the same as the "AMP" programs, but instead of using the simulated speaker output, they are recorded using a microphone at the actual speaker. To make for the most unique and classic representation of this process, we used an SM57 microphone running through a classic Quad Eight Console Channel with the EQ circuit engaged and set to +0dB. One full set of recordings are provided recording at the Center Cone of the 12" NeoDog speaker just of axis, titled "CABC" in the program names. The other set is recorded at the speaker's edge just off axis, labeled "CABE" in the program names.
The "PDL" programs include an emulated pedal effect just ahead of the preamp. This changes the tonal, spectral, dynamic, and harmonic content of these programs, but does not cause a large increase in distortion. Like the rest of the collection, it provides the accurate character of the pedals feeding the amp without a large increase in distortion. You can add distortion ahead of these programs, using similar pedal effects for increased accuracy.
Program Description:
The "AMP" programs
There are 16 amplifier programs.
AC15
The Vox AC15. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC15TB
The Vox AC15 with 'Top Boost'. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC30
The AC30. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC30TB
The AC30TB (Top Boost). 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BLACK2X12
A Black Face with Two 12" Speaker Cabinets. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BOUTIQUECL
A Boutique Combo Amp using the Clean channel. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BOUTOD
A Boutique Combo Amp using the Drive channel. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
RECTO
Dual Rectifier. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWEED1X12
Tweed 12" Speaker Cabinet. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWEED4X10
Tweed with four 10" Speaker Cabinets. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK70'S
1970's British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK80'S
1980's British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK90'S
1990's British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKBLUES
British Blues Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKMOD
Modern British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
USHIGAIN
U.S. High Gain Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
The "EQ" programs
There are 13 eq programs.
AC15-EQ
The Vox AC15. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC30-EQ
The AC30. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BLK2X12-EQ
A Black Face with Two 12" Speaker Cabinets. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BOUT-EQ
A Boutique Combo Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
RECTO-EQ
Dual Rectifier. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWEED1X12-EQ
Tweed 12" Speaker Cabinet. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWD4X10-EQ
Tweed with four 10" Speaker Cabinets. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK70S-EQ
1970's British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK80S-EQ
1980's British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK90S-EQ
1990's British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKBLUES-EQ
British Blues Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKMODERN-EQ
Modern British Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
USHIGAIN-EQ
U.S. High Gain Amp. 10 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
The "5K" programs
There are 16 "5K" programs.
AC15 5K
The Vox AC15. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC15TB 5K
The Vox AC15 with 'Top Boost'. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC30 5K
The AC30. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC30TB 5K
The AC30TB (Top Boost). 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BLACK2X12 5K
A Black Face with Two 12" Speaker Cabinets. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BOUTIQUECL 5K
A Boutique Combo Amp using the Clean channel. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BOUTOD 5K
A Boutique Combo Amp using the Drive channel. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
RECTO 5K
Dual Rectifier. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWEED1X12 5K
Tweed 12" Speaker Cabinet. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWEED4X10 5K
Tweed with four 10" Speaker Cabinets. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK70S 5K
1970's British Amp. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK80S 5K
1980's British Amp. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK90S 5K
1990's British Amp. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKBLUES 5K
British Blues Amp. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKMOD 5K
Modern British Amp. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
USHIGAIN 5K
U.S. High Gain Amp. 5 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
The "CLN" programs
There are 16 "CLN" programs.
AC15 CLN
The Vox AC15. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC15TB CLN
The Vox AC15 with 'Top Boost'. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC30 CLN
The AC30. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
AC30TB CLN
The AC30TB (Top Boost). 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BLACK2X12 CLN
A Black Face with Two 12" Speaker Cabinets. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BOUTIQUECL CLN
A Boutique Combo Amp using the Clean channel. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
BOUTOD CLN
A Boutique Combo Amp using the Drive channel. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
RECTO CLN
Dual Rectifier. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWEED1X12 CLN
Tweed 12" Speaker Cabinet. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
TWEED4X10 CLN
Tweed with four 10" Speaker Cabinets. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK70S CLN
1970's British Amp. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK80S CLN
1980's British Amp. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UK90S CLN
1990's British Amp. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKBLUES CLN
British Blues Amp. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
UKMOD CLN
Modern British Amp. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
USHIGAIN CLN
U.S. High Gain Amp. 0 Kernels of harmonic distortion and dynamic spectral recording of the preamp to power out to speaker emulator output.
The "CAB" programs
There are two sets of Cabinet programs, all recorded with 6 Kernels of distortion.
The first set is labeled "CABC", recorded at the "Cone" just off axis with
an SM57 through a vintage Quad Eight recording console channel. The second set is labeled "CABE", recorded at the edge of the speaker just off axis with the same mix and preamp configuration.
CABCAC15
CABCAC15TB
CABCAC30
CABCAC30TB
CABCBLK2X12
CABCBOUTCL
CABCRECTO
CABCTWD1X12
CABCTWD4X10
CABCUK70S
CABCUK80S
CABCUK90S
CABCUKBLS
CABCUKMOD
CABCUSHIGN
CABEAC15
CABEAC15TB
CABEAC30
CABEAC30TB
CABEBLK2X12
CABEBOUTCL
CABEBOUTOD
CABERECTO
CABETWD1X12
CABETWD4X10
CABEUK70S
CABEUK80S
CABEUK90S
CABEUKBLS
CABEUKMOD
CABEUSHIGN
The "PDL" programs
These programs add a pedal effect to the beginning of the signal chain. They do not increase the drive level to a high gain distortion, but they do alter the mid level distortion by creating a more complex combination of distortion from the pedal combined with the preamp stage and subtle output stage. You can use a distortion plug-in ahead of these programs that is similar to the pedal used for greater authenticity. Or, if you use a single distortion plug-in for all VTX programs, you will notice the variation from program to program, and the mid-gain distortion added from the VTX programs can greatly enhance the quality and drive type used. The "PDL" programs use 10 kernels of distortion.
The "FATOD" Pedal programs represent a fat overdrive pedal.
FATODAC15
FATODAC15TB
FATODAC30
FATODAC30TB
FATODBLK2X12
FATODBOUTCL
FATODBOUTOD
FATODRECTO
FATODTWD1X12
FATODTWD4X10
FATODUK70S
FATODUK80S
FATODUK90S
FATODUKBLS
FATODUKMOD
FATODUSHIGN
The "FUZZ" Pedal programs represent a fuzz distortion pedal.
