NAMM 2026: Vox has unveiled the VTB-1 Treble Booster, a super-simple boost pedal with a single dial, one switch, and yet perhaps everything a the AC30 owner needs to recreate the iconic electric guitar tones of Rory Gallagher, Brian May et al.

Inspired by the Dallas Rangemaster that Gallagher used to such devastating effect that May simply had to add one to his rig, the VTB-1 is described as the perfect complement to Vox’s tube amps – yielding the kinds of juicy harmonic drive tones you’ve heard on countless Queen records, and giving players that touch-sensitivity that makes it such an expressive addition to a rock or blues guitar player’s rig.

Furthermore, Vox says that the VTB-1 will be a more reliable proposition than the original vintage units. That is to say that Vox has swapped out the germanium architecture of the O.G. Rangemaster circuit, on account of germanium being germanium, a little bit finicky with big changes in temperature, a little inconsistent, and on occasion noisy.

The thing is, however, for all its foibles, germanium is a key ingredient in the recipe, and the R&D team at Vox’s biggest challenge was to create a circuit that yielded that same “nonlinear” behaviour of a germanium circuit.

They chose a “hand-selected” Silver Can BC108 silicon transistor. In the circuit, it had that same vintage Rangemaster feel and it had it with a lower noise floor.

Vintage Rangemasters, boost pedals of all stripes – even our overdrive pedals too – they are all about improving the relationship between your instrument and the amp, giving you more juice, opening up the quote, unquote sweet spot when what you’re playing just feels more alive.

We’ll need to try one of these to hear how all this works out in practice, but Vox says it has expanded the sweet spot, “ensuring a broad and expressive ‘edge-of-breakup’ region that responds naturally to player touch, or, to your guitar’s volume knob.

Rolling that back should make your VT1-B and Vox AC30 combo (or any tube amp of your choosing) clean up nicely.

All that sounds great. The VTB-1 looks great, too. It’s hard to argue with a pedal that has just one big chickenhead dial marked “Boost” plus a Fat switch that simply collects more frequencies to be boosted, widening the oomph applied to your amp. Easy.

But then this is a primal guitar effect, old-school, from a more simple – nay, a more civilised time.

The VTB-1 Treble Booster is priced $149. See Vox Amps for more details, and if you are at NAMM, you can visit the British guitar amp brand’s stall at #6802 and look at this and more in person.

The Black Friday music deals are kicking off with a bang this year, as Guitar Center is offering up to 40% off a massive range of musical equipment from electric guitars to microphones, acoustic guitars to digital pianos, and so much more. So, no matter what you are looking for, you'll be sure to find a bargain this holiday season.

We must say we're very impressed with what's on offer right now, but if you want to get involved, you only have until the 3rd of December. So, if you see something you like, you'd better act fast - don't let these epic deals pass you by.

Now, we’ve spent some time scouring this sale for what we believe are the best deals, and you can check them out below.

Of course, this is only a small cross-section of what's available, so we implore you to have a look through all the categories for yourself and see what other delights are on offer. The sale runs for a limited time, so be quick to ensure you don't miss out.

Originally intended as a repository for software emulations of its own synths, Korg’s Collection has now been expanded to include instruments that come from different hardware stables.

We’re certainly not complaining, though, particularly as version 5 of the bundle is headlined by the classic ARP 2600 synth. Korg does have a relationship with this instrument, of course, having previously rebooted it to great acclaim as a hardware product.

As well as promising to accurately emulate the original synth, this plugin version also offers various improvements. These include a second filter, a drive section, new modulation sources, MIDI control, a sequencer and up to 16 voices of polyphony,

An emulation of the Vox Super Continental combo organ beloved by British bands of the ‘60s and ‘70s is also here. Again, there’s a Korg connection: the company has owned Vox since 1992, and released a Continental-themed stage piano in 2017.

Finally, there’s the EP-1, a homage to classic electric pianos such as the Fender Rhodes. This one will be familiar to owners of Korg’s Kronos and Nautilus synths, as it’s based on the same Multi-Dimensional Synthesis (MDS) technology. This is designed to offer greater realism than you’d get from a standard sample-based engine.

The Korg Collection now contains a total of 14 synthesizers, two effects processors and one drum machine, giving it pretty comprehensive sonic coverage. 

Korg Collection 5 has a regular price of $399, but it’s currently on sale for $299. If you want to buy the new instruments individually, you can currently do so for $100 each (their regular prices are $150 each), and there are also upgrade and crossgrade prices.

The plugins run on PC and Mac in VST/AU/AAX formats. Find out more on the Korg website.

Vox has announced an "extremely limited" special edition of its acclaimed AC Custom amps in 'classic vintage red'. Available on AC10C1, AC15C1 and AC30C2 models, the scarlet finish is set off nicely with black and gold diamond fret cloth, and a classic Vox rectangular badge.

The AC line should need no introduction, having been the weapon of choice for such luminaries as Queen’s Brian May and, yes, The Beatles, and other than the new livery, Vox has resisted the temptation to tinker with the winning formula that’s seen the range feted as some of the best tube-amps ever made.

So, specs-wise, the song remains the same. The AC10C1 is a 10-watt deal, with two EL84 and two 12AX7 tubes and 10" Celestion VX10 speaker, while the range tops out with the 30-watt AC30C2, with its pair of 12" 8-ohm Celestion G12M Greenback speakers.

The limited-edition Classic Vintage Red Vox AC10C1 (£599/approx $756), AC15C1 (£829/approx $1,046), and AC30C2 (£1,299/approx $1,640) amps are available from April 2024. For more info, head over to voxamps.co.uk.

• Read more: How to get classic Vox AC30 tones using guitar modelling

NAMM 2024: Vox's dinky amPlug range has been coming to the aid of bedroom guitarists (and their cohabitees) since 2007, and ahead of NAMM 2024, the firm has launched a third iteration of its successful guitar headphone amp range. 

Vox claims that amPlug 3 constitutes "not just an upgrade but a complete reinvention”, and while we'll be the judge of that - keep your eyes peeled for a MusicRadar review - they do look as alluringly tempting, collectible even, as ever.

The battery-powered mini-amps, measuring just 86 x 31 x 80 mm, and sitting directly on a 3/4" jack, each have two channels and feature up to four effects including tremolo, chorus, reverb and delay, depending on the model (see below). 

Every one of the range, which comprises 5 guitar and 2 bass amps, has in-built rhythm patterns including Rock, Blues, Pop, Funk, Metal, Jazz, and a straight-up Metronome for solo practices, along with (obviously) tempo controls, and smartphone connectivity - as long as you have an AUX on your phone - for play-along fun. 

The full Vox amPlug 3 range

The amps on offer are...

AC30
Probably the one we're keenest to try out, this emulates Vox's classic AC30 sound. Channel 1 offers the signature tone, while channel 2 adds a splodge of '60s flavoured top boost.

UK DRIVE
Offering the "raw power of a 100W UK stack", channel 1 is a vintage tone, while channel 2 layers on distortion.

US SILVER
Heading back over the pond, US Silver offers warm, pristine clean tones for "soulful strumming" on 1, and a sprinkle of grit on channel 2.

BOUTIQUE
Channel 1 is "silky, clean" here, and there's bright overdrive waiting on switch 2.

HIGH GAIN
The most obviously aggressive of the range High Gain should do what it says, with "sharp, aggressive, and powerful sounds". 

BASS
Time for some low-end. Bass amPlug 3 is a no-nonsense affair, with an uncomplicated classic bass tone, for maximum versatility, plus some overdrive on channel 2.

MODERN BASS
Last up, Modern Bass aims for an edgier, more contemporary experience. Crisp on channel 1, with high-gain distortion on 2.

The amPlug 3 range will hit stores in February, priced around £47/$55/€55. For more info stay tuned to MusicRadar or hit voxamps.com.

The Black Friday music deals are kicking off with a bang this year, as Musician's Friend is offering up to 50% off a massive range of musical equipment from electric guitars to microphones, acoustic guitars to digital pianos and so much more. So, no matter what you are looking for, you'll be sure to find a bargain this holiday season.   

We must say we're very impressed with what's on offer right now. There's a saving to be had on all the heavy hitters from the world of guitar, with the likes of $180 off the ever-popular Fender Player Telecaster Plus and $170 off the extremely versatile PRS SE Silver Sky. It's fair to say if you're a 6-string connoisseur, you'll be sure to find something to get excited about this holiday season.  

However, it's not all guitar-related savings on offer, there are also deals to be had on the likes of the Alesis Nitro Mesh, which is down from $449 to $299! With a hefty $150 discount, this brilliant kit gives you the full drumming experience for much less. It's one of the best budget e-kits you can buy, providing a realistic feel and robust build quality, now at an even more reasonable price. 

If you are looking for an epic keyboard deal, the Roland FANTOM-07 is one of the best deals we've seen. This complete music workstation from Roland is designed to streamline your music creation and play the part of a performance keyboard all in one. It's got a huge $589 discount in the Musician's Friend Black Friday sale and even includes cables, a stand, an expression pedal, and a sustain pedal as part of the package. 

Of course, this is only a small cross-section of what's available, so we implore you to have a look through all the categories for yourself and see what other delights are on offer. The sale runs for a limited time, so be quick to ensure you don't miss out. 

The early Black Friday music deals are kicking off with a bang this year, as Musician's Friend is offering up to 40% off a massive range of musical equipment from electric guitars to microphones, acoustic guitars to digital pianos and so much more. So, no matter what you are looking for, you'll be sure to find a bargain this holiday season - all without having to brave the dreaded Black Friday crowds.  

We must say we're very impressed with what's on offer right now. There's a saving to be had on all the heavy hitters from the world of guitar, with the likes of $110 off the ever-popular Fender Player Telecaster Plus and $170 off the extremely versatile PRS SE Silver Sky. It's fair to say if you're a 6-string connoisseur, you'll be sure to find something to get excited about this holiday season.  

