Vox ToneLab

Piece of cake to use. Works exactly like an amp.

Had the pod xt and all i was able to get out of it was death metal and pristine cleans. This thing does about every guitar tone under the sun. The warmth and tone is better than some of the actual amps. It is that good. I mainly use this for lined guitar recording but when i plugged it in to my Marshall JCM-2000 WOAH! The pod sounded like crap in my marshall but this thing is WARM!

Seems sturdy enough.

Don't know about this yet.

This is a dream come true! Now i can record and play guitar at any hour i want to. Thank you VOX!

Very easy to use. I read the manual only after 3 months.

If you understand your amp, you'll dig this box.

Editing is also very easy and I do NOT have any extra pedals or midi.

That's where it shines. I do not play metal so I replaced all those metal presets with nice sweet Fenderish Twin or Dumble sweet sounds.

I play this baby often through my Fender Deluxe Reverb class A 112 tube combo and the marriage works well. I still use the Morley volume, wah, disto up front and also the baby Blue OD or Zen Drive but I can use ToneLab to vary my basic sounds a lot and I can keep the FEEL of the tube dynamics and get a great classic sounds.

The effects are not the best in the world (Lexicon is better) but you need as little as possible on stage and in the studio I use other boxes too.

In short, this is clearly the best modeller, so I sold my POD, VG-88v2 or my Yamaha DG-stomp, J-station, Behringer, Digitech, Boss .... as I said this is the only one that doesn't sound digitalish ...

It deserves 9 but I give it 10 to compensate for some idiotic reviews.

Bought it used from the USAS and it works :-)

No idea. Who needs Korg anyway ?

Even if you a tube freak, and I am and I own only the very best tube gear including THD Univalve class A, or Gibson GA15RV class A ... this thing gives very useful sounds and you can use it WITH your tube amp !

I bought it for $175 and it's an unbelievable value !

I play since 1960 and I wish we had anything like that in those days.

Journalists lie - as Vox, marshal and even Fender in those days did suck and rarely did we have any decent guitars while these days you can get all these fabulous toys and even Asian guitars are better than some of the Gibsons of the '60s ... have fun guys !

Yes, I like this toy and would buy another one.

Strongly recommended to all baby boom guitarists.

metal kidz and esoteric people stay away.

Dials are intuitive, like using an amp. Just a few buttons. Easy to get into "Manual" mode and start wailing.

Of all the things i COULD say about the ToneLab, i will emphasize this ONE specific point here: Valvetronix really DOES work. I am most interested in Live play, and i presently play through a Marshall Valvestate amp. Let's face it - with a Solid State power section, you're not going to rival an all-tube design for those vintage tones. BUT .... here's the kicker ... the ToneLab can get you SO CLOSE to a true tube experience, that you'll end up not worrying about it. My Valvestate is a good amp, and has a good Clean channel. But the Overdrive channels, though powerful, sound solid-state all the way. The ToneLab has opened up my live play experience to levels that i could only have dreamed of before. The many amp and cabinet model combinations are truly AWESOME. I get tones that are absolutely authentic in every respect .... the real "crunch" sounds; the special pick and string attack sounds reminiscent of tube amps; the REAL DEAL with power section overdrive/distortion, not just pre-amp OD. Both the Amp AND Cab models work extermely well; DON'T turn off the Cab option, use them .... they open up vistas that are not available with only the amp models. The ToneLab with a Stratocaster is, well, ...... Heaven On Earth sounds a bit pretentious, but you catch my drift. My primary chain is : guitar --> Carl Martin Compressor --> ToneLab --> Wah (optional) --> Amp (Clean Channel), with an MXR Graphic Equalizer in the FX Loop to sculpt the signal going into the power section. That's basically it. The sounds are endless. With my setup i can find basically any tone i'm after, from any period. END OF STORY. The ToneLab is IT. (I didn't bother to review any of the many other features, setup, etc., here, as i only wanted to emphasize the TONAL aspect. The Pedal effects are good too, as are the other effects categories, to one degree or another. But for me, the TONE was the main thing. I was looking for amp/cab emulation; the ToneLabe is a 10+)

So far, so good. Live and recording have been awesome thus far.