FUZZAC15
FUZZAC15TB
FUZZAC30
FUZZAC30TB
FUZZBLK2X12
FUZZBOUTOD
FUZZRECTO
FUZZTWD1X12
FUZZTWD4X10
FUZZUK70S
FUZZUK80S
FUZZUK90S
FUZZUKBLS
FUZZUKMOD
FUZZUSHIGN
The "TB" Pedal programs represent a top boost pedal.
TBBOUTCL
TBBOUTOD
TBBLK2X12
TBRECTO
TBTWD1X12
TBTWD4X10
TBUK70S
TBUK80S
TBUK90S
TBUKBLS
TBUKMOD
TBUSHIGN
The "TUBEOD" Pedal programs represent a tube overdrive pedal.
TUBEODAC15
TUBEODAC15TB
TUBEODAC30
TUBEODAC30TB
TUBEODBLK2X12
TUBEODBOUTCL
TUBEODBOUTOD
TUBEODRECTO
TUBEODTWD1X12
TUBEODTWD4X10
TUBEODUK70S
TUBEODUK80S
TUBEODUK90S
TUBEODUKBLS
TUBEODUKMOD
TUBEODUSHIGN
About The "GTR-VTX" For Nebula Pro
The "GTR-VTX" For Nebula Pro consists of 152 programs that reproduce the dynamic spectral and harmonic content of the AD60 VTX Amp.
This program library faithfully reproduces the settings of this amazing tube combo amp in all its intricacies, up to a moderate level of distortion. the harmonic
distortion is subtle on its own, but when used with your favorite distortion plug-in, the complexity and added realistic texture is very apparent. Complex distortion
is something that builds upon itself, and can be very difficult to get a pleasant response with just a static algorithm. But, when combined with a complex
signal chain like that found in this collection, the beautiful overtones and extra richness truly come to fruition.
We recommend using a simple distortion plug-in just ahead of your VTX program. Even a very low level of distortion will drive your VTX program and add the desired gain. When using any program, but especially the "PDL" pedal programs, you can use any simple emulation of the same pedal effect just ahead of VTX, and get an incredible analog response. For example, you can use an overdrive plug-in ahead of the Tube Overdrive program, instead of a regular distortion algo.
The EQ programs are specific to the amp that is being emulated. Some have combined presence, some are more adaptive, and some only contain a cut or boost in certain frequencies. the entire complex eq process for each amp has been combined into an easy-to-use Low, High, Boost, Cut interface, which combines all Low, Medium, High, and Presence options into two easy-to-use knobs. This decision was based on the fact that so many amps are extremely adaptive, meaning that they do not just change bass or treble when adjusted, but the low affects the high, the mids affect the lows, etc. Also, this decision is based on the fact that few amps have all controls available. And finally, the decision is based on having all options available without an extreme cpu hit and hard drive capacity bog. The difference in two controllers with all sonic possibilities versus interactive choices for four eq controls simultaneously was somewhere between 50 samples in a program, and 3000 samples in a program, with essentially no difference in quality or sonic changes.
About The Hardware
The AD60 VTX is truly an amazing amp, and is the result of multiple technology breakthroughs.
From the original documnentation:
"Digital modeling amps fall into one of two categories: they're either made by a company that
specializes in making digital, guitar gadgets and has little or no experience in building
amps. Or, they're made by an established amp manufacturer that's
attempting to become a credible digital engineering concern in a couple of years or less!...
Valvetronix is the brainchild of a mind-meld between the digital expertise of Korg's
critically acclaimed ToneWorks team (a bunch of axe addicts who've spent the last
ten years living, breathing and dreaming in digital!) and the world-renowned amp
gurus behind one of the most revered names in guitar amplification - Vox! As you are no
doubt aware, Vox's all-valve, AC30 amps have been the first choice of countless professional
players for the past four decades and have been heard on numerous hits.
Korg's ToneWorks team has a pretty impressive track record too; for over a
decade, their many digital guitar devices have proven to be a firm favourite with both the
guitar loving press and guitar loving public. They were also the first folk to master the art
of using oversampling to create digital distortions that sounded and felt real... The most recent
ToneWorks breakthrough is their proprietary REMs (Resonant structure and Electronic circuit Modeling System),
the stunning realism of which has deservedly earned an avalanche
of critical acclaim and has been welcomed with open arms by serious guitarists all
over the globe.
VALVE REACTOR TECHNOLOGY:
In keeping with Vox's brave, pioneering spirit, the Valve Reactor circuitry that drives the
power amp in your new VOX combo is a groundbreaking piece of technology...
While much of the tone creation and shaping carried out in this amp is done in the
digital domain, its Valve Reactor power amp is 100% analogue. The resulting journey
your guitar's signal takes through the analogue world of the power stage plays a major
role in providing the all-important feel and tone of the original amps we modeled.
The Valve Reactor power stage is, to all intents and purposes, a bona fide valve
(tube) push-pull power amplifier, but in miniature. It utilizes a 12AX7 valve (a dual triode
device - meaning "two valves in one") and is equipped with an output transformer...
Instead of connecting directly to the loudspeaker though this
transformer is connected to a specially designed VariAmp Power Circuit that increases
the magnitude of the transformer output from its lowest level (1 Watt) up to the maximum
output of 60 Watts per channel.
Because VariAmp Power Circuit stage is completely transparent (doesn't colour or
change the signal in any way), the resulting output tone is pure valve. It also ensures that
the output signal maintains the high dynamic range associated with traditional valve
amps - something most solid-state amplifiers cannot deliver, and one of the main factors
why valve guitar amps normally sound and feel so much louder and more alive than a
solid-state amp boasting the same output power.
The output of your Valve Reactor power amp is also designed to "read" the constantly
changing "impedance" curve of the loudspeaker system it is hooked up to and
then "report" this reactive information back to the output transformer...
This information permits the behaviour of the valve stage of
the amp to vary with the speaker load (impedance), which is another important part of
"real world" valve tone.
Apart from the vital valve tone this ingenious power amp design provides, it also
allows us to replicate various "circuit characteristics" that are unique to the all-valve
power stages of the amps we've modeled. These "characteristics" include: Class A or
Class A/B operation, Presence and Resonance (low end) control circuitry (both found in
the negative feedback circuit that some, but not all, valve power amps have) and power
output. Being able to match such vital characteristics... helps ensure that each and every one of our models is as tonally authentic.
