subdirectory_arrow_left subdirectory_arrow_left Simulateurs d'amplis/baffles guitare en pédales
Matériel Simulateurs d'amplis/baffles guitare en pédales {{currentManName}}swap_horiz Voxswap_horiz Rechercher une marquekeyboard_arrow_down

Quel sont les vrais nom des ampli du Vox Tonelab se

Tout est dans l'objet du post.

A quel ampli correspondent les noms de simulation trouvés dans le manuel du VOX Tonelab se ?
Vox ToneLab Amps
Vox AC15

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.

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.

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.

Vox AC15TB

Original’s valve compliment: 5 x ECC83s in the preamp, 1 x 5Y3GT rectifier, 2 x EL84s in power amp.
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 MIDDLE (“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!
Vox AC30

Original’s valve compliment: 4 x ECC83s, 1 x ECC82 in the preamp, 1 x GZ34 rectifier, 4 x EL84s in power amp.
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.
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.
Vox AC30TB

Original’s valve compliment: 5 x ECC83s & 1 x ECC82 in preamp, 1 x GZ34 rectifier, 4 x EL84s in power amp.
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.
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.
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.
Marshall JTM-45 - “UK Blues”

Original’s valve compliment: 3 x ECC83s in preamp, 1 x GZ34 rectifier, 2 x KT66 in power amp.
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.
Marshall JTM100 (plexi) - “UK ’70S”
Original’s valve compliment: 3 x ECC83s in preamp, 4 x EL34s in power amp.
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.
Marshall JCM800 – “UK ’80S”
Original’s valve compliment: 3 x ECC83s in preamp, 4 x EL34s in power amp.

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.
Marshall JCM900 – “UK ’90S”
Original’s valve compliment: 4 x ECC83s in preamp, 4 x EL34s in power amp.

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!”
Marshall JCM2000 – “UK MODERN”
Original’s valve compliment: 4 x ECC83s in preamp, 4 x EL34s in power amp.
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!

Mesa Boogie Triple Rectifier - ”RECTO”
Original’s tube compliment: 5 x 12AX7s in preamp, 3 x 5U4G rectifier tubes, 6 x 6L6s in power amp.

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!
Soldano SLO-100 - “US HIGAIN”
Original’s tube compliment: 4 x 12AX7s in preamp, 4 x 6L6s in power amp.
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.
Dumble Overdrive Special – “BOUTIQUE OD”
Original’s tube compliment: 3 x 12AX7s in preamp, 4 x EL34s in power amp.
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!?”
Dumble Overdrive Special – “BOUTIQUE CL”
Original’s tube compliment: 3 x 12AX7s in preamp, 4 x 6L6s in power amp.
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 singlecoil 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.

Fender Twin Reverb – “BLACK 2x12”
Original’s tube compliment: 4 x 12AX7s & 2 x 12AT7 (a.k.a. ECC81) in preamp, 4 x 6L6s in power amp.
TONAL HINT: BLACK 2x12 is the perfect partner for ACOUSTIC (Acoustic Guitar Simulator) in the Pedal section.
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/ AD120VT emulates this switch when “off” and “on,” plus all points in-between!
Fender Tweed – “TWEED 1x12”
Original’s tube compliment: 1 x 12AY7, 2 x 12AX7s in preamp, 1 x 5Y3GT rectifier, 2 x 6V6s in power amp.
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.

Fender Bassman – “TWEED 4x10”
Original’s tube compliment: 1 x 12AY7, 2 x 12AX7s in preamp, 1x GZ34 rectifier, 2 x 5881s in power amp.

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.
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. Another cool tonal quirk of TWEED 4x10 is the classic, vintage tube amp sag its GZ34 rectifier tube adds to your notes whenever the amp is driven really hard. “What is sag?” Do I hear you ask? Well, crank the Gain control on this model, dig in hard with your pick and you’ll soon find out! Can you hear how the note literally “sags” when you first hit it and then it opens up? That’s sag, geddit?
matthias t'es un peu lourd,
gentil mais lourd (d'autant que le manuel existe en Français).

Bon, sinon je suppose que le US High Gain "à peau de serpent" doit être la Mesaboogie Stiletto !
Ben si c'est extrait du manuel, tout est clairement écrit dedans donc je me demande pourquoi tu demandes.
Si tu prends la peine de lire ce que celui que tu trouves lourd a posté, tu auras ta réponse pour le snakeskin.
Ben si c'est l'extrait du manuel.
mille excuses, cela n'arrivera plus
Non mais désolé, je suis un peu dur et pas très poli avec toi Matthias, mais ton post est tellement long.
Je propose que l'on te nomine pour L'oscar du cuistre de l'année......
J'avais un AD60VTX jadis. Je me souviens de la model " boutique CL" avec un bon réglage d'EQ qui sonne tres bien dans la plupart des situations en associant les différentes pédales OD ou fuzz. Ca claque, ca perce le mix, avec le micro manche d'une strat ou d'une télé c'est un régal...

Sujets les plus actifs dans "Simulateurs d'amplis/baffles guitare en pédales"

Les dernières questions dans "Simulateurs d'amplis/baffles guitare en pédales"