NO (personal) opinion. I've read several good remarks about Vox over the phone. (Of course, you'll have to bite the overseas bullet with that one if you need to talk to them....but it might be worth it.)

I said it all above. For amp/cab emulation tonality, the ToneLab rules. The closest you'll ever get to all-tube amp'ing without the thousands of dollars you'd have to spend for only 1 or 2 physical amp's. There's absolutely NO comparision for value here .... the MANY quality tones that you can attain with this product are un-rivaled. Just play through a good clean channel of a basic quality amp, either tube or valvestate (don't know about all solid-state), and you'll be smiling from ear-to-ear 'til the cows come home. AND .... all of this functionality is yours for only $300 (desktop model) ..... not much more than the price for a SINGLE good stomp.

Pretty easy to use. Just a few banks and a lot of turning knobs. Also is editing no t very hard. It is definatly missing and input for a CD player to jam along.
The computer aid is useless.

I play classic rock for 25 years. Jimi is definatly my man. Play in a band wth pro's and in all the years I have been able to collect the stuff I like: mainly old and new handwired Marshall's (tuned by Dutch Ampmeister Peter van Weelden, the best in Holland. Guitars are Gibsons of diferent kind and effects mainly Keeley, Analog Man and Teese. Now I am very happy about the sounds I can get.
The Vox I wanted to use to play at home without noise together with my favorite CD's.
Now the sounds are, despite the bragging about the tube inside, mediocre. The cleanish breakup sound a la Fender are ok but the other sounds are no more than mediocre.
So if you are used to the real stuff: don't buy. I sold mine.

Had it too short to judge.

Don't know.

Not a keeper. It is a little better than a POD (AAAH!).

The ToneLab is very easy to operate. I started in "Manual" mode and just began working with the Amp & Cab models .... no problems. The control layout is excellent ... rotaries like an Amp ... very "touchie-feelie" and intuitive. The hookup is easy ... you can go in through the front like a stomp, or use your amp's FX loop. (I go in the front as i like this mode better, but it's up to you.) The user manual is excellent and fun to read. Editing patches is easy ... just press a couple of buttons and that's it. Compared to other modellers, the ToneLab is a breeze. I own the desktop unit; for live performance, the separate foot switch (or the SE model with integrated FTSW) would be mandatory for quick switches. However, bending over alot to adjust things, and having to read dials in the dark, would NOT be "easy". I would suggest the FTSW. But for working at home or in a studio, the desktop unit, set up on a table, is best.

The ToneLab can produce some excellent tones & sounds. The Amp models really DO work, and combined with the Cab models, you've got wide flexibility for finding great tones. (Hint: USE the Cab models, even if playing through an Amp. It makes a BIG difference. Plus, you can combine them in any way with any Amp model, for some fabulous results.) The Amp models are all capable of being over-driven, and you can really come up with some great and powerfull pre-amp and power amp OD. (Read the manual to understand how the ToneLab acts regarding its "Gain", "VR Gain" & "CH Volume" - it's very easy, but some reviewers seem to be confused about this.) I play mostly a Strat, and i'll tell you, the multitude of tones i can produce with my guitar's 5-position PUP switch, coupled with the ToneLab, is FANtastic. (In general, a player's set up is important, naturally ... i.e., what guitar you're using, the PUPs, whether you're going through an Amp or PA, or recording direct; etc. etc.) I use external graphic EQ'ing on both ends of my signal chain, so i can add some additional boost and/or frequency tweaks to suit, but basically, the ToneLab is excellent right out of the box. DON'T believe it if anyone says the ToneLab is weak or thin. These players just have to set things up properly with their equipment, and adjust the ToneLab correctly - i.e., the rear "Level" dial, setting the "Amp" switch, whether they're going through the frontend or the FX loop, what Amp they're playing through, etc. The ToneLab is truly powerful and full-bodied, and can produce the most excellent tones in a huge variety of ways. The effects sections are excellent as well. Certainly, a particular player is going to have his "perfect rig", including the requisite stomp's, and can come up with some "signature" tone that he loves. The ToneLab is amenable to existing stomp's/effects chains, and can be treated like a real Amp in this regard. It's also excellent as-is. The choice is YOURS! (There's ONE limitation about the "Pedals" section - only one pedal effect is available per program. This IS an issue, though for me, it wasn't too big of one....certainly not big enough for me to resist owning this baby.)