3. PREAMP SECTION
As the title of this section suggests (imagine that!?), this is the "preamp" control section of
your Valvetronix combo. And, in keeping with what it is supposed to be, it looks and acts
exactly like (wait for it)...an amp! Plus, in true VOX tradition, it boasts our instantly recognizable,
"chicken-head" (pointer) knobs...no soft touch, control pads or up and down cursors
have been allowed to invade this sacred, tone shaping area. C'mon, this is a guitar
amp, not a computer game!
AMP TYPE Selector Switch
This allows you to select any one of our sixteen (16), stunningly accurate amp
models - each of which is based on an accepted all-tube classic, including the legendary
VOX AC30TBX. As already mentioned in the intro to this manual, each
model not only replicates the exact gain and tonal characteristics of the original
amp's preamp circuit, it also reconfigures the all-important power amp stage too -
in terms of both Class (A or A/B) and negative feedback circuit (or lack thereof).
Not only is this a cool feature, to us it's essential! After all, how can you claim to
have modeled an amp if you've just zoned in on the preamp and ignored the
power amp? C'mon! Peanut butter alone (regardless of how good it tastes) does
not a great peanut butter and jelly sandwich make - you need some jelly and
bread too! Never make the mistake of thinking the power stage is not an important
part of any amp - it's vital, in fact it can make or break it. Anyway...
The amp types on offer are:
VOX AC15
VOX AC15TB
VOX AC30
VOX AC30TB
UK MODERN
RECTO
US HIGAIN
BOUTIQUE OD
UK BLUES
BOUTIQUE CL
UK '70S
BLACK 2x12
UK '80S
TWEED 1x12
UK '90S
TWEED 4x10
4. POWER AMP CONTROLS
PRESENCE Control
This control allows you to adjust the amount of Presence (high frequency "sparkle")
in your sound. Like all of the preamp knobs we've just looked at, the PRESENCE
control is programmable.
NOTE: Presence is a function of a power amp containing a negative feedback circuit
and not all the original amps we modeled contain one - for example, none of the four
Vox amps we modeled (AC15, AC15TB, AC30 & AC30TB) feature a negative feedback
circuit. Furthermore, FYI, not all amps that have a negative feedback circuit
necessarily feature a Presence control. For example, the original BLACK 2x12 - negative
feedback in the power amp? Yes. Presence Control? Nope.
Whenever a modeled amp didn't have a Presence control, rather than have
this knob do absolutely nothing, we used it to mimic the behavior of another of the
amp's variables - like the BRIGHT switch on a BLACK 2x12 or the CUT control found
on all of the VOX originals.
MASTER (Volume) Control
As is the case with all Master Volume controls, this knob enables you to adjust the
overall volume of your Valvetronix combo.
LINE OUT Jack(s)
This Output carries a cabinet simulated signal for connection to a soundboard or
recording console. The AD60VT has as a single, Mono LINE OUT jack
CONTROLLING FACTORS
Although the top panel of your
Valvetronix amp houses controls for GAIN, VOLUME, TREBLE, MIDDLE, BASS, PRESENCE
and MASTER, not all of the amps we've modeled have as many controls. In such
cases, rather than leave you with knobs that do nothing (what on earth would be the point
of that!?), we've made full use of all six (6) Valvetronix amp controls without compromising
the accuracy of any of our models. This means you'll be able to mimic the full tonal
spectrum of each and every one of the originals we've modeled...and then some, thanks
to the extra flexibility and additional control the six Valvetronix amp controls give you.
For example, if an original doesn't have a Gain Control (AC15, AC15TB, AC30,
AC30TB, UK BLUES, UK '70S, BLACK 2x12, TWEED 1x12 and TWEED 4x10), the Valvetronix's
GAIN control will mimic the original's Volume control.
Also, if an original amp doesn't have a complete 3 band EQ network then we'll set
up the "missing" tone controls on our model to be "neutral" (i.e. as the original) when set
at 12 o'clock - thus giving you extra tonal flexibility in those EQ areas, if you so wish. Just
so you know, the amps we modeled that don't have individual controls for Treble, Middle
and Bass are:
AMP ORGINAL TONE CONTROLS
AC15/AC30 (channel 2) Top Cut only
AC15TB Treble & Bass
AC30TB Treble, Bass and Cut
TWEED 1x12 Just one, called Tone!
Also, as you'd probably expect, we do the same exact thing with the Valvetronix's
PRESENCE control too - namely, if one isn't present (bad pun, not intended!) on the original
then PRESENCE will be an added control on our model. This time though, the "neutral"
position is when the control is all the way off (turned fully counterclockwise). The two
models this applies to are BLACK 2x12 and Tweed 1x12.
IMPORTANT NOTE: As you'll discover when you read their descriptions, in the case
of the AC15, AC15TBX, AC30 and AC30TB models, we've utilized the PRESENCE
control to mimic the TOP CUT control - whether it was present on the original or not.
Lastly, if an original amp features a unique switch or control we make sure that we
cover it! Such things will be revealed in the model descriptions that follow shortly...
TUBE TALK
Us Brits call 'em valves while our US cousins call 'em tubes...as the saying goes:
England and America are merely two countries divided by a common language! Anyway,
call 'em what you will, these wondrous glass bottles lie at the tonal heart of each of our 16
models. As all the amps we've modeled hail from one of the two countries just mentioned,
in honour of their heritage, the descriptions of all English amps will employ the words
"valve" and "valves", while the American ones will be tubular!
QUESTION: What's the difference between an ECC83 preamp
valve and a 12AX7 preamp tube?
ANSWER: Nothing! They're the same exact thing - namely the
most popular preamp tube in ampland. ECC83 is the British name,
12AX7 (a.k.a. 7025) is the American. See, I told you we were two
countries divided by a common language!
POWER AMP ACCURACY
As already touched on a couple of times, what happens in the power stage of any good
tube amp is of paramount importance to the way the amp sounds, feels and behaves.
The way the power amp operates (Class A or Class A/B), the power tubes used (EL84s,
EL34s, 6L6s, 6V6s), the exact nature of the negative feedback loop circuitry (if one even
exists) and how the power stage interacts (a relationship called damping) with the
speaker(s) it is driving - all these things play a vital role in the creation of tone. And,
thanks to our patented in USA Valve Reactor Technology all these important bases are
faithfully and accurately covered. For example: if you choose amp model AC30TB - an
amp with a Class A power stage, EL84 output tubes and no negative feedback, that's
exactly what your Valve Reactor power amp reconfigures itself to emulate.