However, it's not all guitar-related savings on offer, there are also deals to be had on the likes of MIDI controllers, with $20 off one of our favourites, the Akai MPK Mini MK3, as well as the best portable PA systems, which sees the Bose S1 Pro slashed by $200. 

Of course, this is only a small cross-section of what's available, so we implore you to have a look through all the categories for yourself and see what other delights are on offer. The sale runs for a limited time, so be quick to ensure you don't miss out. 

Check out more from the Musician's Friend Holiday Sale below

• View the full electric guitar sale
• View the full acoustic guitar sale
• View the full amp sale
• View the full recording gear sale
• View the full live sound sale 

Find more epic deals on a range of music gear below 

• View our guide to the best Black Friday guitar deals
• Or all the early Black Friday drum deals
• Save money with the latest Black Friday plugin deals
• These are the best Musicians Friend Black Friday deals 
• See what Guitar Center Black Friday deals are available this year
• In the UK/Europe? Check out the best Thomann Black Friday deals
• Score a cut-price interface with these Black Friday audio interface deals
• Bag a discount on the biggest brands with these Black Friday Andertons deals

Today in guitar amplifier worship we are going to look at something that seems just too rare to label a “holy grail”, simply too bespoke – the Dumble Manzamp preamp and 200-watt Odyssey power amp that once served in the master of the Stratocaster and tone connoisseur Eric Johnson’s backline in the mid ‘90s.

The setup, which also includes a pair of Dumble 2x12 speaker cabinets loaded with vintage Vox Alnico Blues and Hiwatt Heavy Duty drivers – both added to the rig by the subsequent owner – is up for sale via Techno Empire for a cool $399,999.99 – and Vertex Effects has just shot a demo video for its YouTube channel to show us what something like this sounds like. 

Just what do you play when have a rig like this to demo? Well, first off, you get yourself a Strat. Cliffs Of Dover is a choice that is no less correct for it being obvious. But, quite honestly, this is the sort of amp rig that that would get you a standing ovation for simply playing an open A chord. 

As Vertex’s Mason Marangella says, this Manzamp/Odyssey combo has all the Eric Johnson tones you need; they’re all right there. Gabriel Bergman is playing a Strat, and there is a greatest hits of Johnson-style pedals. 

• Eric Johnson: the 10 greatest guitar tones of all time

There’s a TC Electronic chorus pedal and a Boss delay pedal, and it’s blowing Marangella’s mind with a sound that already “has a mastered quality” coming out of the speaker. There is a Fuzz Face, ideal for comparing the clean tone and Fuzz Face into clean tones of Desert Rose.

Bergman and Marangella take us through the different tones, how it sounds with delay, with chorus, and most intriguingly, how it articulates the complex chord voicings of the classic Eric Johnson tune Friends. 

There are still some mysteries surrounding the rig. How exactly did Johnson set it up? Well, the best clue comes from the May 1996 issue of Guitar Player, which published a diagram of Johnson’s triple guitar amp setup, and explained the this custom setup replaced Johnson’s Dumble Steel Stringer. Johnson favoured a Marshall 4x12. 

Now, there is backline, and then there is an Eric Johnson three-amp backline. The three amp setup allowed Johnson to run a separate amp for rhythm, ‘distorted rhythm’ and lead guitar tones.

Johnson’s main rhythm tone was handled by a pair of Fender Vibroverbs. The lead was handled by either a Marshall or a Dumble Overdrive Special, with ’Distorted rhythm’ incorporating this Manzamp/Odyssey rig. 

This is not the sort of amp you see every day, and it might be some time before we see it again. “If you are a fan of arguably the best clean tone ever, arguably the best lead tone and dirty rhythm ever, Eric Johnson, this is the amp,” says Marangella.

It could, of course, be yours if this year's amp budget is comfortably six sigures. Eric Johnson's Dumble Manzam/Odyssey rig is listed on Techno Empire and Techno Empire Reverb’s store for £331,333 / $399,999. All the components are original besides the custom footswitch.

• Up close with the ultimate Dumble Overdrive Special Jason Isbell calls “possibly the greatest amplifier ever made"

Guitar Center's Guitar-A-Thon sale has finally landed, and you know what that means – mega savings on an expansive range of guitar-related gear. All the big guns are represented here, from Gibson and Fender to MXR and Revv, Martin, Taylor and Boss. 

But wait, that's not all. To coincide with the launch of the sale, Guitar Center has also dropped some captivating exclusive finishes that see popular models reimagined in striking new colours and wood combinations. 

These exclusive offerings include a stunning sunburst Taylor 314ce and GS Mini, a snowy White Satin Schecter C-1, classy British Racing Green Fender guitars, basses and amps and even a kaleidoscopic collection of Gibson Les Paul Classics. 

Fender Limited-Edition Player Models in British Racing Green

By now, you should be all too familiar with the Fender Players Series. Since their release guitarists of all levels have been falling for the Player's classic good looks, effortless playability and stellar sound - and now Guitar Center has launched an exclusive new version of the Stratocaster, Telecaster, Precision Bass and Blues Jr amplifier. 

The new Limited Edition guitars come loaded with the insanely popular Seymour Duncan Quarter Pound single-coil pickup while also opting for the absolutely gorgeous British Racing Green finish, which perfectly matches the timeless designs of Fender's iconic guitars. For us, it's a match made in heaven. 

Currently, the limited edition electric guitars and bass are retailing for $1,049.99, while the Blues Jr is $799.99. 

Gibson Limited-Edition Les Paul Classic

Here at MusicRadar, we are big fans of the Gibson Les Paul Classic. We can't get enough of its early-60s mojo and contemporary modifications.

Really, this is the best of both worlds when it comes to tone. Combining the traditional construction of an LP, SlimTaper mahogany neck and vintage-voiced Burstbucker pickups with a quartet of push-pull pots, this guitar delivers every tone imaginable, from classic rock grunt to sweet-sounding single coil sounds and so much more. 

New and exclusive for Guitar Center are the Chicago Blue and Seafoam Green finishes which provide an eye-catching take on the classic Les Paul look. Both finishes are currently available for $2,499. 

Schecter C-1 Platinum in Transparent White Satin 

The Schecter C-1 is a heavy metal demon. This fierce guitar is capable of delivering face-melting tones – all without breaking the bank.  The flat and comfortable set maple neck is ideal for shred enthusiasts, while the double-cutaway mahogany body makes reaching the upper frets a breeze. 

Better yet, the onboard EMG Active 81/85 pickups are the best in their class for outrageous metal riffage, supplying plenty of power to push your amp to the next level. 

The Schecter C-1 Platinum is now available in the snowy Transparent White Satin finish for only $749. 

Taylor Special-Edition 314ce

The Grand Auditorium body shape is a Taylor staple, and the 300 series is a brilliant way to get your hands on an all-solid version without completely blowing your budget. Featuring a solid sitka spruce top and solid sapele back and sides, the 314ce sounds warm and rich with that signature Taylor chime.

This Special-Edition 314ce is equipped with the Expression System 2 electronics, V-Class bracing and a bold vintage sunburst finish – all for $2,299. 

Taylor Special-Edition GS Mini-e

The Taylor GS Mini is one of the best travel guitars on the market. It may be small, but its beautifully crafted, slimline body delivers a room-filling tone that some larger guitars could only dream of. 

This Special-Edition variant features the trendy Carbon Burst finish, as well as a solid sitka spruce top and sapele back and sides. 

If you fancy grabbing this Taylor Special-Edition GS Mini-e, it's currently priced at $799 at Guitar Center. 

Vox Limited-Edition Combos in Tan-on-Tan

Vox isn't shy when it comes to releasing variations of its iconic amps, and the latest offering is easily one of our favourites. 

Available in both the AC10 and the larger AC15, the limited edition tan-on-tan finishes perfectly suit the sophisticated nature of a Vox amp, resulting in an amplifier that looks like it jumped straight out of the '60s. 

The 10W Vox AC10 is now available for $649.99, while the more powerful 15W Vox AC15 is $899.99. 

The Guitar-A-Thon sale runs until May 3rd. Head over to Guitar Center to find out more about these exclusive guitars and amps and see what else they have to offer. 

On the hunt for a new guitar? Our buyer's guides are here to help

• Start them on the right path with one of the best guitars for kids
• These are the best guitars for beginners
• The best rock guitars right now
• Looking for a blues machine? These are the best blues guitars to play
• Les Paul vs SG: which is the right guitar for you?
• Fender Stratocaster vs Telecaster showdown

Vox has rolled out a couple of new combo amps that offer its tone-sweeting Nutube tech for two specialist applications. The first is very on-brand for the British amp giant, and it’s called the Clubman 60. The second is called the Ukulele 50 and it is a 50-watt amplifier designed for ukuleles.

Of course, you can plug any electric guitar into the two-channel Clubman 60 and get a tone out of it, but this has been specially voiced to pair well with semihollow and fully hollowbodied guitars. Designed for stage, studio or home, it has a dual-input design, with individual onboard chorus and reverb sections for each channel. 

Channel 1 has chickenhead knobs for Volume, Bass, Middle and Treble, with a single effects dial controlling both effects. Fully counterclockwise, the effects are off, as you turn it clockwise the chorus comes online, peaks at 10 o’clock, then it is reverb. At two o’clock you’ve then got a mix of both chorus and reverb. 

Channel 2 is voiced for more traditional Vox sounds, warm crunch and drive, and here you will find controls for Volume, Bass and Treble, and the Effects dial, plus a slider switch to turn on the overdrive circuit.

Once you’ve dialled in a sound, adjust the master volume. There are all kinds of helpful features here, not least the abundant headroom, which you will be able to hear, with a red LED on hand to alert you when the signal starts to clip, which could be very handy for a jazz player in a club.

The diamond pattern grille cloth speaks to Vox’s heritage, but the Clubman 60 is very much an amp of today, with a convenient headphones output for silent practice, and an aux in, both located on the top-mounted control panel. 

There is a 1/4” line out located on the back of the amp, which allows you to go direct to a mixing desk or through a guitar audio interface and straight into your DAW. Pretty cool. As the name suggests, the Clubman 60 is rated at 60-watts, and it is priced at £319, available now.

