The power of tubes without an amp!!! The first thing that surprises you when you open the box is seeing a tube embedded in the processor, fully visible. The feeling of warmth is already solid before you plug in the guitar cable. In broad strokes, and after testing the product, my impression is of a processor that can meet high levels of demand. The Vox Valvetronix ToneLab is divided into several sections, among which the part devoted to choosing amp heads and cabinets, which we can combine to taste, is undoubtedly the standout.
Before turning it on, I perceive a delicious impact from the AMP and CABINET block and the sight of the tube. The look is “traditional,” “old-school” (digital display aside), one more brushstroke that visually points our thoughts to “tube crunch” and a truly authentic sound.
How Does It Handle?
I think an important aspect of this type of product is ease of use. Personally, I can't stand “gadgets” where everything is purely digital (no knobs) and you have to go step by step, through the display, configuring absolutely everything. The reason: wasted time. When a guitar processor has enough switches, pots and buttons, we can quickly figure out which sounds best suit the piece we want to play. In line with these comments and relating them to the product in question, I have to say that although it took me a little while to feel in control of the unit, with the first half hour devoted to operation, you get the hang of it quickly and it's quite comfortable to work with.
Technology: Valve Reactor and Signal Path
According to the manufacturer: “It uses a 12AX7 tube, a dual-triode device; it is actually 2 tubes, and it is equipped with an output transformer, just like a real tube amp. Instead of connecting directly to the speakers through this transformer, it connects to a specially designed VariAmp power circuit, which raises the transformer's output magnitude from its lowest level, that is, one watt, up to the maximum output level. Because the VariAmp power circuitry stage is completely transparent, meaning it does not color the signal, the result is a sound we can define as pure tube. It also ensures that the output signal level maintains the most suitable dynamic range, associated with traditional tube amps, which is something most solid-state amps can't provide. This is one of the biggest reasons tube amps normally sound louder and livelier (even at the same wattage as solid-state amps).”
To get an idea of the signal path, here is a rundown of what happens (and where) to the guitar's sound from the moment we plug in until it comes out of the speaker. Imagine your guitar's clean signal going into the Vox Valvetronix ToneLab and from there to a mixing console, powered monitors (or a guitar amp). The guitar signal enters clean and goes through the following process:
PEDAL EFFECTS → Gain → Pre AMP (16 types) → VR GAIN → VALVE REACTOR (Power AMP) → Ch Volume → CABINET MODELS (10 cabinet types) → Effects (Modulation, Delay, Reverb) → Amp/line.
This product is especially suited to working with authentic, warm, hard-hitting and lively guitar sounds without an amplifier. That is, we can now forget the historic “scorched” sound feeling we get when we run the guitar direct.
I've mentioned it on other occasions, and I know the defenders of the good old amp will go on (or we will go on) thinking that the thing is to use a “castle-sized hunk of amplifier” (understanding the poetic sense and not taking it to the size of the thing), but we can't deny the evident advantages a processor like this one (or others) offers. For one thing, you can plug into the console at any club without hauling all the amplification artillery; you can likewise record in your home studio or a professional studio without the hassle of a microphone; and on top of that we now add the ability to switch from one type of amp or cabinet just by turning a little knob. The scales are balanced, unless you're totally clear on the exact sound you use and it's always the same.
Amp Section
AC15. Vox AC15, made in 1962. EL84 Class A tubes without negative feedback. Known for its success among British bands.
AC15TB. This model appeared in the '90s and combines a sweet sound with tonal flexibility through the addition of a Top Boost control.
AC30. Another big hit among British bands in the '50s and '60s. The original is characterized by its volume and Top Cut controls. The ToneLab simulates it with the help of its gain and presence controls.
AC30TB. The original amp aimed for more gain and tonal flexibility, which was achieved with the Top Boost. This model produces clear, defined, treble-rich sounds and classic saturation.
UK BLUES. The classic British amp par excellence.
UK 68P. Again a classic, rich, warm sound. With the ToneLab's VR Gain control all the way up, we get the same behavior as the original.
UK 80s. Thick, heavy sound characteristic of '80s rock and heavy metal.
UK90s. Based on the lead channel of a 100-watt amp and capable of delivering generous doses of amp preamp distortion.
UK MODERN. Delivers a fairly personal sound with attack and punch. Combines a high-gain amp preamp with the classic sound of the power stage.
RECTO. Based on the modern high-gain channel of a “brutal” 100-watt amp designed in California. Total mayhem: smooth, dark, round low end and war-level gain.
BOUTIQUE OD. Smooth, warm sounds based on the 100-watt “Overdrive Special” amp.