And, as an added bonus, thanks to our rear panel POWER SELECTION switch
you can adjust the output power (Wattage) to best suit the model in question (e.g. the
original AC15 is 15 Watts, the TWEED 1x12 is 18 Watts and the AC30TB is 30 Watts) or
the size of the room you're playing in.
TURN IT UP!
All truly great, all-valve amps have one thing in common - they invariably sound at their
best when they're cranked to the max! It's got nothing to do with eardrum shattering decibels
either, it's just that when the power valves are driven hard, they definitely impart a
unique tone and width to the overall sound. Thanks to the awesome accuracy of our
Valve Reactor power amp, the same is also true of your Valvetronix combo. For this reason,
we heartily recommend that you crank the sucker up as often as possible. And, as
I've literally just pointed out, thanks to our unique POWER SELECT control, you have a
choice of output Wattages that'll suit every occasion - from bedroom, to garage, to
gig...and all points in-between. So, what are you waiting for - select, crank 'n' enjoy!
This all said, let's take a look at each of our amp models...
1. AC15
This is modeled on Channel 2 of an amazing sounding 1962 VOX AC15, which is
part of our vast amp collection. This 1x12", 15 Watt, valve driven, dual channel
combo was unleashed on the market in 1958 and was the first ever VOX amplifier.
The reason for it being named the AC15 is simple: AC stands for Amplifier Combination
while 15 indicates the Wattage. Thanks to its compactness, power, built in
tremolo/vibrato effects (on Channel 1 only) and tremendous tone, this combo was
a huge hit with the popular British guitar bands of the time, including several chart
topping acts, the majority of whom were only too happy to endorse Vox.
One of the biggest reasons for the unique, signature tone of this amp is the
fact that it employs EL84 output valves in a Class A circuit with no negative feedback.
This is also true of the other three VOX amps, we've modeled - the AC15TB,
AC30 and AC30TB. In a nutshell, the result of this design is more power and
more distortion - the latter of which gets thick with second and third harmonics that
become more and more prevalent as the amp is cranked. Thanks to our unique
Valve Reactor Technology the power stage of your Valvetronix amp is automatically
switched to its "EL84s in a Class A circuit with no feedback" emulation whenever
AC15, or any of the other three Vox models, is chosen.
Like most amps of its era, the AC15 is the very essence of simplicity. In fact,
the Channel we modeled, Channel 2 (remember!?), only has two controls -
Volume and Top Cut. When you select AC15, the Valvetronix’s GAIN control mimics
the original's Volume control, while the PRESENCE control acts as the Top Cut.*
FYI, the AC15's Top Cut control affects the high frequencies in a very different way
than a "regular" Treble control. Deft use of it will help you dial in the exact amount
of that instantly recognizable, world-famous VOX "sparkle."
As for what the "extra" TREBLE, MIDDLE and BASS controls on our AC15
model do: as already mentioned earlier, they're exactly that - "extra!" Set them at
12 o'clock and they're "neutral" (i.e. they mimic the exact tone of the original) or
tweak them for extra tonal flexibility.
*CONTROL NOTE: The original AC15's Top Cut control works in the opposite
way you'd expect - it "cuts" when you turn it up! You'll be glad to read that our
model of the Top Cut control (the PRESENCE knob) works in a much more
logical fashion - turn it up for more "sparkle", turn it down for less.
Original's valve compliment: 1 x EF86, 3 x ECC83s, 1 x ECC82 in preamp,
1 x EZ81 rectifier, 2 x EL84s in power amp.
2.
AC15TB
While the AC15 was born in the late '50S, the AC15TB is a modern-day child of
the '90S which combines the sweet 'n' desirable tonal characteristics of the
AC15's low Wattage power stage, with the increased tonal flexibility that the Top
Boost (TB) channel of an AC30 has to offer. Then, to sweeten the pot even further,
a 12" Celestion "Blue" speaker (what else?), Reverb and a Master Volume control
were thrown in too. The result is a highly flexible 15 Watt, all-valve, 1x12 combo
that successfully marries the pureness of great vintage VOX tone with modern
features.
The original has two tone controls - Treble and Bass. So, as is the norm, the
Valvetronix's TREBLE and BASS controls mimic their namesakes while the MID
DLE ("neutral" at 12 o'clock) and PRESENCE add further tonal flexibility...should
you want it. To ensure maximum “Voxiness,” we've made sure that the ]
PRESENCE control behaves exactly like the "Top Cut" on the original AC15 - except in
reverse ("off" = cut) to make it more logical, just like on our AC15 model.
In trademark VOX fashion, our AC15TBX model oozes clean tones that
“jangle” and “chime,” while its overdrives are smooth yet pulsating with desirable
harmonic overtones. Enjoy!
Original's valve compliment: 5 x ECC83s in the preamp, 1 x 5Y3GT rectifier,
2 x EL84s in power amp.
3.
AC30
As already stated, the VOX AC15 was a huge hit with the British guitar bands of
the late '50S. However, as the popularity of the AC15 using bands grew, so did
their need for a more powerful amp. Sure, the AC15 was loud for a 15 Watt amp -
darned loud in fact - but it was no match for 1,000 + screaming fans! Remember
folks, back in the late 50S/early '60S, guitar amps weren't being fed through the
PA - that was reserved purely for vocals, the band's backline had to do the rest.
Clearly VOX needed to come up with a louder amp and the company was only too
happy to rise to the challenge...
The fruit of VOX's labour was unveiled to the world in 1959 - the 30 Watt,
2x12, AC30. Several top British bands graduated up to the AC30 instantly and,
within months, one of them had scored a number one single with a stirring guitar
instrumental. Not surprisingly, pretty much every other UK act worth its salt
immediately followed suit and the AC30 became the amp behind the so-called "Beat
Boom" of the time. More importantly, it also became the driving force behind the
now legendary "British Invasion" - the name given to the huge wave of success
that several English bands enjoyed in America during the '60S. This charge was
led by a quartet hailing from Liverpool who quickly became Vox's most famous
ambassadors ever.
We've modeled the sterling sounds of the AC30's Normal channel as they
definitely encapsulate those classic tones that defined the aforementioned British
invasion. Just like its smaller brother, the AC15, the AC30's Normal channel
boasts the bare minimum of knobs - Volume and Top Cut (modeled by GAIN and
PRESENCE* respectively). Although the AC30 can be considered an AC15 on
steroids, the additional sonic characteristics and spread a pair of Celestion, 12"
"Blue" speakers bring to the table cannot and should not be ignored. Rest
assured, we did everything but ignore the all-important role these speakers play
and spent countless hours ensuring we captured said magic in our AC30 model.