The Ukulele 50 is a change of pace, and it might be an opportunity to give your acoustic guitar amp the night off. Like the Clubman 60, it too has onboard chorus and reverb, controlled via a single dial, the aux in, the headphones out, the line-level output on the back of the amplifier for going direct to the desk for recording or live performance. 

Again, this is a two-channel design with an XLR input for adding a microphone – ideal for the budding George Formby. As with acoustic amplifiers, the Instrument channel has a phase switch to help stop unwanted feedback, and is a three-band EQ, and the red LED once more to let you know if it’s clipping.

The Mic channel has a slider switch for phantom power, a three-band EQ. A master volume governs both channels.

The Ukulele 50 is available now, priced £299. For more details, head over to Vox.

The Black Friday music deals are kicking off with a bang this year, as Musician's Friend is offering up to 50% off a massive range of musical equipment from electric guitars to microphones, acoustic guitars to digital pianos and so much more. So, no matter what you are looking for, you'll be sure to find a bargain this Cyber Weekend.

We must say we're very impressed with what's on offer right now. There's a saving to be had on all the heavy hitters from the world of guitar, with the likes of $150 off the ever-popular Fender Player Telecaster Plus and $100 off the extremely versatile Gretsch G2627T Streamliner. And, If you are looking for a seriously versatile axe, that looks as good as it sounds then, the Sterling by Music Man Cutlass, in stunning Rose Gold, has a mega $100 off right now! 

It's fair to say if you're a 6-string connoisseur, you'll be sure to find something to get excited about this holiday season.  

However, it's not all guitar-related savings on offer, there are also deals to be had on the likes of MIDI controllers, with $20 off one of our favourites, the Akai MPK Mini MK3, as well as the best portable PA systems, which sees a complete Harbinger PA package down to only $1,199.99. 

Elsewhere on the site, you'll find a Black Friday coupon, which grants customers 15% off items over $99. 

Of course, this is only a small cross-section of what's available, so we implore you to have a look through all the categories for yourself and see what other delights are on offer. The sale runs until 27 November so be quick to ensure you don't miss out. 

Check out more from the Musician's Friend Holiday Sale below

• View the full electric guitar sale
• View the full acoustic guitar sale
• View the full amp sale
• View the full recording gear sale
• View the full live sound sale 

Find more epic deals on a range of music gear below 

• View our guide to the best Black Friday guitar deals
• Or all the early Black Friday drum deals
• Save money with the latest Black Friday plugin deals
• These are the best Musicians Friend Black Friday deals 
• See what Guitar Center Black Friday deals are available this year
• In the UK/Europe? Check out the best Thomann Black Friday deals
• Score a cut-price interface with these Black Friday audio interface deals
• Bag a discount on the biggest brands with these Black Friday Andertons deals
• Make sure you're heard loud and clear with these Black Friday microphone deals

The Vox Bobcat V90 and S66 are not new felines on the electric guitar prairie but to recap; they're inspired by the Italian Vox designs of the 1960s. Now both models are available in Italian Green and Sapphire Blue finishes.

While the V90 (£999) offers a pair of soapbar P-90s, the S66 (from £899) has a trio of single coil pickups. 

The semi-hollow models feature maple plywood bodies with a center block of weight-relieved spruce for taming feedback. The necks are mahogany with Indonesian Ebony fretboards. Tuners are Grover open gears. 

The new options will be available in early 2023.

Check out our reviews of the Vox Bobcat V90 and S66.

We might have a contender for the coolest looking electric travel guitars around with these new Vox Mini III finishes. They even have two pickups! 

Wamon Red (featuring Japanese Wa-Fu art), Paisley Black Silver, Black and Solid Black offer a very stylish selection. All with an 18.7" scale-length. Yep, they're mini!

The body wood is Terentang, fingerboard is purple heart on a maple neck with 16 medium jumbo frets. The Mini III also features a pair of Vox single coil pickups. 

The new finishes are available in early 2023 for £219 each.  

Check out the current range of available Loud Red, Aqua Green and Marble finishes at Vox. 

Vox has launched a limited edition refresh of to of the most-popular tube amps in its Custom Series, outfitting the AC10 and AC15 in Rich Blue Vinyl.

The AC10C1 and AC15C1 combos offer 10 and 15-watt platforms respectively, with the new-look complementing the diamond grille cloth nicely. Vox has refreshed the colour palette for the controls, vents and corner protectors, too, opting for a deep shade of cream.

The AC10C1 has a single 10” speaker and positions itself as an affordable valve amp for the home, studio and small gigs if pushed. 

Its voicing is classic Vox, chime, sparkle, musical drive with rich mids. The control panel has chickenhead dials for Gain, Bass, Treble, Reverb and Volume, and an on/off toggle switch. 

Under the hood there are a pair of 12AX7 valves in the preamp, two EL84s in the power amp. And those 10-watts are driving a single 10” Celestion VX10. There is also a speaker output for connecting to a second cab.

Its larger sibling will certainly have enough juice to handle small gigs, with the AC15C1 offering Normal and Top Boost channels. 

Like the AC10C1, the control panel here has a familiar look, with has on/off and standby toggle switches, a master section with Volume and Tone Cut controls, Depth and Speed controls for the onboard tremolo, Level for controlling reverb, with Bass, Treble and Volume dials for the Top Boost channel, and a single Volume dial for the Normal channel. 

The Normal channel is minimalistic but in this day and age it makes an excellent pedalboard platform – as indeed do both of these guitar amps. Channels are selected by simply plugging into the channel you want. Old-school. Round the back however there is an input for a VFS2 footswitch (sold separately).

The AC15C1 is outfitted with a 12” Celestion G12M Greenback speaker, and has a trio of 12AX7s in the preamp, EL84s in the poweramp.

The Rich Blue Vinyl editions of the AC10C1 and AC15C1 Customs will be available from June, priced £499 and £629 respectively. See Vox Amps for more details.

Now that Fall is here, it can only mean one thing - no, not pumpkin spiced lattes - epic music deals, of course. The folks over at Musician's Friend are bringing the noise with the aptly named Rocktober sale, which sees a healthy discount of up to 30% off an array of musical equipment from the likes of Fender, Martin, Gretsch, Alesis, Schecter, and many more. 

This epic sale includes everything from beautiful acoustic guitars, one of the best electronic drums sets around, and even some of the best PA speakers on the market. So, no matter what you use to create music, you'll find something here that suits you - and better yet, you can kit out the entire band while you are at it. 

Now, the Black Friday music deals haven't quite started to roll in just yet, but if this epic sale is anything to go by, we could be in for quite the treat as we edge closer to the sales bonanza that is Cyber Weekend.  

Below we have picked out a few of our favourite deals from this mega sales event.

Check out more from the Musician's Friend Rocktober sale below.  

• View the full electric guitar sale
• View the full acoustic guitar sale
• View the full amp sale
• View the full recording gear sale
• View the full live sound sale 

What is it?

In the 21st century, the Vox brand might be most easily associated with guitar amplifiers, its diamond-patterned grille cloth a visual signifier of classic British valve chime. But the brand has plenty of history when it comes to the electric guitar, too.

When you think of a Vox guitar, the mind is immediately drawn to the Vox Teardrop, a guitar with a body shape that actively resisted angles, its compact profile winning fans such as Tom Petty and Robert Smith, and most famously Brian Jones of the Rolling Stones.

But there were others. By today's standards, some of those Vox designs were off the wall, to say the least, with onboard effects modules often complementing an eccentric design streak. Guitars such as the V286 Vox Grand Prix would be prized vintage curios today – a singlecut semi that looked a little like a country and western art installation. Onboard effects on a guitar? Wah-wah, distortion and various boosts? Crazy.

The company had some fewer avant-garde designs too, like the V219 Bobcat. Taking a leaf out of the ES-335 and Riviera playbook, it was a thinline semi with a trio of six-pole extended range single-coils. 

Confusingly, the Bobcat was manufactured on commission by two different Italian companies, Eko and Crucianelli, with some variance in the respective outlet's guitars. You'd find a Crucianelli Bobcat had a batwing pickguard. There were differences in the sunburst finishes, too. 

But all this is history was the '60s, however, and here in 2021, the Bobcat is a South Korean build, with two models offered in the range – the S66 and V90 – each available with or without a Bigsby vibrato.

Our review models eschew the factory wiggle stick for an elegant if generic trapeze-style tailpiece. The body is made from maple laminate, with a solid spruce centre block, while the neck is mahogany and glued. There is a subtle volute to compensate for the truss rod routing.

The 12” radius fingerboards comprise Indonesian ebony and block inlays and offer quite a contemporary feel courtesy of 22 medium jumbo frets. The fretwork is impressive, and those pearloid blocks are meticulously applied and look the business in that dark and rich ebony 'board. 

Like the ES-335, the Bobcat is a generously proportioned semi. There's plenty to wrap your arms around. It has an interesting scale length that sees Vox take the Goldilocks (or PRS) approach and splitting the difference between the Gibson and Fender for a 25“ scale.

The fit and finish are very impressive, with some very well executed binding and a tidy scene awaiting you should you peer through the f-holes. In this respect, the finish comparable to rivals in Gretsch's Electromatic and Guild's Newark St series – which should be expected at this price. 

While the Bobcat largely plays it safe with the finish options and design, there are a few trace elements of its 60s largesse, with the pickup covers in bright white, matching the engraved pickguard. The knurled aluminium control knobs might seem a touch anachronistic but the Bobcat does a good job of holding its retro-curio, classic design and modern elements in equilibrium. 

As for the pickups and electronics, the S66 comes equipped with a trio of Vox S66 single coils, which are controlled via a three-way toggle pickup selector switch, with individual pickup volume and master tone controls. As for the V90, well, the clue is in the name, and here we have a pair of Vox V90 soapbar single coils and a similar control circuit. 

