Vox ToneLab

It's pretty basic really, parameters are the same or similar as with any FX. Got to watch the preset levels though, especially if it's being used live, as in on stage...what sounds great at rehearsal volume might blow you off stage. What is truly wonderful is the size and weight...load out is unbelievable. Instead of a 65 - 70 pound combo, this thing is about 3 pounds. Even with guitars, rack mount amp and cab...it's one trip. I would recommend running a back line even if the out is through a board and mains...those level issues...

Surprisingly good. I am able to closely mimic the tone and timbre of a couple of vintage combos,both clean and driven. The "feel" isn't quite right, which I attribute to the rise and fall off of a tube rectifier. Critics out front tell me that they don't really hear much difference. Band mates are surprised at how good it sounds.

Haven't had it long enough to judge.

There are a bunch of questions with this catagory that are worth answering one at a time...

What style of music do you play? Is this a good match?
Upscale blues / low brow jazz, yes

How long have you been playing? What other gear do you own?
20 years, a couple vintage tube amps

If it were stolen or lost, would you buy it again or get something else?
buy it again

what do you love about it? What do you hate? What is your favorite feature?
size and weight, do need to watch the levels pretty close

Did you compare it to other products? Which ones? Why did you choose this one?
yes, voodu valve (not the online) & jmp-1, half to quarter the price respectively

Anything you wish it had?
rack mount capability

Does it help you make music, or does it get in the way?
it helps, if anything it enhances. Bringing a valuable vintage amp into some clubs is simply stupid. Bad wiring, creeps watching loadout a little to closely, all of it gets in the way of the moment. This thing is just there.

I haven't gone into too elaborate detail in its controls, but overall it was easy to change the presets and save them. You can download a editor from Vox that I'm sure allows for much greater fine tuning. I bought it to use while I'm on a six month business trip in Boston - I can't haul all my amps with me, so I figured this would be suffice.

OK, this is not so cut and dry. D
oes it sound ok? yes.
Does it sound like the amps it models? Depends on the model. Most non-musicians can't tell the difference between a Marshall, a Boogie, or a Bogner anyway. So as far as the average listeners go, they will think it sounds great.
Does if "feel" like an amp? Well, when recording direct, no. When playing through a tube amp, then the feeling returns due to the amp. Overall, though, it does have convincing tones, just the feel is not there.
If I had my way, I'd like for Vox (or someone) to create a modeller without all the effects - just amp and cabinet models. To me the models are much more convincing without the built in effect "fluff". Instead of using the overdrive pedal modeller, just plug in a real OD in front. Instead of its built in reverb, I use my Valverb. I also run it through my Valvex 6 channel tube mixer before going to my computer - all this really helped the tone - the recorded sound was much more believable. However, the "feel" still isnt' there. But then again, I didn't expect it too.

I've been playing with it for 2 days now, and the enclosure seems very sturdy and solid. Hook a midi pedal up to it and you could probably gig with it. I probably never will, though. I'll use my real amps for that.

No experience with them.

I maily play rock & metal. This supplies some conviencing tones for that. I've been playing on and of for about 18 years, and have owned just about every amp this thing models, save for the Vox models. If it were stolen, I'm not sure I'd buy another one. For what it does and how it sounds it is good deal, and I did like it better than the Line6 POD's. I probably won't buy another modeller for a few more years. I think that at technology advances they will eventually be able to create even more convincing modellers, but until then, I'll just save my money for the real deals.

At first i bought it, and it look a bit confusing, but one thing is for sure... READ THE BLOODY MANUAL!!!!
when you learn about how u can use it, it is pure awsomage

I think it sounds really good as it has many different sounds you can create manually or use it as a present, and save it.
One problem i have is the clean channel. I use an Epiphone Les Paul, and i find i need to turn down slightly on the guitar to stop it from being distorted.
All the effects on it are brilliant. You can also change the parimters of each effect, so instead of having delay on ur amp, you can adjust the time the delay goes on for(not sure if that is the right word but still) or the flange on there you can adjust the speed of it, the flange presonance and everything. so other than that, the qualitly is fantastic.

I have only gigged it once. I have the 30watt amp, and i am not kidding, i was playing next to 100watt Marshall, and it was loud enough!!!!
amazing!
VERY RELIABLE!!!

well, ive never needed to!!

I play alot of rock,blues and acoustic stuff, and i find this amp is just really useful for everything. ive been playing for 3 years now (and im just about to do my grade 8 exam) and the only other effect i have is a cry baby wah wah, and i dont need anhything else, because its on the amp!
i have to say, the most genius thng about it is the output mode at the back. If you are just playing at home, then u can lower it on the back, and by doing that, you dont loose any of the valve sound.
Overall GREAT BUY!!!