*CONTROL NOTE: Once again, our PRESENCE control models the "Top Cut"
on the original AC30 exactly - except in reverse (“off” = cut) to make it more
logical, just like on our AC15 model.
Original's valve compliment: 4 x ECC83s, 1 x ECC82 in the preamp, 1 x
GZ34 rectifier, 4 x EL84s in power amp.
4.
AC30TB
Even though the AC30 was a runaway success, several artists expressed a desire
for the amp to have more tonal flexibility and a pinch of extra gain too. VOX
reacted quickly and came up with some clever extra tone circuitry which featured
an additional ECC83 valve and was called "Top Boost."* When "Top Boost" was
added to an AC30 it increased the gain of the combo's Brilliant channel, and
added two extra EQ controls, giving the amp three tone controls -Treble, Bass and
Cut. To say it was an instant hit with the guitar playing public would be a gross
understatement! In fact, its gutsy tone became an instantly recognisable signature
sound of many major groups in the mid '60S.
NERDY HISTORICAL NOTE: VOX initially called this their "Brilliance Unit" but
it quickly became known as "Top Boost." When Top Boost was first introduced
it was only available as a retrofit assembly. Even though this modification was
not particularly difficult to add, it was beyond most folk (hey, I dunno about you,
but messing around with electricity is hardly my idea of fun!). Consequently, in
1964, Top Boost was fitted to the AC30 as standard.
Once again, the PRESENCE control of our model acts as the original's Cut
(but in reverse: "off" = cut) while the GAIN, TREBLE and BASS mimic the
original's Volume, Treble and Bass controls. The MIDDLE is an "extra" with 12 o'clock
being its "neutral" position.
Our AC30TB model produces clean sounds that are rich and jangly with a
smooth yet detailed top end, and overdrives that have a glorious, throaty bark -
just like those classic, "Class A" tones that have made the original a "must have" in
any serious player's amp collection.
Original's valve compliment: 5 x ECC83s & 1 x ECC82 in preamp, 1 x
GZ34 rectifier, 4 x EL84s in power amp.
5.
UK BLUES
Our UK BLUES model is based on the "High Treble" channel of an extremely rare,
handwired head made in jolly old England in the early '60S. Although the TWEED
4x10 circuit was used as a basic template for this amp, several fundamental
changes (e.g. different tubes, different transformers, a higher output impedance
and vastly different speakers in a closed-back cab), give UK BLUES its own
unique and highly desirable character. Indeed, when cranked-up* this 30 Watt
baby produces a crunch that forever changed the sound of rock 'n' roll - which is
why it is still highly revered to this very day.
Original's valve compliment: 3 x ECC83s in preamp, 1 x GZ34 rectifier, 2 x
KT66 in power amp.
6.
UK '70S
This is based on the "High Treble" channel of a 1969, 100 Watt, all-valve head,
boasting a Plexiglas front panel and four (4) inputs. The no-nonsense original
doesn’t feature a Master Volume control so the best and, arguably, only way to set
it up is to max out the volume and let rip! And, that's exactly what everyone did -
and still does!
As great as the original sounds when cranked wide open, it is so deafening
loud that it can peel paint off a wall at 100 paces! This means it is hardly the ideal
amp for small gigs, let alone late-night practice sessions in your bedroom! This
however, is not a problem with the UK '70S model that lurks in your Valvetronix
amp. Thanks to it having programmable controls for GAIN (which models the
original's "High Treble" Volume control) and VOLUME plus an overall MASTER, the
glorious "cranked " tone of the original can be achieved at a volume level that
matches your other programs - and, more importantly, won't cause premature
deafness or force your "friendly" neighbours to call the cops! And let's not forget
that incredibly useful POWER SELECTION switch that resides on the rear panel
either...
So, wind the GAIN control all the way up and immerse yourself in an instantly
recognizable, organic overdrive that responds beautifully to the subtle dynamics of
your playing and dominates "classic rock." Rolling back your guitar's volume control
results in a unique and highly useable clean sound.
Original's valve compliment: 3 x ECC83s in preamp, 4 x EL34s in power
amp.
7.
UK '80S
This is modeled on a 1983, all tube, single channel 100 Watt head that boasts a
Master Volume control - a wonderful feature that allows the user to dial in a decent
crunch tone without having to max out the amp’s volume.* Invariably played with
it's (preamp) Gain control cranked to the max, this amp was responsible for the
fat, roaring sound that dominated '80S hard rock and heavy metal. Yes sir, from
spandex clad Europeans who rocked like hurricanes, to American speed freaks
who rode the lightning and reigned in blood, UK '80S was the only amp of
choice...and, for many, still is!
Although UK '80S became famous for it's distinctive, cranium-crushing
crunch, it isn't merely a "one trick pony" and neither is our model - just like the
original, when you roll back your guitar's volume knob you'll get a bright, clean
sound that's perfect for chord work and will cut through any mix like a hot knife
through butter.
Original's valve compliment: 3 x ECC83s in preamp, 4 x EL34s in power
amp.
8.
UK '90S
This model is based on the "lead" channel of a 100 Watt, dual channel head that is
capable of so much preamp distortion it houses a Gain control that goes all the
way up to a Nigel Tufnel approved "20, dunnit!" This amp replaced UK '80S and
was developed to satisfy the ever-evolving rock guitarists' insatiable lust for more
gain, features and flexibility. Was this amp popular? Judging by the fact it quickly
became the "industry standard" for the decade in question, the answer is a
resounding "yes!"
Original's valve compliment: 4 x ECC83s in preamp, 4 x EL34s in power
amp.
9.
UK MODERN
This is modeled on the High Gain channel of a modern, all-tube 100 Watter that is
effectively a hybrid of the UK '80S and UK '90S amps. It combines the toneful,
high gain preamp stage and modern features of UK '90S with the unmistakable,
"snarling" punch and girth the UK '80S power stage had to offer. The result is a
highly aggressive, tone-breathing monster capable of mondo-gain while retaining
individual note definition. With the GAIN control on full, UK MODERN allows lead
lines to soar into soulful feedback, while its low-end "chunk" remains tight and
punchy. Wimps beware!
Original's valve compliment: 4 x ECC83s in preamp, 4 x EL34s in power
amp.
10. RECTO
This bad boy is based on the "Modern High Gain" channel of a brutal, 150 Watt,
armour-plated beast hailing from California. Its deep, dark, loose low-end, somewhat
"fizzy" top and Godzilla-like gain has made this all-tuber a mainstay for many
modern, metal acts who either tune their guitars down as low as they can possibly
go, or wield 7-string axes.