Performance and verdict

Both of our review Bobcats feature shallow C profile necks. This, allied to the medium-jumbo fretwire, is judicious on Vox's part. These guitars might conform largely to vintage design principles but presenting the guitars in this fashion widens their appeal.

The necks measure 20.5mm at the first fret, 23mm at the 12th, and the fretboard feels nice and roomy with string spacing measuring 52.5mm at the bridge. Again, today's player is not going to be intimidated by anything here. These are two slinky semis. 

Thinline semis like the Vox Bobcat could hardly be described as revolutionary. Their build and geometry are too familiar for that. But with that latent Vox eccentricity applied subtly across both guitars they've got a strong case against any charges of being simply another ES-335 knock-off.

What they display are the surprises that arise from pairing familiar elements in unfamiliar settings, like on the S66, which has taken the ES-template and redrawn it by fitting a trio of single-coils and an imaginative control circuit that gives each its own volume control and a master tone overseeing everything. 

That might not sound hugely radical on paper but it's something that is just not done and it opens up an avenue to some fresh sounds. The V90 is more conventional but that's no bad thing when the convention at hand is that thinline semi format and a pair of V90 soapbar single-coils with a punchy drive and classic chime.

There is no shortage of guitars in this style and many at more approachable price points. But finding the guitar that best works for you is never that simple. These are very playable, very charming, and might just have the sound you've been looking for but was just out of reach.

MusicRadar verdict: The S66's brighter semi voice might win the day, with its three single-coil arrangement and individual volume controls offering sounds that you just don't hear on a semi thinline. But the V90 is not without its charms, its characterful drive and bright musical chime are similarly persuasive.

The web says

“It would be rude not to audition these with anything else but a Vox amp in person and in the digital world, and in moments we’re time-travelling to bright, happy shiny jangle that is easily nudged into Townshend/Weller edgy crunch on either. Game on. The V90 would perhaps be the more classic choice, but those who like to work with a more subtle palette will find plenty in the slightly lighter-sounding S66.“
Guitarist

Hands-on demos

Guitarist 

Premier Guitar

Eric Haugen Guitar

Vox

Specifications

Vox Bobcat S66

• PRICE: $1,399 / £1,279 (inc case)
• ORIGIN: Korea
• TYPE: Double-cutaway centre-blocked thinline semi hollow electric
• BODY: Laminated maple w/ weight relieved spruce centre-block
• NECK: 1-piece mahogany, glued-in
• SCALE LENGTH: 635mm (25”)
• NUT/WIDTH: White synthetic/42.7mm
• FINGERBOARD: Indonesian ebony, block inlays, 305mm (12”) radius
• FRETS: 22, medium jumbo
• HARDWARE: Tune-o-matic style bridge with trapeze tailpiece, Grover open-back tuners – chrome-plated
• STRING SPACING, BRIDGE: 52.5mm
• ELECTRICS: 3x Vox S66 single coils, 3-way toggle pickup selector switch, individual pickup volume controls and master tone
• WEIGHT (kg/lb): 3.27/7.19
• OPTIONS: None
• LEFT-HANDERS: No
• FINISHES: Translucent Red (as reviewed) and Sunburst, opaque Black – all gloss polyester

Vox Bobcat V90

• PRICE: From $1,399 / £1,279 (inc case)
• ORIGIN: Korea
• TYPE: Double-cutaway centre-blocked thinline semi hollow electric
• BODY: Laminated maple w/ weight relieved spruce centre-block
• NECK: 1-piece mahogany, glued-in
• SCALE LENGTH: 635mm (25”)
• NUT/WIDTH: White synthetic/43mm
• FINGERBOARD: Indonesian ebony, block inlays, 305mm (12”) radius
• FRETS: 22, medium jumbo
• HARDWARE: Tune-o-matic style bridge with trapeze tailpiece, Grover open back tuners – chrome-plated
• STRING SPACING, BRIDGE: 52.5mm
• ELECTRICS: 2x Vox V90 soapbar single coils, 3-way toggle pickup selector switch, individual pickup volume and tone controls
• WEIGHT (kg/lb): 3.13/6.89
• OPTIONS: None
• LEFT-HANDERS: No
• FINISHES: Translucent Sunburst
• (as reviewed) and Cherry Red,opaque Black – all gloss
• NB: Just as we were going to press, Vox announced the 2021 Bobcats with Bigsby B70 vibratos in both V90 and S66 styles.
• CONTACT: Vox

GEAR 2021: Vox has lifted the curtain on its new year releases, with the Bobcat semi-hollow electric guitars now available with a Bigsby vibrato unit, and the unveiling of two super-portable digital amp options – the Mini-Go series and VGH headphone amps.

There are three digital modelling amps in the Mini-Go series, each packed with a very respectable set of features based on the same tech that powers Vox's popular Cambridge 50.

Similarly, the VGH headphone amps come in three distinct flavours, with the AC-30 digitally rendering the chime and musical response of Vox's most-famous valve combo, while the Rock offers a high-gain alternative with onboard effects including reverb, chorus and delay, and a Bass model that offers "a wide dynamic range."

The Bobcat design is decidedly more old-school. First produced in Italy during the 1960s, the series was brought back at NAMM 2020 with the launch of the V90 and S66. 

Vox V90 and S66 with Bigsby

The V90 and S66 share similar builds and spec, with a semi-hollow maple ply body with a weight-relieved spruce centre block to help reduce feedback. The mahogany neck is glued to the body, topped with an ebony fingerboard and 22 frets.

There are lightweight Grover open-gear tuners, and a comfortably spacious 43mm nut width, and 25" scale. Finish options comprise Sapphire Blue and Black. The big difference between the guitars is the pickups and electronics.

The V90, pictured immediately below, has a dual Vox V90 soapbar pickup configuration that is controlled by two volume and two tone controls and a 3-way pickup selector. 

The S66, meanwhile, has a triple-single-coil configuration, with its Vox S66 pickups controlled via three individual volume controls and a 3-way selector.

Using the volume controls and the selector you can access a variety of pickup combinations: neck and bridge, middle and neck, middle and bridge, middle only, neck only and bridge. 

Mini-Go Series 

The Mini-Go series arrives in three versions: the Mini Go 50, Mini Go 10 and Mini Go 3. The latter is the smallest of the three. Featuring a 5-inch speaker, it really is a take-it-anywhere amp that can be powered by rechargeable battery pack. It has a built-in rhythm machine for jamming along to, and features a mic input, AUX input and the all important headphone jack for silent practice.

Its larger two siblings have all that and a bit more. Both have an onboard looper. The Mini Go 10 has a  6.5-inch 10-watt speaker with adjustable output while the Mini Go 50 has an 8-inch 50-watt speaker with adjustable output.

There are onboard effects, amp models, plus a vocoder for "talking modulation effects." The Mini Go 50 is fully programmable, so you can save the sounds you need for easy access. Indeed, take a look at the respective control panels below; they look relatively straightforward enough to predict that the Mini Go instruction manuals will remain unread in their plastic sleeves.

Both the Mini Go 10 and 50 have a tilted cabinet feature to enhance their projection or to use as a monitor – and you can control the onboard rhythm machine and looper via the VFS3 footswitch.

Despite their compact form, there is no shortage of tone options here. Vox lists the amp models available as the following:

• DELUXE CL: This dual channel, 22W blackface design from the 60’s used 6V6 power tubes and a tube driven reverb to produce a big sound at a lower wattage. Our modeling is based on the Vibrato channel.
• BOUTIQUE CL: The clean channel of a high-quality amp that was produced only on special order, and was known as the overdrive special. With a beautifully rounded low range, a sharp midrange attack, and a sweet treble register, this is ideal for single coil pickups.
• BOUTIQUE OD: The overdrive channel of a 100W high-quality amp that was produced only on special order, and was known as the overdrive special. The wonderful sustain obtained by raising the GAIN control is smooth and soulful.
• VOX AC30: The normal channel of AC30, which is a typical guitar amplifier of VOX. The clear high range of the Celestion alnico “Blue” speaker, as well as the rich midrange, deliver a captivating clean sound.
• VOX AC30TB: The classic “top boost” circuit of the 1964 AC30. It delivers a smooth and refined top end, a majestically deep overdrive, and a rich, brilliant clean sound.
• BRIT 800: A UK-manufactured 100W single-channel head with master volume made in 1983. Turn the GAIN control all the way up to get the thick, snarling hard rock and heavy metal sound that dominated the 80’s.
• BRIT VM: An English-made 100W amp head released in 2007 that boasts a four-channel design with powerful tone. We’ve used the “Overdrive 2” channel, which produces a tight low-end and transparent high-gain metal sound.
• SL-OD: The overdrive channel of a snakeskin-covered 100W amp head built in 1991. With an open low-end and a compressed mid/high range, its powerful, heavy sound delivers a forceful tone that will not break down even with the most extreme gain settings.
• DOUBLE REC The modern high-gain channel from a wild beast of an amp. Its deep and loose low-end, sparkling highs, and monstrous gain are ideal for guitars tuned as low as possible, or for metal acts wielding seven-string guitars.
• VOCODER: When you sing or speak into the microphone while playing the guitar, the talking modulation effect is activated, which makes it sounds as if the guitar is singing. This is effective when you speak clearly while changing your voice.
• LINE: Only a tone control amplifier that produces a clean tone. This works best with audio signal input from a line-level instrument like an electric acoustic guitar or keyboard.

VGH Headphones Amplifier

As mentioned above, you have three choices when it comes to the VHG headphone series: AC30, Rock, and Bass.

You'll find reverb, chorus and delay on the AC30 and Rock models, while the Bass set has onboard compression. Vox says the amp circuits are designed around valve reactor technology that ensures the dynamics are realistic, organic and ultimately amp-like. There are controls for Gain, Tone, Volume and Effect and a Switch to place the amp circuit on standby

The headphones themselves are closed-air dynamic designs made by Audio-Technica, with rotating ear pads so you can stow them away neatly. They include an aux in for playing along to audio and are powered by a pair of AAA batteries.

See Vox Amplification for more details.

What is it?