Took a bit of experimenting with different options eg. clean channel and direct input of a Roland Cube 30 (disappointing on both options), before finally settling for going straight to the mixer and then power amp and near field monitors. Editing patches is a breeze, just read and follow the very well written and plan English manual.

I use the Tonelab with a stock standard Fender Strat Delux. The unit was initially noise but this was easily corrected by tweeking the volumes settings between Tonelab front (about 25%) and back panel (about 70%), plus channel fader (guess 50%) on the mixer and there is zero noise. I didn't really buy the unit for effects, just wanted to get a range of better overdrive sounds than I was previously getting from the Roland Cube 30 which I thought sounded like crap. The Tonelab IMO is as good on the cleans as the Roland (clean, Fender), but is still very good on the extreme overdrive sounds. The Roland has now been packaged away.

As I've only had the unit for a couple of weeks its still to early to comment. Everything seems solid.

See above

I play mostly 80's rock and just getting more into country. Been playing for about 30 years. My son is just getting into guitar and likes heavy metal, AC/DC, etc. If it were stolen I buy another in an instant if I could get one. The reason I say this is because Yamaha who are the distributor in Australia have apparently made a decision to only disribute the SE in Australia. Stupid decision Mr. Yamaha. Yes the SE is a far better option than the desktop unit for a live gig situation (floor mounted, A/B channels, external effects loop). However, for home experimenting, limited space, desktop mounted, etc. I think the compact unit is by far the better options.

I would highly recommend this unit to anyone wanting a broad range of good amp sounds. I just tweeked the "Nashville" setting a little, and I'm in country heaven. If you want a zillion effects, look elsewhere. This is an amp modeller that offers really only about 4 practical effects (comp, overdrive, fat overdrive) one at a time on the input side of teh amp, and the standard reverb, modulation, delay on the output side. IMO, it does this very well. It is NOT a multi combination effects pedal.

Reflecting on a number of reviews that I read before buying the unit regarding needing to tweek the default patches. After operating the unit for a little time now, my comment is why would anyone not expect to have to do this. The selected amp's treble, mid, bass, and master volume are part of stored patch settings. You'd expect to at a minimum adjust these to suit your guitar, sound system, and personal preference. Tonelab gives you a mirror set of the default patches for the very purpose of adjusting and saving while retaining the originals. Couldn't be simpler. 2 pushes of the button.

The Tonelab is quite easy to use right out of the box. Editing patches is a breeze. However, the manual is very well written, provides lots of valuable info, and explains things in a logical fashion. It definitely wouldn't hurt to spend some time with the manual after you've messed around with the Tonelab and explored what it has to offer as is.

Sound quality is a very subjective issue. In my experience and for my tastes, I found that many of the built-in patches weren't to my liking. I'd suggest that you spend some time with them...but the real magic of the Tonelab comes into play when you start creating your own sounds from scratch or by editing patches that have bits and pieces that you like.

That said, I have a Vintage Mahogany LP with Burstbucker Pro pickups and a Fender Strat w/ Van Zandt Blues model pickups. Both sound amazingly well through the Tonelab into my Sennheiser HD280 Pro headsets for quiet practice.

The built-in effects seem pretty strong. Reverb is amazing in this thing. I can do without many of the effects, but that's what makes the Tonelab great for lots of different people. Since we all have our own tastes...no one should have any problems dialing in exactly what they are looking for, no matter what musical tastes you have.

I did find that certain combinations yielded some humming, but that could be due to shielding issues, wiring issues in my walls, lighting, conflicts with other hi-fi equipment, etc. One great feature is the noise reduction capabilities of the Tonelab. Slightly adjusting the NR allows me to filter out most of those ambient noises without affecting my overall tone.

When I choose to go into an amp, I go from the Tonelab into the Efx Return of my Peavey DeltaBlues 2x10. As long as I zero out all the settings on my amp, make some slight tonal adjustments on my guitars, and switch from Line to Amp on the Tonelab...I am very happy with the results. Heck...even going into the Aux1 connection on the back of my Roland Microcube puts a smile on my face!

Again, sound quality is subjective...but if you're willing to spend some time tweaking the unit to get the sound YOU want...I think you'll be happy with the outcome.

No issues to date but I've not had it very long. The thing is built like a tank. Very solid feel to it. Nothing that screams: we skimmped on these parts to save a few bucks, but we'll see how it stands the test of time.

Not dealt with customer support.