Has been great so far. I haven't dropped it yet :-) Heavy & solid.

No opinion.

I play "classic" rock, light jazz, BLUES !! (The ToneLab can SCREAM too, ala "metal" ... don't believe otherwise.) AND ... someone said that the OD/distortion pedal emuations were weak ... NOT SO. The "FAT OD" in particular is OUT OF SIGHT. The player that knocked it must be going deaf, or have a dead amp. (Check your power tubes, bro.) AND, learn how best to hook up the ToneLab for YOUR best results, and how to adjust it (Leveling, CH Volume, "Amp" switch, etc.) Believe me, there's NO limitations regarding output with this baby. You can generate any degree of preamp and power amp overdrive/distortion in virtually any of the models. There's SO many combinations available ... amp model + any Cab model; OD pedal effect; plus modulation/delay (wicked when coupled with an overdriven Amp model and the Compressor pedal ... how do you spell "Robin Trower"... ) Don't bother swapping out the 12AX7 with other versions (like a 12AT7 or whatever) ... just use it for awhile, and eventually you'll have a good handle on the ToneLab's capabilities and range. (12AT7's are weaker output-wise; one player said that he had better results with it. I guess he was looking for a "Brown Sound" or something to that effect....?) Anyway, you'll LUV the ToneLab ... ESP. at $300!! What can compete?

Easiest processor I have ever used and I have been playing Bass and Guitar for 20 years. Just put it in manual mode and dial in whatever you want with the knobs in front of you and then save it to a patch. No sifting through menus or screwing with some convoluted parametric eq. Just tone, gain and effects.

My first amps were classinc Fender twins and Fender Bassmans. I currently play through a tube SWR. (I play a baritone guitar) If you love vintage tone like fender, vox and Marshall, well no processor will be exact and if you will not compromise a little, then go buy the amp. But, when it comes to an all in one, this is the best I have ever heard. That little tube gives a warmth and dynamic that you just cant get through anything else I have tried, including the pod. If you cant get the real amp, or stomp boxes, or if you need a direct in or headphone rig, this is the best. Just as in all processors, ditch the presets and make your own. With this unit it is not easier said than done. Manual mode --> Twist Knobs --> Save.
It has less effects than the pod and others, but you have as much control over the ones you do have as you would on any stomp box. And I think they sound just as good. The pedal choices are run before the amp stage and all the others are ran after as you would in a studio. This is one thing that you cant do with an amp and stompboxes in a live setting. The result is the ability to have a great polished sound or a gritty grimey dirt that other processors simply cannot produce. There is no ping pong delay and the reverbs are the vintage style spring/room/plate, so it will not make as many sparkling shimmering sounds as the pod, but I think those are overdone anyway. The mod section has vintage style as well, but these effects worble through the stereo field adding huge depth without sounding overproduced.
I almost got a pod, and I am so glad I got this instead. Would I have been happy with the pod? Most likely, but it still seemed like I would have had to run am overdrive stomp box and have to deal with a considerable learning curve. With this machine, I feel like I can get nearly any sound I want and I have only spent a total of 3 hours on it.

I picked this up used, and it works great, so based on that it seems reliable. But it does have a glass tube in it, so I wont be tossing it into the truck like I did my old Korg Toneworks.

Have not dealt with them.