It's small, it's portable, it's got 50-watts of power and a NuTube valve preamp, Virtual Element Technology and a solid-state power amp, and Vox says it will deliver "realistic and stage-ready" tones.

Meet the Cambridge50. The next step in the evolution of Vox's Valvetronix digital modelling series. There is a lot to like about it, not least its simplicity. The control panel has knobs for gain, volume, bass and treble, a rotary dial for accessing the 10 amp models with the 11th, "Line", for use with keyboards and acoustic guitars. There is also a control for attenuating the power, and two knobs for cycling through the Cambridge50's onboard modulation and delay/reverb effects. 

There is a button adjacent to the effects controls that doubles as a tap tempo function and a bypass/tuner, and another that sits beside the rotary amp model dial for saving presets. This is a lot of functionality, but it's incredibly intuitive.

As for the build, there has a single 12-inch speaker and certainly helps project enough volume to make itself heard in most small gig situations, while the trademark Vox logo sits on a familiar diamond-patterned grille clothe, albeit on that is black on black.

Performance and verdict

It is no surprise that the Cambridge50's amp modelling tech really excels when tackling Vox classics of yore. The natural chime and response of the AC30 and AC30TB (Top Boost) models is so warm and inviting. And the Top Boost tone as it is breaking up has got to be one of the most inspiring tones to work with.

The more Marshall-inspired models are pretty darn effective, too, covering the bases for all your hard rock needs. But the Cambridge50 doesn't just stop at crunch. The SL-OD (Super Lead overdrive?) and Boogie-esque Double Rec have heaps of gain, and a searing top end that could cut through glass if you're not careful.

While you might want (need!) to dial that back when playing unaccompanied, in a band setting this could come into its own in making sure you are heard.

There are also eight onboard effects to extend your options, with four types of modulation and four delays. These can be programmed and stored as presets, which the gigging musician might find handy. Certainly, any option to quickly call up a favourite tone is always welcome. 

For the technologically minded, Vox's Tone Room editor app for Mac, Windows, iOS and Android will help you get more out of the Cambridge50's onboard effects, though it would have been nice if the VFS-5 footswitch was included. That will set you back an extra £60.

But the Cambridge50 is modestly priced, and with the JamVOX III modelling software is also bundled we can let the optional footswitch complaint slide. What it does do is offer convincing amp models straight out of the box, and make finding inspiring tones a total cinch. That NuTube valve tech serves it well, affording it a welcome analogue feel and response, even if the brain is digital.

MusicRadar verdict: The Vox Cambridge50 is a tidy little combo with some outrageously charming mid-drive tones courtesy of that smart NuTube tech.

Hands-on demos

Vox

PMT

Gear4Music

Specifications

• TYPE: Digital modelling guitar combo with NuTube valve
• OUTPUT: 50 watts
• SPEAKER: 1x12”
• VALVES: NuTube 6P1
• CONTROLS: Power On/Off, Preset Write, Amp Type (Deluxe Clean, Boutique Clean, Boutique Overdrive, Vox AC30, Vox AC30TB, Brit 1959, Brit 800, Brit VM, SL-OD, Double Rec, Line), Gain, Treble, Bass, Volume, Modulation Type/Level, Delay/ Reverb Type/Level, Tap Delay, power level
• SOCKETS: Input jacks, line out, headphones out with cabinet simulator, USB (type B) port
• WEIGHT: 8.9kg
• DIMENSIONS: 410mm (h) x 452mm (w) x 240mm (d)
• Vox Amplification

NAMM 2020: Vox's Nutube technology is nothing new. It has endowed compact amps such as Vox's MV50 and VX50GTV with humongous tone. But  the Valvenergy series is something different – here, Vox have equipped four stompboxes with Nutube tech for amp-like drive at the touch of a footswitch.

There are four stompboxes in the Valvenergy series. There is the Mystic Edge, which has a proprietary AC30 vibe, the Copperhead Drive for classic rock tones, the Silk Drive for boutique blues drive, and Cutting Edge for metal players needing heavy-duty gain to split the atom.

Vox says the Nutube technology gives the pedal that valve amp feel, with the natural compression and sag. The Valvenergy pedals have three modes: standard, preamp and cab sim. 

In standard, run the Valvenergy straight into the front of your amp and the Nutube cannibalises the EQ of your amp to let the voice of its onboard amp model drive your tone.

Alternatively, engage preamp mode and run it straight into a power amp or through your effects return. Cab sim mode allows you to go direct to the p.a. or DAW for a portable gigging and recording solution.

The Valvenergy Series is powered by 9V but is converted internally to 15V for more headroom. You can also daisychain them together via a 1/8" stereo cable so you can switch between them as though they were channels in an amp.

All this is explained in the video above.

No prices just yet. See Vox for full spec.

A new BBC documentary on Vox Amplification's impact on the '60s, 'Vox Pop: How Dartford powered the British Beat Boom', is now available to watch via BBC iPlayer.

As you may have guessed from the lengthy-but-very-informative title, the programme looks at how the Dartford-based instrument manufacturer became the brand of choice for the bands of the British beat era movement, including The Beatles, The Rolling Stones and The Yardbirds, before declining at the end of the decade.

Of course, there's a top notch line-up of interviewees, most notably Brian May and Bruce Welch (The Shadows), along with more contemporary names like The Horrors.

You can watch the documentary on BBC iPlayer until 6 December, or download it temporarily to watch later.

In other Vox news, an extremely rare Vox UL730, previously owned by George Harrision, is due to go to auction in London on 12 December. Guess how much it's estimated to go for…

A Vox UL730 amplifier previously owned by George Harrison and used on The Beatles albums 'Revolver' and 'Sgt. Pepper's…' is due to go to auction on 15 December at Bonhams, London.

In lieu of a massive pay rise, team TG is collectively pooling spare kidneys, children and other items of modest financial value in order to scrape together a bid near the £50,000 to £70,000 that the Vox is expected to fetch.

The amp and cabinet's previous owner was discovered when the Vox was lent to (Joy Division/New Order bassist) Peter Hook for a recording session. After it developed a fault, the amp was taken to a specialist, who subsequently discovered the name 'George Harrison' etched into the chassis and speaker cabinet.

Further research turned up a photograph of the Beatle with a Vox UL730 that had matching chalk markings on it and, since then, the author of the gear pages from 'The Beatles Book' official magazine (who attended many of the sessions that the Vox was used in) confirmed it as the same amp.

However, despite its Beatles association, TG reckons the amp would still fetch a decent sum. The UL700 series - early hybrid models with transistor pre-amps and valve power amps - were originally intended to replace the flagship AC30s, but flopped and were only sold in the UK between 1966 and 1967.

To give you some idea of just how rare that makes it, there are thought to be as few as 26 UL730s in existence and Vox itself is said to have destroyed around 76 that were returned to the factory at the time.

It's probably going to wind up under a sheet in Roman Abramovich's garage, so if you've got a spare £70,000, head to the Bonhams website and save it from that fate.The rest of us will have to make do with these pictures...

Gallery: George Harrison's Vox UL730

Jazz musicians tend to give their vocalists a lot of space - and we’re not talking about the distance between them in the studio. Because classic jazz tracks tend to be gentle, textured and soft, it’s a lot easier to pick out the subtle qualities of a singer’s voice. In other words, if a vocal is treated poorly, the listener is certainly going to know about it!

Getting a classic jazz vocal sound isn’t too difficult, provided you stick to a few basic principles. The first thing to be aware of is that you’re trying to keep the singer’s voice as natural as possible. When you do add processing to it, you’re trying to bring out - rather than mask - its natural qualities.

So when you’re adding, say, reverb to the vocal, you’re going to want to stay away from the more intense settings. If you think the listener will be consciously aware of the added reverb, dial it back.

It’s by no means a concrete rule, but try to steer clear of any plug-ins that actively colour the sound. For example, a transparent EQ is better in this case than one that adds its own character.

Better, but again, not essential: as long as you’ve got a decent EQ that doesn’t actually advertise that it adds colour to the sound, you’ll probably be OK.

Compression is a consistently thorny issue in jazz mixing, with some engineers arguing that it shouldn’t be used at all. By avoiding it, they say, the natural dynamics of the performance are preserved. We say, use your ears: if you think your vocalist would benefit from a little compression, go for it.

Next: Five steps to flawless jazz vocals

Step 1: Let’s EQ things first. Our plug-in here is the linear-phase Slim Slow Slider LPGEQ, but you could use any transparent EQ. To begin with, there’s a tiny bit of low-level hum here - something you’ll find prevalent in a lot of jazz vocal material - so we cut everything below 50Hz to smooth things out. You might want to lose some off the top, too.

Step 2: You’ll rarely want to boost the highs with jazz vocals - doing so can make things a little too hot, and what you’re aiming for is smoothness and clarity. Here, we create some gentle boosts in the midrange. We also boost a couple of decibels between 1.3 and 3.5kHz, which will help to lift the vocal out of the overall mix.

Step 3: We choose to use some compression here, just to catch the peaks of the vocal. We’re extremely light-handed, though, opting for high Threshold, low Ratio, and generous Attack and Release. We’re not looking to fatten the vocal; just to keep it at a consistent level throughout.

Step 4: Instead of compression, you might want to use some warming with an amp or distortion plug-in. In some cases, this can be very beneficial to the sound and the overall ambience you’re trying to create. We insert a TAL-Tube plug-in and disable our compression; running both at once would colour the sound a little too much.

Step 5: Although we don’t really need to use it here, reverb on jazz vocals is one of the best ways to enhance the sound. However, it’s also one of the easiest things to overdo. One good tactic is to mix in a natural-sounding, noticeable reverb, then bring down the Dry/wet setting until it’s only just audible.

Musikmesse 2011 PRESS RELEASE: Supercharged to befit the name: The Valvetronix Pro Series. Introducing the new VTX150 Neodymium - the pinnacle of VOX modeling amps.