I'd definitely give this a 9 overall. I've tried other modellers, but this one takes the cake. The sound is just different than all the others. Hard to describe, but I think others have stated it better than I can. The Tonelab just has the "it factor" to it. Maybe it's the tube.

I know I've only scratched the surface as to what the Tonelab can do for me and my eternal "tone quest", but I'm happy with it. I spent an entire weekend adjusting and tweaking patches and have come up with many samples within my favorite music genre (Blues) that appeal to me. Of those, I'd say that 3 to 4 are just spectacular and that I wouldn't hesitate to use them in a live situation.

Since I use a laptop at home, I also purchased the M-Audio USB Uno MIDI Interface at my local Guitar Center. It's a must-have if you want to easily use the software you can download from Vox's website to create, edit, move, arrange, delete, download/install, and/or backup your Tonelab settings and patches. Couldn't be easier to use. I didn't even have to use the supplied driver CD. WinXP picked it right up, installed the drivers, and had me connected via the MIDI connections to my Tonelab in a few seconds.

I think the key is to spend time with the unit. Mess around with it for a bit, but you must really dig into it to make it shine and produce the sounds you like. I found it handy to turn everything off and then experiment with one thing at a time. Sort of like layering: a little here and a little there. Spend time getting a feel for what each setting will do, how each knob adjusts that setting, and working with the different combinations.

Pretty intuitive design, patches very easy to edit. The manual is actually fun to read. Never thought I'd say that.

I bought this to take the place of my Vox AC50 from 1964. I normally would plug my vox into a THD hotplate and directly into the PA system. It's a nasty, abusive sound. I really like it.

But Carrying around a couple of grand each night to dirty bars had me worried, plus I have been touring internationally and didn't want to mess with foreign electricity problems etc. etc. etc.

So, I bought this. I must say, for live, it gets the sounds I like and more. It's a really fun box to play! The effects are alright, I really like the spring reverb setting set very muffled. I don't really like any of the effects in the Modulation section except the Tremolo, but I don't like any of the pedals it models anyway, so I won't comment here.

What I really dislike is the way that the delay clicks when you adjust the delay time. Most pedal boards are like that, I guess, but I really love the sound of my Dan Echo pedal getting those crazy Syd Barrett sounds. Can't do that here.

I plugged it in at a studio I was working at and wasn't impressed through the Genelecs and Yamaha NS-10s. Even with the speaker emulator turned off it wasn't my trusty AC50 with all of it's hissy goodness. But, then, what is? It does give me a close approximation of that glorious Vox sparkle, and it sounds so much better than the POD. So much better than any other emulator I've heard.

Haven't seriously gigged with it. No comment.

Haven't dealt with VOX before.

I've been a pro player for about a year now, have been playing in Bar bands since I was far to young to be. I'm pretty well seasoned (some might call me salty).

I play dance music like the Rapture, LCD Soundsystem etc. etc. The tonelab gets me the sounds I need for it.

Above all things I look for simple, no frills gear that sounds great. This little box is incredibly useful for me, and I appreciate its qualities, and can ignore the bad.

Plug and go, it doesn't get easier.

This is a processor that costs $300. It will not replace a stack worth thousands of dollars. This seems to come as a surprise to some people.
If you have had little satisfaction with other processors then have a go on a Tonelab. It comes by far the closest to the real thing, not only in sound but in response to playing technique. It is however not the real thing, nothing can replace a real rig.
The effects are not mind blowing but adequate.
The distortion for me personally was the selling point as it is closer to warm tube than the scatchy digital sounds of POD, etc.
The Tonelab sound can sometimes saturate the tone of a good guitar, it can also sound a bit on the glassy side. In some settings it is somewhat noisy, and that's with humbuckers. Like I said, it is not perfect.
However, if you are a fan of tube then this is probably the only guitar processor worth considering.

So far so good.

No response to direct E mails.

There would only be two real reasons why someone would not like this. 1) It doesn't compare to a real stack, an excellent mike and studio. Of course it doesn't. When I can afford to sound proof a room and get expensive gear I will. For now, this does the job and very well.
2) You prefer more of a digital sound. Amplitude, Guitar Rig, Pod would suit your needs.
Tonelab is a very useful bit of gear which has me playing for hours. It is in my opinion the best in its class.

Reading and understanding is one of my major advantages in life. However we all hate reading manuals; reading the manual of my high priced keyboard makes me nauseous and unmusical, reading the manual of the Vox Tonelab makes me happy and musical.