At low GAIN settings, RECTO produces a distinctive, bright clean sound bolstered
by some rich, upper harmonics that add fullness and dimension. This said,
RECTO is definitely not recommended for Country 'n' Western picking. But, if you
play slamming, "nu-metal" that’s tuned lower than whale droppings, then RECTO
could well be the only way to go!
Original's tube compliment: 5 x 12AX7s in preamp, 3 x 5U4G rectifier
tubes, 6 x 6L6s in power amp.
11. US HIGAIN
This is modeled on the Overdrive Channel of an all-tube, 100 Watt head built in
1991 and covered in snakeskin! This high gain, power house was designed by a
guy who also builds and drives Hot Rod cars so it should come as no surprise that
the originals controls all go to eleven - after all, "that's one louder innit!" (© Nigel
Tufnel!)
US HIGAIN is capable of a powerful, heavily saturated sound that combines
an open low-end with compressed mids and highs. The result is a tone that
remains focused and well defined at even the most extreme gain settings. These
attributes have made this head a favorite with several of the world's leading
players, and its versatility make it ideal for a wide variety of purposes and styles.
Original's tube compliment: 4 x 12AX7s in preamp, 4 x 6L6s in power amp.
12. BOUTIQUE OD
For this one we modeled the Overdrive channel of a very rare, very expensive and
very respected 100 Watt head named the Overdrive Special. This custom-order,
handwired beauty has a spectacular overdriven sound that's perfect for sax-like,
legato soloing. With its GAIN control wide-open, BOUTIQUE OD produces a stunning
sustain which is very smooth and very soulful - can you say "woman tone!?"
Original's tube compliment: 3 x 12AX7s in preamp, 4 x EL34s in power
amp.
13. BOUTIQUE CL
For this amp type, we modeled the Clean channel of another very expensive,
handwired, custom amp made by the same boutique builder as BOUTIQUE OD.
We auditioned several top-shelf boutique amps for this model but this amp was
the clear winner. Even though its garish, fuzzy red covering wasn't to everyone's
taste, it's beautiful clean sound was! Its beautifully rounded low-end, delightfully
transient mid-range attack and sweet treble make it the perfect partner for single-
coil pickups. It is also incredibly responsive and extremely sensitive to picking
styles and pickup selection. And, as an added bonus, strummed chords just ring
out and blossom.
Original's tube compliment: 3 x 12AX7s in preamp, 4 x 6L6s in power amp.
14. BLACK 2x12
The dual channel, blackfaced beauty we modeled here is considered a "musthave"
2x12 combo for country and blues players, and rightfully so - after all, its
celebrated clean sound is very tight 'n' twangy, with a deep, taut, piano-like bass.
Pristine clean tones aside, BLACK 2x12 is also capable of producing that
classic Chicago blues tone - especially with single coil pickups. In keeping with the
original, when pushed hard the bass on our model tends to crumble. So, to
emulate this classic, BLACK 2x12 overdrive, here’s what you dial in on your
Valvetronix: full GAIN, no BASS, full MIDDLE and set TREBLE to taste. Because the
EQ network of BLACK 2x12 lies before the main gain stage of its preamp y'see,
pushing the mids in this way emphasizes the distortion in that frequency range
and the result is a lovely, singing blues tone.
As already mentioned elsewhere, the original amp doesn't have a Presence
control but does have a Bright Switch. The PRESENCE control on your AD60VT
emulates this switch when "off" and "on," plus all points in-between!
Original's tube compliment: 4 x 12AX7s & 2 x 12AT7 (a.k.a. ECC81) in
preamp, 4 x 6L6s in power amp.
15. TWEED 1x12
The original we modeled here was born in Fullerton, California, in 1958, and clad
in "tweed" - hence its name! Just like the AC15, this 18 Watt, 1x12, all-tube combo
is the very essence of simplicity. Aside from the obligatory Volume knob, it only
housed one other knob - a single Tone control creatively named (wait for it!) Tone!
This Tone control is merely a treble cut and boost, and its behaviour can be mimicked
by using the Valvetronix's TREBLE, MIDDLE and BASS EQ network as follows:
Original Tone control turned all the way down (off) = BASS on full;
TREBLE and MIDDLE at 9 o'clock (PRESENCE "off").
Original Tone control turned up "full" (on 10) = TREBLE on full; MIDDLE
and BASS at 9 o'clock (PRESENCE "off").
NOTE: As the original doesn't have a Presence control, PRESENCE is "neutral"
when "off," but can be used to add "extra" sparkle and cut to the model if
you so wish.
In keeping with the original, the TWEED 1x12 produces an open, relatively uncoloured
sound when clean, but starts to "snarl" beautifully when pushed into overdrive.
Its highly desirable "snarl" is rich with harmonic content and cranking this
puppy up will produce those classic, old rockabilly and rock 'n' roll sounds of the
'50S and '60S, at the drop of a 10 gallon hat - especially when a single coil pickup
is used.
TONAL HINT: To duplicate this "big sounding" little amp even more accurately,
turn the POWER SELECT to 15W on the AD60VT and 15W x 2 on the
AD120VT.
Original's tube compliment: 1 x 12AY7, 2 x 12AX7s in preamp, 1 x 5Y3GT
rectifier, 2 x 6V6s in power amp.
16. TWEED 4x10
The 4x10 combo we modeled here was built in 1959 and originally intended for
bass guitar. This said, six-stringers were quick to embrace its smooth-yet-cutting
overdrive which is perfect for R&B (rhythm 'n' blues) guitar. TWEED 4x10 is also
very sensitive and responsive to both picking strength and the volume setting on
your guitar. This means that by backing-off your axe’s volume when the amp is
cranked, you can produce a beautifully clean and full tone. It also means that
dynamic picking control allows you to make notes or chords more distorted or
clean than others, depending on how hard or how soft you pick 'em.
TONAL NOTE: Just like on the original, the Middle and Treble control of
TWEED 4x10 are highly interactive and high settings of the Middle control
automatically add treble to your sound. As a result, you may want to turn down
the Treble control as a counter measure. Conversely, low Middle settings
reduce treble so you might wanna crank the Treble a little more in such
instances.
Original's tube compliment: 1 x 12AY7, 2 x 12AX7s in preamp, 1x GZ34
rectifier, 2 x 5881s in power amp.
The Vox AD60VTX combo amp was introduced at the 2003 Summer NAMM Music Trade Show in Nashville, TN.