VOX Valvetronix amps are famous for their highly realistic amp models and their versatile array of in-demand sounds and effects. Now, VOX has created a new breed of Valvetronix amp: The Valvetronix Pro.

VTX150 Neodymium features

• Valvetronix Pro Series - the perfect fusion of real tube tone and VOX modeling technology
• Next-generation VOX Valve Reactor circuit features an EL84 Vacuum tube
• 132 Expertly voiced presets, 44 Distinct amp models - the most in any Valvetronix amp
• 25 In-demand, top-quality effects
• 8 User Programs for saving your custom settings (expandable to 16 using the VC12SV)
• Manual mode relies on the physical knob settings of the amp section
• Amp offers Gain, Volume, and Master Volume; EQ features Treble, Middle, and Bass
• Unique Power Level control can limit the power amp output wattage, creating distinctive power amp distortion at any listening level
• Built-in automatic guitar tuner
• Celestion VOX NeoDog neodymium 12-inch speaker
• Extension speaker output jack, obtain up to 300W of output power.
• Effects Loop for use with an external effects processor
• AUX IN jack lets you connect your CD/MP3 player and enjoy jam sessions
• Headphone output simulates the acoustic and spatial character of a full speaker cabinet
• Optional VC-12SV foot controller (or VFS5) foot switch can control many of the VTX150 Neodymium's functions

RRP: TBC

Availability: TBC

The heart of every Valvetronix amp is the "Valve Reactor" circuit. First introduced in 2001, the Valve Reactor circuit uses a real vacuum tube to provide Valvetronix amps with that all important true tube tone.

For the Valvetronix Pro Series, the Valve Reactor circuit has been enhanced, using an EL84 tube in place of the traditional 12AX7 tube to create a more accurate tube sonic signature. In keeping with its flagship status, the VTX150 Neodymium boasts 44 amp models - the most in any Valvetronix amp - along with a diverse selection of pedal, modulation, delay, and reverb effects to refine your sound.

The speaker is also a crucial element of any amp's sound. The Valvetronix Pro Series uses a Celestion VOX NeoDog speaker, created using a lightweight and powerful neodymium magnet. This premium speaker allows the VTX150 to efficiently project the modeled amp tones, as well as the subtle nuances and thunderous dynamics produced by the power amp circuit.

Ample expandability is provided, including an effect loop and an extension speaker output. As the Valvetronix "Pro" name implies, the VTX150 Neodymium boasts the sound, features, tone and operation that professionals demand, delivering superior sound in any musical situation.

Next-generation EL84-driven Valve Reactor circuit

The heart of every Valvetronix amp is the Valve Reactor circuit. This analog circuitry uses a real vacuum tube to shape the sound in a way which faithfully creates the fat drive tone, wide dynamic range, subtle picking nuances, and quick response of a tube power amp.

Previous Valvetronix amps models used a 12AX7 tube in the Valve Reactor circuit. The Valvetronix Pro Series instead uses an EL84 vacuum tube in the Valve Reactor circuit in order to reproduce these same tube tone elements with even greater realism. This new design succeeds in making a major advance over previous modeling amps, attaining the overwhelming sense of power and distinctive tonal characteristics of an all-tube power amp.

44 spot-on amp models

The new VTX150 Neodymium boasts an amazing collection of 44 distinct amp models - a new milestone for Valvetronix amplifiers. The sonic character of numerous guitar amps loved around the world has been meticulously analyzed in order to faithfully reproduce the sound quality of each original amp; coveted amps of the past, costly high-end tube amps and even modern ultra high-gain amps.

The legacy of VOX amps is also well represented, starting with the vintage AC30 and AC4, and also including the current model of AC30. From the distinctively fat and warm sound of tubes, transparently clean sounds, up to the powerful distortion of a colossal amp stack, this single amp is all you need.

Seize the power

Volume, Gain, and Master Volume controls provide key levels of controlling your gain to achieve a wealth of clean, overdriven and distorted sounds. In addition, the new VTX150 Neodymium features an altogether unique Power Level control. By lowering the Power Level, it's possible to achieve high levels of gain and distortion at any listening level. The Power Level control allows you to take full advantage of your Valvetronix Pro Series amp in any situation.

25 Diverse, high-quality effects

One of the best features of VOX Valvetronix amps is the ability to combine the built-in effects with the onboard amp models to create a complete and powerful sound. Just as with the effects, the VTX150 Neodymium makes no compromise when it comes to effects, boasting a level of quality that rivals top standalone units.

The broad array of effects is divided into two sections: Pedal effects such as stomp-box style distortion, wah, and compressor; and Modulation/Delay effects such as chorus, flanger, and tape echo. In each section, there are 11 effects to choose from. Featuring easy-to-use settings, you can simultaneously select the effect type and adjust its parameters. In addition, there are three types of Reverb (Room, Spring, and Hall). With the addition of Noise Reduction, up to four different effects (five, if using a multi-effect) can be used at the same time. Pedal-type effects provide one editable parameter; modulation/delay-type effects provide three, offering plenty of control to customize your own sound.

132 Preset programs

For each of the 44 amp models, the VTX150 Neodymium provides three variations - Basic, Effect, and Song - delivering a staggering total of 132 preset programs, expertly voiced and ready for immediate use. The Basic variation offers an all-around ideal setting that will let you enjoy the true character of that amp model, and is also a good place for you to start when editing your own sound. The Effect variation provides an easy way to experience the enormous potential of the VTX150 Neodymium's integration of amp models and effects. The Song variation delivers a faithful recreation of the signature sound used by a famous guitarist to perform one of their classic tracks.

You can also create and store eight of your own edited programs; 16 when using the optional VC-12SV foot controller.

A rich variety of input/output jacks

The VTX150 Neodymium is more than impressive used all on its own. Even so, a rich variety of connections allow for plenty of expansion capabilities. The extension speaker out jack lets you connect a speaker cabinet (150W / 8Ω) of your choice.

The VTX150 Neodymium is capable of 150W of output when used by itself, and connecting an external speaker will boost this to a maximum of 300W. Use the effect loop to insert an external effect processor into the signal path. For direct recording or private practice, the line/headphone output is equipped with the simulated response and character of a speaker cabinet, so you'll enjoy the natural spatial sense of playing through speakers, even when using headphones or when connected to a mixer or recording system.

Plug your CD or MP3 player into the AUX input jack and enjoy jamming along with your favorite songs. In addition, the tuning function needed by every guitarist is built in, eliminating the need for a separate tuner.

Expansive foot control options

Using the optional VOX VC-12SV foot controller or optional VFS5 foot switch will allow you to control the VTX150 Neodymium's functions remotely: change programs, turn effects on/off, and use tap tempo to set the delay time or modulation speed. When using a VC-12SV, the number of user programs is doubled from 8 to 16 programs. The VC-12SV also provides a volume pedal and expression pedal, which you can use to control volume, wah, or the parameters of each effect, offering even more live performance potential.

Information taken from official press release, for more visit Vox.

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Musikmesse 2011 PRESS RELEASE: Starting in April of 2011, VOX Guitars' G-Rok R&D facility in Novato, California, USA, will begin offering exquisitely handcrafted electric guitars on a limited production basis.

Established in 2007 to focus on development of a new generation of VOX electric guitars, G-Rok R&D created the current award-winning lineup of solid and semi-hollow instruments; driven by innovation in design, ergonomics, pickups and hardware.

Staffed by VP of Development Rich Lasner, Designer Eric Kirkland and Engineer/Luthier Bob McDonald, G-Rok will now offer players the experience of owning a very personal guitar, meticulously constructed by hand in the USA.

Unique among larger-scale Custom Shop undertakings of big US guitar makers, VOX USA Custom guitars will be made one at a time, using a single luthier from start to finish, with the customer receiving a true handcrafted instrument.

Four contemporary VOX body styles are available, along with a wide variety of neck, body and fingerboard woods, inlay choices, and finishes allowing the customer to create their ultimate guitar. Proprietary VOX hardware and a choice of VOX CoAxe or DiMarzio Three-90 pickups complete the package.

"We offer players the experience of getting a very personal guitar meticulously constructed by hand," Lasner states. "The build quality is second to none while materials are hand selected from the highest quality tone woods." With less than 60 instruments slated for 2011, these beautiful instruments will be in very restricted supply.

Initially available only within the USA, the VOX USA Custom Guitars will be progressively available internationally throughout 2011.

RRP: TBC

Information taken from official press release, for more visit Vox.

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Musikmesse 2011 PRESS RELEASE: Exclusive for Musikmesse 2011, VOX is pleased to present the custom Virage II Butterfly Series, featuring unique finishes and special ornate inlays on our award-winning electric guitars. These beautiful instruments represent the artistry and quality of VOX guitars.

Virage II Butterfly Series Features:

Exquisite wood bodies, topped off with special edition finishes

Butterfly inlays adorn the fingerboard, created using distinctive Paua shell

Mahogany neck; bound Rosewood fingerboard

CoAxe pickups, each offering Clean/Crunch/Lead sounds

3-D contouring for unparalleled comfort

Inverse heel joint offers playable access to the upper neck

MaxConnect aluminum bridge offers easy stringing access and wide intonation range

VOX Super Smooth tuners deliver enhanced tuning stability

Special Finishes, Select Woods, and Beautiful Butterfly Inlays

For the 2011 Musikmesse, VOX has created the Special Edition Virage II Butterfly Series; six custom-created Virage II guitars with special finishes, select woods, and delicate Paua shell butterfly inlays. These guitars display the superior craftsmanship of VOX electric guitars.

M11-01 (Single cutaway VG2SC/ Double Cutaway VG2DC)

These instruments (VG2SC-M11-01 / VG2DC-M11-01) feature Mahogany tops and backs stained green and red, respectively; silver grain filler is then applied. The result is a unique "hair-line" finish similar to the fur of a fox.

M11-02 (Single cutaway VG2SC/ Double Cutaway VG2DC)

The VG2SC-M11-02 and VG2DC-M11-02 feature thick flamed Maple tops with Mahogany backs. Finished in Black Cherry and Transparent Black respectively, these beauties offer a comfortably rounded edge, with no binding to distract from the luxurious wood finish.