I am only giving this a nine because no emulator is going to sound just like the amp. I just dont belive it is possible. So if that is what you are looking for, then stop. However, this is really close. I have never had a processor with overdrive that was worth a crap. I have always had to suppliment with a stomp box. I will not have to do that this time. The effects are really close simulations of what I would have spent $500 or more on a good day. And I can send a digital direct to my computer or sit on the couch with headphones. Not to mention, it sounds even better through my amp. After all these years, I have finaly found the all in one, easy to use, sounds as vintage as its gonna get in one machine, machine. If it proves reliable, I think I will have this for years to come.

It can be a little tricky to get really great tones out of this thing because of what appears to be three gain stages (Gain, VR Gain and Volume) and the granularity of effects and tone controls, but the fact is that you CAN get really great tones out of it. Not so with any other pedal I tried (and I tried them all).

If you spend the time to really dial in the sound you want, you can get anything, without having to stretch your imagination hardly at all. Everything from Dave Grohl to Brian May to Wes Montgomery. With my stock Strat I can get some really nice Eric Johnson, Clapton, Malmsteen, SRV... With my Les Paul, I've got pretty much everyone that uses humbuckers, from jazz to metal.
I've never plugged in any active p'ups.
I use this to go direct to an optical-in on an Akai DPS, or into the line in on a 2-12 Fender DeVille. I also use it to jam through headphones with a band where the drummer Roland e-kit. My Tonelab inspired another member of that band to ebay his Pod.

I've done several gigs with it and the optional VC-4. Never a problem. I carry it in a laptop case.

Never dealt with them.

I play in a progressive rock band, a Rock-a-Billy/C&W band and I record my own pop/rock stuff and it works great for all.
I've been playing for 27 years. I tried to buy in to the modeler thing early with a Quadraverb GT (which sucked) and I think the technology is finally good enough to get it right. I can't imagine in another 27 years.
If it were stolen I'd immediately buy another one.

Really good manual, lots of information. The knobs are for the most part intuitive or self-explanatory. However, if you have a saved patch and switch to it, the physical knobs will not reflect the actual settings. This is a pain and can be a big problem if you are switching between patches without having your levels under control.

A second issue is that the knobs behave differently depending on the type of amp simulation selected. Vox does this to improve vintage amp authenticity, but it makes it harder to just dial it and go, or know exactly what you are doing.

Using the Vox with a Gretsch Country Classic, Rickenbacker 330-12, Gibson CS-336, and a Guild X-170 jazz box. As you can probably tell from my instruments of choice, I am not into screaming metal or raging distortion.

I found virtually all of the presets to be useless. I wanted to get the sound of various clean, slightly overdriven, and hard overdriven Fenders, Voxes, and boutique amps. However, by throwing out their presets and building my own, I have created very satisfying amp models. The hardest tone for me to get has been a really sweet, bassy sound for my jazz box.

Still, this is the ONLY modeling product I have used thus far that I can stand to listen to. I have played through other digital modeling products, and as I turn up the volume, pick harder, or subject them to other real world tests, they don't respond and FEEL the way real amplifiers feel. It's like their digital models are frozen in time and overlayed on the amplifier. I hate 'em.

The Vox responds as though it is a real tube amplifer. Of course, it has the 12AX7, but their circuit has other emulations designed to work with the tube that really makes it feel like you are playing a full-on tube amp, even through headphones.

The unit could use more bass, as indicated by other reviews. It has a hard time getting muscular bass patches or really woody jazz patches.

Effects are for the most part good. The echo and reverb are acceptable, but limited and bland. The echo in particular is weak, only useful for slap-back and a few other special effects. The fuzz is very poor, it sounds like it was put in as an after-thought.

The midrange control is of limited use, with little tonal effect.

Extremely well built, metal chassis, sturdy and reliable.

I've been playing forever... about 40 years. I know what the old amps sounded like. This is without question the closest product I have every used for duplicating a good mid-60's amp. I love to put my Gretsch and Rickenbacker through it. It can crank up pretty good for a crunchy blues solo as well. It is less satisfying as a jazz amp modeler, it seems the designers had their ears tuned to other tones. It doesn't do bass or low mid range tonal colors particularly well.