The AD60VTX replaced the AD60VT, an amp that had been first offered only two years earlier. The 2003
Vox product catalog dated "Summer 03" suggests that both the AD60VT and AD60VTX were initially offered concurrently.
The AD60VTX differed from the AD60VT in several ways. The most notable change was the replacement of the Celestion 7080 12"
speaker from the AD60VT with the Celestion/Vox "Neo (or new) Dog."
The Celestion/Vox "Neo Dog" 12 inch speaker featured a neodymium magnet structure. The incredible magnetic properties of
neodymium magnets mean that only a small amount of material is needed to produce the same flux as a much larger ceramic magnet structure.
This offers a drastic savings in weight. The "Neo Dog" speaker weighs approximately one half of the weight of the Celestion 7080 it replaced
without any loss of tone or power handling capacity.
The AD60VTX featured a plywood cabinet, the AD60VT had a medium density fiberboard cabinet.
The AD60VTX had an speaker impedance selector switch, the AD60VT did not. The impedance selector switch allowed the AD60VTX to operate at the
full 60 watt power at four, eight or sixteen ohm speaker loads.
This amp had followed the basic proportions of the 1960's era Vox AC-15. Unlike the AC-15, the AD60VTX cabinet has a closed back.
Click here to read about the REMS modeling preamp in the AD60VTX
Click here to read about the Valve Reactor power amp in the AD60VTX
The AD60VTX was last offered in 2007.
The Valvetronix "Blue" Series amps packed an incredible number of innovations. The control section was based on the Korg REMS (Resonant Structure and
Electronic Circuit Modeling System) technology. REMS had been used in a number of "pod" style stand alone guitar effects devices, but incorporating this
technology into the preamp of a guitar amplifier was truly a first.
The REMS circuit could accurately reproduce the complex preamp circuitry of sixteen of the world's most popular amplifiers. This was a Vox that would
not only sound like a Vox, but could also emulate the sounds of a black face, tweed or plexi style amp.
In addition to amp modeling, the Valvetronix "Blue" Series amps included literally every sound effector used by guitarists. Ten effects pedals, five
modulation effects, reverb, delay, and a full set of gain, volume and tone controls insured that this amp could give you what you needed.
The Valvetronix "Blue" Series also introduced the revolutionary VR Valve Reactor output circuit, which you can read about by clicking here.
The AD60VT and AD120VT amps were introducd in July 2001. By 2003, the original "Blue" series amps were replaced with a slightly updated design, the
VTX Series. The new AD60VTX and AD120VTX combo amps were soon joined by two trapezoid amp heads, the AD60VTH and the AD120VTH. Matching 2x12 and a
4x12 enclosures were also offered.
The details of the Valvetronix "Blue" Series control panels follow.
The Valvetronix "Blue" Series amps have one channel with dual inputs.
Working across the control panel from left to right, the "Pedal" section comes next. Ten pedal effects are selectable from a rotary control. In the
picture at left, the knob is pointing to the highly authentic "Acoustic" simulation which allows your electric guitar to sound like a miked acoustic.
Other pedals include a Compressor (try this with your 12 string electric), Vox Wah and Autowah, U-Vibe, Octave, Treble Boost, Tube OD, Fat OD, and Fuzz.
The "Modulation" section offers Chorus, Flanger, Phaser, Tremolo and Rotary (Leslie type) effects, selectable by pushing the "Type" button. Rotary
controls adjust the speed and the depth of the effects. The "Ex Ctl" button allows the control of modulation speed to be sent to the accessory VC12
floor controller. The "Amp Type" section has been designed to incorporate tones modeled from sixteen of the world's most popular amplifiers utilizing
Korgs REMS modeling technology. Included are "Tweed" and "Black Face" amp models from California and "Plexi" tones from the UK. YOu can also boogie
with two "Boutique" amp models. And of course, what Vox modeling amp would be complete without the Vox AC15 and AC-30. A traditional set of volume
and tone controls allow for maximum tonal flexility. The "Delay" section has digital simulations of tape based echoes. Speed is adjusted by the "Tap"
button. Feedback and Depth controls will tailor the echo effects to your preference. The "Reverb" section has a digital simulation of Spring, Room,
and Plate type reverbs.
The Bypass button turns off the Programmer Section (explained below) and returns the amp controls to the "what you see is what you get" state.
The Valvetronix "Blue" Series amps include a digital programmer that will allow for the storage of thirty two user designed control memories, or
"patches" of control and effects settings.
This programmer will store the settings of the Pedal, Modulation, Amp Type, Delay and Reverb sections plus the placement of Gain, Volume and Tone
controls.
These stored "patches" may be written into the memory of the amp using the "Write" button and recalled using the "Bank" and "Channel" controls.
A digital guitar tuner is also included.
Both Line Out and Head Phone jacks are included on the Valvetronix "Blue" Series amps. A Level control adjust both the Head Phone and Line Out levels.
Stereo effects Loop jacks allow additional effects to be added to the signal chain.
A Cat 5 jack, located on the rear panel of the amp, allows connection to the optional VC12 floor controller.
The Vox Valvetronix "Blue" Series amps not only have an innovative front end based on the proprietory Korg REMS preamp circuit, they also introduced
the revolutionary hybrid Valve Reactor output amp circuit.
The Vox Valve Reactor has its origins in the Japanese keyboard design laboratory of Korg in the late 1980s. An electronic engineer at Korg started the
development of a new hybrid power amp design. His concept was to develop a one watt power tube circuit to be used as the "driver" for a high powered
solid state output stage. While this was a unique concept, it was shelved after some development. It just didn't sound right.
More than ten years later, electronics engineer Steve Grindsrod left his position at Marshall Amplification, PLC to assume the head engineer position
at Vox. After arriving at Vox, Grindsrod stumbled across the hybrid tube/solid state output circuit attempted some years earlier at Korg and felt that
it had potential. After further R&D, the Vox Valve Reactor was successfully developed. This unique output circuit was incorporated into the new Vox
"Blue" series.
The "Blue" AD60VT and AD120VT amps were introducd in July 2001. By 2003, the original "Blue" series amps were replaced with a slightly updated design,
the VTX Series. The new AD60VTX and AD120VTX combo amps were soon joined by two trapezoid amp heads, the AD60VTH and the AD120VTH. Matching 2x12 and
a 4x12 enclosures were also offered.
The details of the Valve Reactor circuit follow.