M11-03 (Single cutaway VG2SC/ Double Cutaway VG2DC)

These guitars offer the natural feel of an oil finish applied to their Mahogany tops, back and sides. The VG2SC-M11-03 and VG2DC-M11-03 are detailed with Rosewood grained binding, adding a distinctive edge to the unique body line.

Comfort and Confidence

The twin Tone bars are an integral part of the Virage II's body sculpting, providing a solid mounting platform for the bridge, while eliminating the traditional "block" under the bridge and pick-ups. This design also allows the top to vibrate freely for optimum clarity, offering the sweet, singing sustain of a semi-hollow design, as well as the focused attack and articulation of a solid body guitar. The reverse taper of the top naturally inhibits feedback and other artifacts. Whether you play sitting or standing, Virage II's ergonomic 3-D contour provides unparalleled balance and comfort. Comfort creates confidence. Confidence fuels inspiration.

Silent Running

The refined Virage II instruments add exciting new features to what makes Virage guitars great. Our exclusive new VOX CoAxe pickups, developed at the VOX G-Rok R&D shop in California, bring new levels of versatility and tonality to the Virage II models. Featured on both the Virage II SC and DC models, CoAxe pickups use new construction methods to passively create three distinct voices per pickup; each one a sparkling representation of classic Clean/Crunch/Lead sounds. An innovative hum-cancelling scenario virtually eliminates hum and noise, without reducing the sparkling highs or disturbing the pickup's rich midrange and bass balance; truly a major sonic step forward.

A Bridge to the Future

Virage II calls on our advanced MaxConnect aluminum bridge to provide extended saddle travel and to deliver flawless intonation with any gauge string. The full contact shape and light weight combine to deliver thick rich tone with clear, singing harmonics. Each bridge stud is anchored in a separate solid wood block (Tone bar), allowing the high strings and bass strings to resonate fully without robbing each other of clarity or sustain. Strings slide in from under the back edge of the bridge to make changing strings a snap.

RRP: TBC

Information taken from official press release, for more visit Vox.

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PRESS RELEASE: Vox Amplification are joining forces with Gaymers Camden Crawl and are calling on all aspiring musicians to come and take part in the Vox Busking Sessions at the Camden Eye.

The sessions will run from 1pm to 6pm on both days of the festival, with a few secret performances thrown in too.

The 2011 Gaymers Camden Crawl, scheduled for Saturday April 30 and Sunday May 1 Bank Holiday weekend will mark the 10th birthday for the Camden Crawl since its inception in 1995.

The VOX Busking Sessions will provide an ideal opportunity for solo artists and small groups to take the stage and showcase their material at this unique event in London, over the May Bank Holiday Weekend.

Vox will provide you with a Samson Microphone, a Vox AC30, a Samson PA, and a Small Mapex drum kit.

Log onto www.voxamps.com/uk/promotions/camden-crawl-2011-vox-entry and submit your details for your chance to be selected.

Visit the Camden Crawl site for full information and up to date line up announcements.

Information taken from official press release, for more visit Vox Busking Sessions.

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...

Country music is hard to sell in the UK. You don't hear it on the radio for a start. Yet merely scratching the surface of the Nashville scene will uncover a wealth of prodigiously talented writers, musicians and producers.

Dig deeper and you unearth a mine of world-changing music. In the thick of it is Brad Paisley, the 37-year-old singing/writing/playing sensation originally from Glen Dale, West Virginia. Guitarist magazine caught up with Brad on a visit to London during the summer of 2010...

Beneath the brim of Brad Paisley's signature Serratelli hat you'll find the whole package: good looks, a velvet voice, immense guitar skills and a seemingly innate ability to write killer country songs.

The proof is 15 number ones in the US country singles chart - 10 consecutive at the last count - and reaching number two in the Billboard album charts twice. Paisley was encouraged to play by his grandfather who gave him his first guitar, a Sears-made Silvertone, when he was eight years old. He later received lessons from a local legend, Clarence 'Hank' Goddard, and from that moment the way forward was clear.

"I've always known from the time I was eight years old what I wanted to do," smiles a relaxed Paisley backstage at London's Shepherd's Bush Empire. "I would have been fairly content to be someone's lead guitar player," he continues.

"That would have been plan B, or be a session player." Plan A? "To do this - to be the guy that doesn't have to turn his amp down!"

So while lots of other kids were getting into Eddie Van Halen and rock and metal, you were the guy listening to Western swing and jazz?

"Yeah, and country - all that. It was a completely different upbringing. I got into the rock stuff later, but I gravitated more towards Eric Clapton, The Eagles, The Beatles… guitar-oriented music.

"Though I did learn my fair share of Van Halen stuff and ended up loving them! But they were different, you look at it now, is that even heavy metal? I don't think so. Van Halen was an emotion; it was about having fun, going to the beach…"

Did you get fixed on certain players?

"I tended to lean towards the guys who both sang and played, such as Ricky Skaggs, Vince Gill, Steve Wariner… And at the other end of the spectrum I had Eric Clapton in a rock and blues sense, jazz guys such as Tal Farlow and Les Paul… Then Chet Atkins-type stuff.

"And guitar players that are iconic such as James Burton, Don Rich and Roy Buchanan - those Telecaster players that played with that twang. I always love that, that sound that came from Bakersfield."

As you were becoming more successful, did you come under any pressure to scale back the guitar and focus just on singing and looking pretty?

"The closest we got to that was when my first album came out. One of the heads of my label said, Let's not talk about your guitar playing for the first single or two. The first two singles I had were very serious ballads.

"They established me as a singer and a legitimate artist before… Y'know, it's a lot of information to say here's what he does: he writes, he plays the leads, this and this and this... People don't care, they just want to know whether they like it or not.

"Then when we started to do well, that's when we started to push [the guitar] side of things a little more."

With that in mind, you released Play in 2008, which was more overtly guitar focused - is that something you might do more of?

"With that I'd reached a really good cruising altitude so I went to the label and said, I'd really like to cut an instrumental record. They didn't flinch and just said, Yes… but it can't count towards your deal [laughs].

"It's nice to do a no-pressure record where it's not about hit songs; it's about having a good time, showing off - all of those things that guitar players like to do.

"Now the music landscape has changed. We've had these conversations; people's appetite for music has increased, while their attention spans have shrunk. So we're talking about doing little EPs for the internet, so you go on iTunes and release four or five songs.

"Y'know, I could go and record some things with BB King and Robben Ford, some of these guys I've become friends with, and maybe do more of a blues thing; release that on iTunes exclusively, or Amazon or whoever. I think the next incarnation of Play or something in that style will be like that."

You're a fan of the lyrical turn around - as used in the payoff line in songs such as Me Neither, I'm Gonna Miss Her, Oh Yeah, You're Gone and lots of others - did something specific inspire that?

"It's what I grew up listening to. My favourite old country music always had hooks like that. I try to write like the writers I admire - I rip them off in form. It comes from George Strait and Merle Haggard records, and country music in general is really good at that, the twisted phrase… So I'm always looking for that angle in my own work."

And the humour in the lyrics…

"That comes from Roger Miller, and Buck Owens was no stranger to a funny song. Johnny Cash did a lot of funny songs - One Piece At A Time, A Boy Named Sue… I mean he did more funny songs than he did songs about prison, but he'll always be the guy who sang about prison."

How far can you go with that?

"Yeah, you can go too far, and I'm pretty happy with where we haven't gone so far [laughs]. I don't regret anything we've sung about and we push it a little now and then. It's vernacular.

"There's an expression that [George D] 'Judge' Hay - who was the announcer at the [Grand Ole] Opry - used to say before he opened the curtain. He would tell the band, Keep it close to the ground, boys. Which just means keep it down to earth.

"Don't try to write above that; don't try to write for a high-brow, pretentious audience. That's not who's out there. I look out there and that's not who's in front of me."

So at one end is the humour and at the other are more serious issues, such as those you touch on in Welcome To The Future on the new record. Is that tough ground for a major Nashville artist?

"Racism, yeah. A little bit. Going in I knew the first two verses would be met with enthusiasm and the third verse [Paisley refers to people burning a cross in a black man's front yard] would be met with emotion, but also with a little look to the left and to the right and see what the person next to you thinks.

"But that's the job of a songwriter and artist; to stray from the comfortable, especially when you believe in it. For me, singing about racial progress in a triumphant, this-is-a-good-thing manner just shouldn't be questionable.

"We're very comfortable in country music just sticking to the themes; the four-wheel drive, the summer time, and prison and whiskey and all that. Then when you stray outside of that…

"I felt great about it because I believe that was progress, as far as the fact that we were able to look past race for the first time ever in our country to the degree that we elected a man from an ethnic minority to office. I was proud of our country for being that open-minded, because I didn't think anybody else thought we'd be ready for that.

"It wasn't a political statement at all for me, it was about celebrating that. All told through the eyes of hope and looking at the bright side."

Thinking about playing, a lot of people are amazed by the economy of the picking hand technique in a lot of country guitar playing - presumably you're pick and fingers all the way?

"Yeah, although I play a little differently in the studio than I do live. I would say live I rely more on a pick than I do in the studio. Live I'm playing these songs, and I'll run from one side of the stage to the other and the finesse that comes with the three fingers plus your pick and thumb can get lost, plus it's really easy to break a nail or something.

"So I'll use a more pick-based attack. Though I still use this [demonstrates using his second and third fingers to pull and snap the strings] - that's really important.

"In the studio there's a little more finesse, y'know, you're sitting in a chair, focused with your headphones on. And I'll build solos the way you'd build a vocal track.

"We'll play some things and I'll say, I really like the way that starts, but I don't love the end, so let's punch in to that. Then my challenge is to learn it! Playing it live is a different approach."

Do you hit the guitar hard?

"I hit the guitar pretty hard. I come from a couple of different backgrounds and one is a bluegrass background. You want a big, loud D-28 and you want big, heavy strings on it and you'll hit it as hard as you can.