Nothing sounds as good recorded (to me) as a small amp properly mic'd. However, in the modern age and perhaps living in an apartment, amateurs that try to make music must adapt. In my case, it's a Boss BR1200CD coupled with a few guitars, a keyboard, a Pod and now the Vox Tonelab.

I've used most patches and some I like, some I don't. Most of the effects sound very acceptable to me if that's what you want. I'm only printing to recording and not using it "live" so you be the judge. With recording, some settings can be noisy but it never makes the unit unusable. When I attempted to make music with any of my historical and famous amplifiers quite a number of them were very noisy. I like noise, I like leaving mistakes in the music if it's musical. If I were a drummer I would pound those skins into oblivion, so I like noise in rock and roll. It's more exciting. Too noisy for you? I have no idea.

beats me

don't know, yet

I think everyone agrees that tubes or valves improve the tone of electric guitars for rock and roll. If the world had never produced a tube guitar amp and only produced digital musical equipment, then I think most guitarists would agree that the digital guitar processor with a tube or valve sounds better. An expensive toy, but the value increases if you need to create music quietly without disturbing neighbors.

Totally idiotproof. A monkey could run this thing... Everything is pretty much self explanatory. I've heard other posters say that you really need to read the manual and I suppose that is a good idea but I never did. It's pretty much like using a regular amp, no menus to scroll through. Just tweak it until it sounds good and hit save twice.

I have two gibsons... one Les Paul studio and one flying vee. I always run these digital modelers in the the line in of a tube amp or straight into a tube power amp (mesa 50/50). Note: if you have a shitbox solid state amp dont expect miracles. I like the marshall jcm 800 and plexi models the best. They seem fiarly realistic. The rest of the models are sufficient I guess. Everything this thing does sounds more organic than a line 6 or those piece of shit digicrap gnx modelers. I absolutely hate line six. there is only one explaniation for there huge success and that is a huge advertising budjet and every guitar magazine giving them a fucking blowjob in their "how to get this tone, how to get that tone etc... section of all the tablature. If i were to rate the sound quality compared to other digital boxes, i would give it a 10 but compared to a real amp it is an 8.

I have had it almost a year and have had no problems. It is built way better than the line six (obviously!) or the johnson J-station. I would gig without a backup definately.

Never had to deal with them and hopefully I never will.

I play classic metal, early Metallica, Savatage, and alot of my own remedial neo-classical for idiots as i like to call it. Ok, so I'm not malmsteen.. who the fuck is? It has a really great high gain lead tone. The Delays are pretty good. Reverb is ok. I could pass on most of the modulation effects and the rotary & tremolo pretty much suck too. At least compared to the real thing. In all fairness its pretty hard to beat a vox or fender tremolo though. Oh year, the US High Gain setting is pretty good too. I think thats supposed to be the Soldano SLO 100 model. I have to give it a 10 compared to the other stuff out there because it just sounds so much more organic and real. Not as good as a real amp but then again to get all of those tones you would have to have a warehouse full of amps and spend close to 50K.

Definitely must read the manual. The manual is thick 'n loaded with all the info you need to get started. If you're used to a more 'linear' approach to pedals and multi-effects, the 'bank/channel' patch layout might be confusing to you (it was for me). I lost a couple of patches that I created by accidently overwriting them. Overall, easy to use for a very sophisticated unit but a bit arcane in it's approach.

I have a '52 American Reissue Telecaster, stock and a Peavey Classic 30 (with a bunch of mods). Here's where this thing shines. I've had all sorts of 'modeling' units (Digitech RP50, POD) and the Vox Tonelab blows them out of the water. The 12AX7/ECC83 tube in the preamp makes all the difference between the thin, digital output of the other units and this unit. The distortion/high gain settings are fat and singy and the 'clean' amp models really do have an open, warm tone to them thanks to the Tonelabs circuit design. I've never heard most of the 'real' amps this unit simulate, but I can only assume they're close to as spot on as you can get. Although, the "blackface" amp seems to be a bit to gainy for a blackface. The pedal models are all above par except for the octaver. Completely unusable there. The Tonelab seems infinitely tweakable and very well thought out to be a REAL lab for guitar tone. The only complaint is how it saves the -main- output volume (channel) settings. You can get the crap scared out of you when you think the volume is set to minimum (because of the dials physical position) only to jump out of your skin while 'surfing' the presets and the volumes were saved at a high level.

Don't know. Only had it a week. Seems very solid. Metal chassis, rubber non-skid feet.

The search may be over for an 'all in one' amp modeler and effects pedal. I'd like to see a decent octaver effect and a harmonizer, but without a doubt, the best sounding amp modeling device I've ever heard/used. Very open-ended and tweakable design, well built and well thought out.