Hardware >Effect, Preamp / Channel Strip

This modelling preamp achieves a variety of realistic amp tones by combining DSP processing with real analogue gain stages.

The Vox Valvetronix Tone Lab is a spin-off from Vox's AD60/120VT modelling amplifiers, which take the approach of combining digital modelling and signal processing with both solid-state and analogue amplification stages, rather than trying to emulate absolutely everything digitally. Conceptually, the Valvetronix Tone Lab fits into the same camp as products like the Line 6 Pod (amp/speaker modelling plus effects) and can be used either for DI recording or to feed an amplifier for live performance. However, whereas the Pod takes the all-digital approach, the Tone Lab includes a miniature power-amp stage based around a 12AX7/ECC83 dual-triode tube, where some clever 'pseudo-transformer' circuitry has been used to make this influence the sound much as a real power stage would. Such innovative technology has to be given a fancy name, and in this case it is the Vox Valve Reactor.

Jan 31, 2012 StLab was developed as a new and Open Source control application for your great VOX Tonelab ST device. StLab is supposed to be able to control all settings you can set on the device in realtime. Hi there - I've had a ToneLab ST for a while now, but never attempted to hook it up to my Windows PC until now. Unfortunately, I can't seem to find the drivers anywhere. The VOX website is less than helpful - and the search bar doesn't seem to work on any computer or browser I load it on.

Valve Reactor

A built-in valve gain stage adds extra realism to many of the amp models. Bamboo ctl 470 driver for mac. Much of the effort has gone into recreating the effect of an output transformer without actually having one, an important factor given that the output transformer and the way it interacts with the loudspeaker load forms a crucial part of the tube-amp sound. The Presence control on those amps that feature one also relies on the output transformer — rather than simply being EQ as you might imagine, Presence controls adjust the amount of negative feedback in the power amp section from the output side of the transformer, which means that the effect is actually quite complex. Furthermore, this miniature power stage automatically switches between Class A and Class AB depending on the amp model selected, and the output tubes of the original amp are shown in the display window for whatever model is active. Vox AC15s and AC30s used Class-A circuits, whereas the majority of Marshall and Fender designs, other than very low-power models such as the Fender Champ, have Class-AB push-pull output stages. Not only does the correct choice of power amp characteristic affect the sound, but it also changes the way the guitar feels to the player, which is a vitally important element of any guitar amplification system, and one that probably makes no sense at all to keyboard players!

A rear-panel slide switch selects between Amp and Line, where the Amp output is voiced for use with a guitar amplifier (seemingly with quite a lot of top cut to compensate for the top boost added within most guitar amps) and Line is designed for DI recording. The unit may also be used in mono by connecting only the left output.

Preceding the mini tube power stage is a digital modelling system that provides amp modelling, speaker modelling, stomp-box modelling and a post-amp effect section where the user can add modulation, delay and reverb at the same time. Unlike the Line 6 approach, there is no dedicated mic modelling stage. There are five types of modulation effect to choose from, three delay types, and three types of reverb, all with simple pedal-style editing via three front-panel knobs. In the pedal section are ten effects, comprising Compressor, Acoustic Emulation, Vox Wah, Auto Wah, U-Vibe, Octave, Treble Boost, Tube OD, Fat OD and Fuzz, again all editable via the same three knobs. The unit also has an integrated noise gate that can be set differently for each patch, and a built-in chromatic guitar tuner.

Plug & Play

The Tone Lab has the usual stereo analogue outs on balanced jacks, but also offers a digital output via optical S/PDIF, plus MIDI In and Out jacks for patch dumping or parameter editing using the free (but PC-only) Sound Editor software. The digital signal at both the input and output converters is at 20-bit resolution and has a sampling rate of 44.1kHz. A network-style socket labelled Vox Bus is used to connect an optional floor controller that simplifies patch changing in live performance as well as giving access to the tap tempo feature, the tuner and two pedals for controlling volume and wah. Note that the tuner's reference 'A' can be recalibrated between 438Hz and 445Hz.

In contrast with the flowing lines of the Pod, the Tone Lab is presented in a businesslike metal case with Vox-style chicken-head knobs, traditional amp controls, and a small perspex bulge to protect (and at the same time show off) the tube. A plasma display looks after patch names (up to eight characters) and numbers as well as monitoring parameter editing, and in all there are 96 program memories (arranged as 24 banks of four) of which 48 are presets and the remaining 48 are for user patches. The amp, cabinet and pedal types are selected using dedicated stepped switches, and the various sections are clearly marked for ease of use. In fact, although there's an excellent manual with the Tone Lab, most people who have used a programmable processor before should be able to find their way around it with no trouble. Nevertheless, it's still worth reading through the manual, if only to find out what all the spare knobs do when you select an amp model that featured fewer controls than the Tone Lab.

A stereo headphones connector is located conveniently on the front edge of the unit.In addition to the selector switches, there are seven rotary amp controls for Treble, MIddle, Bass, Presence, Gain, VR Gain (the gain from the preamp stage into the power amp section) and Channel Volume. Other than that, there are just ten buttons beneath the display, four of which are used to select one of the four presets in the current bank, and two of which are used to step up and down through the banks. The remaining keys relate to the Utility and Global setup modes, patch writing, and calling up the tuner.

There are three more knobs in the pedal/effect section, and five buttons for selecting effects and for determining which section the three edit knobs currently refer to. All the post-amp effect types are screened onto the panel, with status LEDs alongside, so the selection buttons are used simply to step through them. Again, all the parameter functions for the various sections are screened above the knobs, so there should be no cause for confusion.

Model Behaviour

The designers have gone to great lengths to model good examples of their favourite amps, but although the origins of these amps are hinted at fairly strongly, no brand names are mentioned other than of course Vox. Terms like Tweed, Black, UK68P, UK '80s, UK '90s and UK Modern leave you in little doubt, as do Recto and US High Gain, though for the Boutique models you have to guess which ones they went for. The operation of the tone controls of the original amps has been modelled, and in instances where they didn't have as many controls as the Tone Lab, the extra knobs should normally be left in their 12 'o' clock position for the most authentic tone, though they are still active to allow extra leeway beyond what the original amplifier offered. Similarly, not all amplifiers had Presence controls, so where one was not fitted, the Presence knob has been used to control another parameter that the designers felt was important. For example, Vox amps had no Presence controls, so the knob is used as a top-cut control instead.

The Valvetronix Tone Lab lets you choose from 16 amps and 11 cabs, directly from the front-panel chicken-head rotary switches.To go alongside these 16 amp models are 10 simulated speakers, which of course you can switch around if you want to try a British amp with a particular US cab. Part of the modelling of the speakers is tied into the way they react with the amplifier output stage, so the feel and tonality changes depending on playing intensity. There's also an off position that bypasses the speaker emulator.

The previously listed pedal effects are mainly self-explanatory, though it's worth mentioning the Acoustic Simulator option, which goes some way towards making an electric guitar sound like an acoustic guitar fitted with a pickup system. I probably wouldn't record with it, but it might get you by at a gig. In this mode the three controls adjust the bass, body resonance a

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