"I dig in pretty deep on the strings. But not so deep - I mean ask Chad - Chad, when was the last time I broke a string? [Chad Weaver, Paisley's guitar tech confirms: "Um, you've never broken a string with me, in almost five years."]

"I broke one at a pick-up gig once, but that was somebody else's guitar - bad strings [laughs]. Actually that's an endorsement right there for Ernie Ball. Regular Slinkys - 0.010-0.046 - just as is."

It seems like you prefer the Custom approach to things - thinking about Crook Custom Guitars, Dr Z amps and Keeley effects - so what made you go with Gibson for your new J-45?

"I've got a really good old J-45, and the guitar that this new one is based on even more is my producer's J-45. J-45s are great, when you think about The Beatles, that hit-it-as-hard-as-you-can, rock-style acoustic.

"I wouldn't play a bluegrass song with it, but this guitar they built me is a fantastic instrument, plus it has one of the best pickup systems I've ever heard [Fishman Ellipse Aura]. It has acoustic guitar modelling combined with a bridge pickup.

Brad trades licks with pedal steel ace Randle Currie.

"They actually took the guitar into the studio after they'd built it, mic'd it and did four mic'ing set-ups, one of them being the one I use in the studio. It works great live. I just got a new one because I lost the last one in the flood and it's the best one I have. That says something, because it was never destined for me originally."

The Nashville flood: apart from the human tragedy, which was of course desperately sad, you lost a load of gear?

"I lost everything I toured with at the time. Every guitar but one, my main old Paisley Tele from the sixties was at home, and the rest of it was in a locker awaiting our rehearsals at the time.

"It flooded five feet high. Every guitar, every amp. Every Dr Z amp, every Tony Bruno amp, every Vox that I had in there. Every Tele that I would use on a nightly basis, every acoustic…"

Necessity is the mother of invention - did losing your gear spur any set-up changes?

"Yeah we started buying stuff! The guitars are a new Gibson acoustic, the first of the production ones, and all new Teles other than my '68. Bill [Crook] just built me two right off the bat - he was actually about to ship one out to a customer who had ordered a duplicate of the black and white paisley one I play and he called him and said, Can you wait a couple weeks? I called the guy and thanked him because I had it that weekend for our first show.

"We were scrambling. I had to use some guitars that I don't usually have on the road - and I didn't have them for a reason, because they weren't as comfortable to me. Then Bill [Crook] flew in to our rehearsals and started rewiring, trying to get them to sound like I wanted, and now I have a collection of guitars that are all brand new. I'm getting to know them every night."

Given the name, was it inevitable that you'd end up with a Paisley guitar?

"It probably was. I didn't have one until 1993 or '94. People were always saying I should be playing a Paisley Tele, but I just thought they were ugly. And then it evolved.

"I was always into James Burton, he was one of my heroes, so I went and found one at a guitar show and that's the main one I have now. It came from San Antonio. I had a bender put in it, fell in love with it, and it's my main guitar.

"The late sixties Teles are the best value you can get for a vintage guitar. They hadn't become the homogenised CBS guitars; they were still basically made by the same exact people that made the fifties and sixties Teles.

"They just aren't worth as much, although the Paisley ones are now getting $20,000. Then the seventies, man, you could pick up a Tele and it'd be 10 lbs. Mine is real light."

What do you look for in a Tele-style guitar - what are the important things for you?

"For me it's the weight of the wood - I like 'em light, pretty much the lighter the better as a rule. I haven't heard many light Teles that don't sound good - there's something to that.

"I like a thick neck, I like a certain sized fret - just bigger than vintage, but not like the oversized ones…"

Something like 6105s?

"Yeah, something like that. I think that's what he puts in most of them. I like a pickup that's not too bright. I have all kinds of pickups; Lindy Fralins are what's in my '68 Tele.

"Two songs into my first album, Who Needs Pictures, the winding started coming apart on the pickup, so I had to go find some. I went to a music store, tried a bunch and picked a Fralin and that's been in there ever since. He builds some great sixties-style pickups.

"But I usually gravitate more towards the fifties-style pickups. I have some Seymour Duncans that he built for me - sort of a '52 Tele-type thing. I have an original '52 Tele - a re-fin with the original pickup - there's something about them. The notes have a glue to them that maybe time gives them.

"Voodoo pickups we use a lot. There's a Klein in something - every manufacturer has different ways, but I like them around the same level. But I'm not like Eric Clapton, where he could walk into a store and pick a guitar off the shelf and it'll sound like every one he's got. I don't like that."

There's a sound in the intro to American Saturday Night - it sounds like a halfcocked wah or something…

"It is. That's exactly what it is, through a tiny amp that Dr Z makes called the Mini Z, just eight watts. When you crank that thing up and put a [Shure SM] 57 or something in front of it, it sounds like a Marshall stack! Then we just half-cock the wah. It's a Real McCoy wah.

"I like it when two sounds complement each other, but are way different on a record. You wouldn't associate that halfcocked wah/Money For Nothing sound with a country thing, but it really works for us. I like to take what is essentially a country music piece, then see what you can get away with as a guitar player."

Steel guitar - it must take a lot of working out to balance parts, given there are a lot of shared frequencies?

"Yeah, we have to trade off quite a bit. But I have a more British thing in my sound than a lot of Nashville guys who maybe use a Fender Twin. The 'Blackface', thick, deep thing, that's a Tele player channelling steel. I'm more of a Bakersfield-meets-British tone in the sense that I'm always trying to be John Jorgenson, that's what I'd call probably my favourite guitar player and tone.

"The Desert Rose Band, that was the first time I heard a Vox AC30 that I knew of - obviously I'd heard them on records before that. They were running them not up to distortion, more like noon on the volume; bright and clean.

"This overly harmonic Telecaster, which to me just blew away 'Blackface', because I'd heard so much of it, from what Albert Lee was doing, to Vince [Gill] and Ricky Skaggs."

The class A, EL84 sound with the EF86 up front - how does that feel as a player?

"Well, you don't need a compressor pedal. I don't even use one. I do have one in the rack and I've used it for certain songs live, but I've never recorded a lead guitar track on any of my records, as far as I can remember, with a compressor pedal.

"What I find is that when you stick a compressor on a 'Blackface' amp, it smoothes it out, gives it a sag and a catcher's mitt for each note that's not there because 'Blackfaces' can be harsh. They have a 'V' [EQ] scoop, and what you're doing is smoothing out your highs and creating more evenness.

"With a Vox, I never liked what the compressor did, because it's taking away some of the harmonics. Your harmonics are going wild on what you would call class A, which isn't technically the right term for it - cathode-biased or whatever you want to call it.

"But that thing where more harmonic structure gets through to the power amp, which is then a very hot, non- [fixed] biased, not A/B-type thing. It's more aggressive, but at the same time it has a chokiness to it. Forgiving, maybe."

Did the love of AC30s lead you to Dr Z?

"I had an old, red-covered '63 AC30 - one of the best AC30s I've ever heard. I cut the whole of the first record with it. But it was on the road and it was starting to gasp a little bit, so I went down to a small store in East Nashville.

"He had a Mazerati there, that's more of an A/B design, but it's a four-EL84 amp that he'd sort of built for Joe Walsh. It had two 10s and I plugged into it and it was really cool. Then I thought, I wonder what it would sound like with Vox Blues [Celestion Alnico Blue].

"So I took it to Kendal's [Marcy, keyboards, banjo] house and he had my speaker cab there. And there it was. They weren't making really good AC30s at that time, 1999 - they hadn't done the hand-wired ones then, and I didn't like the sound of the printed circuit board ones. But I was finally able to leave my Vox at home.

"I got to know Dr Z, and then we started to evolve. That amp was good for me, but it wasn't perfect…"

Hence the Z Wreck we've seen on stage…

"The latest one he's built me is really fantastic. It was built in cooperation with Ken Fischer and he built me that 220-volt one for this tour."

You've had lots of great guitar players guest on your records - from Vince Gill to Steve Wariner and Albert Lee. On the latest record is Robben Ford…

"We've become good friends. He's a huge, huge influence for me. I went out and bought Talk To Your Daughter when I was in high school, then I listened to some of the Yellow Jackets stuff. That's one of the rare cats of the world right there.

"We had the best time writing, it was neat to have him on it - we'll do some more, and let me tell ya, he ain't scared!"

Before we wrap things up, how do you feel about the general state of guitar playing? What about Rock Band and Guitar Hero, for example - are we in a good place?

"The jury is out on whether that's positive. It's positive if it allows kids… if that's where their interest begins, as long as they go somewhere else with it.

"If a little kid picks up Guitar Hero and learns Smoke On The Water, he soon finds out that if he wants the chicks to look at him, he'd better learn it on the guitar! No matter how good they are at Guitar Hero, they're going home alone. I have faith they'll figure that out and want to learn the real thing.

"We're in a period of time where it's been uncool to have great guitar solos in your music in a lot of formats. Other than John Mayer on the pop side, it's all just about banging. But it used to be cool - even some of the best Michael Jackson songs had amazing solos - Lukather and those guys.

"Then came the eighties where every rock band had the household name guitarist, CC DeVille, Nuno… but less so now.

"In the positive sense, perhaps because of Guitar Hero, kids are going back and looking at those guys. I mean somebody told me that Ibanez Jems, Yngwie Malmsteen Strats and those kinds of guitars are selling well. That's got to be from Guitar Hero, 'cos that stuff is not getting played on the radio."

What about you then, because now you're the guitar hero. Kids are looking at you…

"Ah they just don't have anything else, that's all [laughs]. The guitar is fun, and it's more fun than just being famous. I'll talk to guys who are bored because they don't like to tour, but they need the money.

"Then there's Vince Gill, and guys like him. He just loves to play guitar for anyone who asks, and for anyone who'll pay him what he's worth. Robben Ford is another one. All of us, we're just in heaven when we're up there playing in front of an audience. That's the fun part."

Liked this? Now read: The Black Keys on Brothers and the blues

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