The heart of the Valvetronix Valve Reactor power amp circuit is the 12AX7 "twin triode" tube. The 12AX7 has two complete amplification or "triode"
circuits inside it's glass envelope.
Ordinarily, these "twin triode" amplification circuits are used in series, or cascaded, in the gain stages of the preamp of a guitar amp. One would
normally not expect to find a 12AX7 as part of an output amp. However, this is exactly how the 12AX7 is used in the Valvetronix Valve Reactor power
amp circuit.
Stated simply, the Valvetronix "Valve Reactor" circuit converts what would normally be a preamp tube to a one watt tube power amp. The output from
this one watt tube circuit is then fed into a solid state amplifier to be boosted to a usable total output of 60 watts.
The drawing at left shows the output from the REMS preamp stage being fed into the "phase inverter." The phase inverter splits the signal from the
REMS preamp to supply the input signal to the to the 12AX7 power tubes.
The one watt output from these tubes is then fed into an output transformer, just as one would find in a large tube power amplifier. It is this
combination of power tube and output transformer that gives true tube tone to the VR circuit.
After the variable power solid state amp boosts the output to 60 watts, two further interactions occur between the REMS preamp and the VR output
circuit. These interactions further enhance the amp modeling of the REMS preamp. These interactions are explained as follows.
Some amps use "negative feedback" to keep the output tube from distorting; others do not. The REMS preamp instructs the Valve Reactor circuit
whether or not to apply negative feedback, depending on the amp model selected on the control panel.
Additionally the REMS preamp instructs the Valve Reactor circuit whether it should bias the one watt tube as a "Class A" circuit (like a Vox AC-30)
or "Class AB" circuit (like a Fender or Marshall amp) based on the amp model selected on the control panel . This further enhances tonal accuracy.
Here are two views of the 12AX7 tubes on the chassis bottom of an AD120VTH amp head.
It takes a bit of patience to remove these tubes for maintainence.
They only protrude about a quarter of an inch from the bottom of the chassis, making them hard to grip.
A view of the twin 60 watt solid state power amps in a AD120VTH.
These are used to boost the one watt output from the 12AX7 power tubes to a usable 60 watt x 2 output. Large fins are used to dissapate heat and
keep the amp output section cool.
A rear panel rotary Power Select output power control on the AD120VTH allows the choice of
1 watt x 2, 15 watts x 2, 30 watts x 2, or 60 watts x 2.
When 1 watt x 2 is selected, the solid state power amp is disconnected from the output circuit.
You only hear the tubes.
The VTX and VTH amps had twin speaker jacks are provided for each channel, along with an impedance selector switch. The inclusion of this switch
allowed these amps to be capable of
delivering their total maximum rated power to the speakers, regardless of impedance load.
The VT series amps had a single speaker output jack and no impedance selector switch.
Program List
The "AMP" programs There are 16 amplifier programs. AC15 AC15TB AC30 AC30TB BLACK2X12 BOUTIQUECL BOUTOD RECTO TWEED1X12 TWEED4X10 UK70'S UK80'S UK90'S UKBLUES UKMOD USHIGAIN The "EQ" programs There are 13 eq programs. AC15-EQ AC30-EQ BLK2X12-EQ BOUT-EQ RECTO-EQ TWEED1X12-EQ TWD4X10-EQ UK70S-EQ UK80S-EQ UK90S-EQ UKBLUES-EQ UKMODERN-EQ USHIGAIN-EQ The "5K" programs There are 16 "5K" programs. AC15 5K AC15TB 5K AC30 5K AC30TB 5K BLACK2X12 5K BOUTIQUECL 5K BOUTOD 5K RECTO 5K TWEED1X12 5K TWEED4X10 5K UK70S 5K UK80S 5K UK90S 5K UKBLUES 5K UKMOD 5K USHIGAIN 5K The "CLN" programs AC15 CLN AC15TB CLN AC30 CLN AC30TB CLN BLACK2X12 CLN BOUTIQUECL CLN BOUTOD CLN RECTO CLN TWEED1X12 CLN TWEED4X10 CLN UK70S CLN UK80S CLN UK90S CLN UKBLUES CLN UKMOD CLN USHIGAIN CLN The "CAB" programs CABCAC15 CABCAC15TB CABCAC30 CABCAC30TB CABCBLK2X12 CABCBOUTCL CABCRECTO CABCTWD1X12 CABCTWD4X10 CABCUK70S CABCUK80S CABCUK90S CABCUKBLS CABCUKMOD CABCUSHIGN CABEAC15 CABEAC15TB CABEAC30 CABEAC30TB CABEBLK2X12 CABEBOUTCL CABEBOUTOD CABERECTO CABETWD1X12 CABETWD4X10 CABEUK70S CABEUK80S CABEUK90S CABEUKBLS CABEUKMOD CABEUSHIGN The "PDL" programs The "FATOD" Pedal programs represent a fat overdrive pedal. FATODAC15 FATODAC15TB FATODAC30 FATODAC30TB FATODBLK2X12 FATODBOUTCL FATODBOUTOD FATODRECTO FATODTWD1X12 FATODTWD4X10 FATODUK70S FATODUK80S FATODUK90S FATODUKBLS FATODUKMOD FATODUSHIGN The "FUZZ" Pedal programs represent a fuzz distortion pedal. FUZZAC15 FUZZAC15TB FUZZAC30 FUZZAC30TB FUZZBLK2X12 FUZZBOUTOD FUZZRECTO FUZZTWD1X12 FUZZTWD4X10 FUZZUK70S FUZZUK80S FUZZUK90S FUZZUKBLS FUZZUKMOD FUZZUSHIGN The "TB" Pedal programs represent a top boost pedal. TBBOUTCL TBBOUTOD TBBLK2X12 TBRECTO TBTWD1X12 TBTWD4X10 TBUK70S TBUK80S TBUK90S TBUKBLS TBUKMOD TBUSHIGN The "TUBEOD" Pedal programs represent a tube overdrive pedal. TUBEODAC15 TUBEODAC15TB TUBEODAC30 TUBEODAC30TB TUBEODBLK2X12 TUBEODBOUTCL TUBEODBOUTOD TUBEODRECTO TUBEODTWD1X12 TUBEODTWD4X10 TUBEODUK70S TUBEODUK80S TUBEODUK90S TUBEODUKBLS TUBEODUKMOD TUBEODUSHIGN
I truly hope that this collection adds to your enjoyment of Nebula.
Thanks and God Bless You.
Sincerely,
Michael Angel
CDSoundMaster.com