MusicRadar

• Review
• Manufacturer's Description

When Vox introduced its AD30VT and AD15VT combos back in the summer of 2004, it set a new standard in amp modelling, with a hitherto unimaginable tone-per-pound ratio. When we got our hands on them, it didn't take us long to conclude that no one else could compete with Vox for sounds that good at such a low price.

Modelling preamps, and now software modelling technology, have taken giant steps in the last couple of years, with the likes of the Line 6 Toneport and Native Instruments Guitar Rig software, but to our ears, the Vox Valvetronix products are still the most authentically valve-like standalone modelling amplifiers in their price bracket and even beyond.

Overview

We shan't go into the concept behind the Valve Reactor technology at the heart of the Valvetronix circuits in depth, but for the uninitiated, it's this: a digital preamp designed in conjunction with Korg is linked to a single ECC83 preamp valve that acts as a small intermediate power amplifier, driving the output transformer in a similar dynamic fashion to an all-valve amp.

Theory aside, ultimately your ears are the best judge, and if you enjoy the sonic performance of the smaller Valvetronix combos but require the greater power and flexibility of a head and cab configuration then the AD100VTH could be the solution.

The head's cosmetics tie in nicely with the rest of the range, using the same diamond-patterned steel grill that evokes the classic Vox diamond-weave speaker cloth, albeit with a more futuristic aesthetic.

The control panel is identical to its lower-powered brethren, while around the back we again encounter the invaluable power level control, which attenuates the output wattage of the power amp. This allows the Valve Reactor power amp to be driven at lower, even bedroom-friendly, volume levels.

There's also the addition of a global presence control on the back panel, which is extremely useful for tuning the head to the tonal variances of different speaker cabinets.

Build

Construction wise, an amplifier at this end of the market isn't likely to be subject to boutique-style overbuild, but both the Chinese-manufactured amplifier head and cabinet seem solid enough to cope with the rigours of live performance. That said, we did have reservations about the V412BK's black speaker cloth that felt rather like a pair of tights, quite frankly, and may prove prone to tearing (or laddering).

The AD100VTH's rotary amp model selector pot didn't quite share the positive action of its chicken-headed siblings and failed to align precisely with the control panel legends. Luckily, our ears could tell the difference between the 11 models on offer.

As with the other Valvetronix models, each amplifier model has a corresponding preset with effects designed to complement the sound, but the real fun is to be had by delving into manual mode and shaping both amp tone and effects to taste.

Two user sounds can then be stored and recalled via the amplifier's control panel or the VFS2 footswitch (£21.95), which sadly isn't supplied, but can be configured to give access to your stored sounds, and toggle either effects bypass or manual mode on the fly.