I don't like the fact that the knobs change with different amp models. I also wish I knew what my settings were when I change patches. The effects are mostly good, but the fuzz, reverb, and echo are below par.

Still, I would replace it if it broke. If I didn't own it, I would have to get a fancy boutique amp, and THAT would cost some $$$.

I bought this for KEYBOARDS !
It is very easy to use but if you already know something about amps, it?s no failure.

A wide variety of amps and cabinets.
I especially like the british ones like VOX AC 30.
I use this in connection with an FS 1 R Module from Yamaha. I am a keyboard player.
I use a very clean signal from the FS 1 R, a DX 7 like Patch (FM) or a guitar patch and modell this with the Tonelab.

I get AWESOME lead sounds out of this gear.

Sometimes I also use it with organ sounds (WAH WAH).
This piece has brought a new quality into my playing. I have a very special lead sound.
Effects: not so good. I only use the Univibe, the flanger, sometimes the rotor and also a little of delay (Tape delay) and reverb.

Don?t expect to get a good leslie sound out of this box. For this purpose I use a real leslie or a Dynacord DLS 223. Rotomachine of Line 6 is also not bad.

But for distorted lead sounds it is unbeatable. FS 1 R (DX 7) has a very wide dynamic range. You can sound like a special guitarist.The tube inside the tonelab brings nearly everything to life.
It is important to use a clean signal (no internal effects on the source) !!!!

I love this piece !

Looks solid.

Did not need yet.

One of the best things about this unit is its ease of use. As other reviewers have said though, you need to refer to the manual to understand some of the less obvious tone tweaking on some amp models.

Editing patches is real easy and the manual mode is great for just noodling around with.

There are very few annoying menus to deal with and 99% of the time you'll be turning knobs as opposed to scrolling through menus.

I bought this unit for its authentic sound quality. I was sick of crappy overprocessed pedals multi effects units. I wasn't fussed with the effects etc and tend to use them sparingly. It was probably the in built valve that initially attracted me to this unit over say the POD - still undecided about whether the valve is responsible for the unit's quality of sound but whatever's going on in there it works.

I'm using a US Strat with Kinman Avn Blues Pickups and an Ibanez RG1570 with a Bare Knuckles VHII in the bridge.

I did find that the low end on highly gained amp settings was not quite tight enough and its necessary to bring in the treble boost 'pedal' to make things a bit less flabby. The Rectifier amp model is in particular need of this.

One gripe is that the wah is not able to be used with the other pedal effects. I have the VC4 foot controller and its a shame the treble boost or distortion pedal at the front end has to be sacrificed when using the wah. I guess I could grab an external pedal for this though - apparently they work well with the Tonelab (never tried).

Now, up until recently I was using this unit with a solid state Marshall combo (via the effects return) and was real happy with the sound but sometimes had concerns about not quite enough low end. I recently upgraded to an all tube Marshall TSL601 combo and the difference is amazing - huge low end and of course the tube dynamics which honestly sound so bloody good with the tonelab it makes me smile as I write this. This is not a review of the TSL but together they sound awesome, tight low end plenty of fruity crunch and playing around with the guitar's volume knob you can dial in all manner of highly usable sounds.

Using the tonelab with a tube amp really makes it shine.

It is so sturdily built you can bet you can depend on it.
I don't use it for gigs - I could but its not really intended for this - this is why they built the SE. I mainly use it for recording and practice and its the badger's nadgers for both.

Had the tonelab for over a year and a half and never had a problem with it.

I mainly play rock and blues and this puppy more than suffices for all sounds I could be looking for within these genres.

Been playing about 17 years now and have had a fair amount of gear over the years - this is the best preamp I have ever owned.

Would I get it again if it were stolen - yup, its become part of my sound.

I've been tweaking away on this thing for ages but I still haven't expolored all the sounds - the Dumbles for instance. I've spent so much time with the Fender and Marshall amp settings that its time I tried the others out properly (not to mention the Voxs).

As I said earlier I wish the wah was separated from the other effects.