US HIGAIN. A model based on a 100-watt saturation channel built in 1991 and covered in snakeskin. This amp can deliver a powerful sound with heavy saturation, combining fairly compressed lows, mids and highs. Original tube model system: 4 x 12AX7s in the preamp and 4 x 6L6s in the power amp
BOUTIQUE CL. “Clean” tones and mids with good attack. A good companion for guitars equipped with single coils.
BLACK 2x12. Ideal for country and blues. To get a good simulation, you should set the gain and the VR Gain all the way up, with little bass and brutal mids.
TWEED 1x12. With this amp you get the rockabilly and rock & roll vibe of the '50s and '60s.
TWEED 4 x 10. Into rhythm & blues? Pick this one.
Cabinet Models. Cabinet Types
Number of speakers and sizes. If we're looking for historically “correct” sounds, we should match the chosen amp to the type of cabinet we'll play through. For that, the manual includes a table to guide you. Of course, you can also experiment on your own and combine them however you see fit to get your personal sound.
TWEED 1x12
TWEED 4 x 10
BLACK 2x10
BLACK 2x12
VOX AC15 (1 x 12)
VOX AC30 (4 x 12)
VOX AD412
UK H30 4 x 12
UK T75 4 x 12
US V30 4x12
Effects
As you'd expect, you get a series of factory presets divided into 24 banks with 4 memories per bank, for a total of 96 slots. Access is quick and easy with the front-panel buttons. You can also edit the stored settings to taste, something you'll learn to do in the blink of an eye with your manual (or by experimenting). But let's focus on the effects blocks the VOX offers.
Pedal Section
The remote pedalboard is a separate purchase option. This element is quite important for controlling effects live, as well as for adding the resources of an expression pedal, for example. Of course, the processor comes with an input (Vox USB) for connecting it, and the accessory is available.
The pedal section has a rotary position control: compressor, acoustic, vox wah, auto wah, u-vibe, octaver, treble boost, fat OD and fuzz.
Modulation. Chorus, flanger, phaser, tremolo and rotary.
Delay. Delay, tape echo and multi head.
Reverb. Spring, room, plate.
Just to the right of the effects section you have three more controls for adjusting the wave, speed, repeat and volume (depending on the effect selected).
The Display
We come to the most modern part (to the eye). A digital panel where we see the preset number and name, editing windows and the other programmable or editable tasks, such as the noise gate, program selection, creating and saving, etc...
From this part of the multi-effects unit we also control the MIDI parameters (it has MIDI IN / MIDI OUT). Through this connection we can carry out various actions, such as sending messages between external devices (controlling the ToneLab from a sequencer or controlling a MIDI unit from the ToneLab), using editors, making backups (saving and loading), etc...
Tuner. Included in this section. Quick and convenient, the tuner automatically detects the string we're playing and graphically indicates whether it's flat, sharp or in tune with a recognizable graphic character.
Connectivity, Rear Panel
The Vox Valvetronix ToneLab has an input, a mono or stereo output, an output selector (amp or line), a Vox bus for connecting the pedalboard, an S/PDIF output for connecting to an external mixer or recorder, MIDI in and out, a power inlet and a headphone output.
Some possible connections:
Guitar to the multi-effects unit -> one or two guitar amps
Guitar to the multi-effects unit -> analog mixer -> amp -> tape
Guitar to the multi-effects unit -> digital mixer -> headphones
Guitar to the multi-effects unit -> computer -> amp -> speakers
Guitar to the multi-effects unit -> computer -> powered monitors
Guitar to the multi-effects unit -> powered mixer -> speakers
Downloading Presets
We're used to (or rather, spoiled by) receiving gear with English-language manuals, and, honestly, the effort to put out a reference guide in the language of the country where the product is distributed, reasonably well translated and edited, is appreciated, as in this case.
Another noteworthy detail is the ability to download software and libraries from the link at the top.
Sound and Conclusions From the Tests
In short, I'd say it strikes me as a professional processor, both for its features and for the quality of its technology and, ultimately, its sound. I tried the unit running it through the line to a pair of monitors, and I can say the result is optimal. With your eyes closed you hear the “amps”; the pulse of the guitar is lively, and you feel the attack and edge of tube amplification.
Besides covering any style of music, we delight in the sheer number of possibilities that the amp and cabinet sections offer, independently of the effects. We can emulate legendary sounds, from British to American, from jazz to blues, funk, ballads, grunge, heavy metal and endless resources that will make you need no other effect, amp or cabinet.
Its launch price was around 465 euros, VAT included, which is a very relevant fact when evaluating value for money. You should bear in mind that to get full versatility live, you need to buy the remote pedalboard. Even so, I think the price is fair: this is a pretty definitive, serious, solid, versatile and powerful purchase
