Vox AC30 TBX

1963 design (reissue w/PC board)....dual recto tubes = less "sag".
Vox Blues speakers...Top Boost circuitry. You must know the features!!!!
Great clean...Chiming and bristling with natural harmonics. Nice growl when pushed and still bristling! That's the magic.

I am using a '72 Gibby ES335, an ALL Rosewood Tele (69 reissue), a G&L Legacy, a Fender Strat Plus Deluxe, '58 Historic reissue Gibby Les Paul...and a few others. I have always been drawn to the sound of tube amps in particular as they all have their own voice and reaction to your playing style. Plus a clipping tube amp produces round wave clips which is more "musical" to the human ear as opposed to solid state which produces a square wave clip (not musical to the human ear). I have several vintage amps (all tube) and have ALWAYS wanted a Vox AC30 for several reasons. Well, I finally got one the other day and it's not the CC (Chinese Crap?)...It's the Korg TBX that I found on clearance!! I guess they were anxious to get rid of the British made Korg reissue so they could "score" on the greater margain ($$$) to be found in the current CC lineup. I can't really knock the new CC series.....but really?.....a Chinese AC30? Sorry, but I can't subscribe to that. I have been discovering tones all over this thing! I haven't been able to really crank it up but have found that a Tube Screamer (reissue) does wonders at lower volumes and assume the same for greater volumes as well if needed. Most of my influences have chosen these amps and it is becoming clear to me why. There is a certain clarity that "rings" through no matter what your doing.

I've heard the rumors...But I'm not worried. Valve amps need TLC. Get over it, pay the bill, plug in, move on.
I have had no problems with Korg in the past so I expect no issue with one of their "sponsered" products. Plus I know a fantastic amp tech that I consider my secret weapon!

See above!

I have been playing over 19 years and, as I mentioned earlier, I have played and owned several amps in the past. But this amp gets a serious nod of respect and deservedly so. It has a certain character that I haven't heard in other amps including boutique designs.
I like its simplicity of use and complexity of its sound.
I would buy another in the event of loss or thievery.
I am still discovering this amp....but I am floored thus far by its complexity of sound. Especially with my '73 ES335TD with coil tap.
Now I wish I hadn't sold my Ric....Oh well........Wanna trade?

Features

* Do you know what year the amp was made in?
* Is the amp versatile enough for you and the styles of music you play? What are those styles?
* How many channels? Does it have channel switching? Effects loops? Headphone jack?
* What features do you wish it had? Why? Are there features you never use?
* Where do you use this amp? Does it have enough power for you?
* Feel free to enter any other features (stereo, tube or solid state, etc.).



My amp is a used 2003 model, purchased on eBay. I opted for an AC30TBX instead of waiting for an AC30 Custom Classic (due to hit the stores any day now, as of this writing) for several reasons.

While I understand Korg's motives for moving production to China and incorporating modern features into the AC30, I was more interested in having a traditional 1963 style AC30; all the bells and whistles on the AC30 CC are of little interest to me. (Reverb on an AC30??? [tongue planted firmly in cheek])

OK, I admit it, the idea of AC30s being produced in China doesn't seem somehow... right. I mean, Vox represents "The English Sound," right? I just know I would be bummed out by seeing "Made in China" on the rear plate. And it's not anti-Chinese bias or racism on my part! I would have the same reaction if they moved production to Russia or Japan or wherever. Purely a psychological block on my part.

I also sought out and bought a British AC30 because I wanted to make sure I got one before they possibly increase in value. (This remains to be seen once the CCs hit the stores.)

Anyway, I give it an 8 for versatility because it has three very distinct channels - Brilliant, Normal and Vib/Trem. Although I'm almost exclusively using the Brilliant channel, I like the fact that one can get some very different tones just by plugging into different inputs, or even better, by using short cables to bridge the channels. Many have expressed a desire for a Master Volume and Reverb on the AC30, which is why Korg replaced the TB and TBXs with the Custom Classics.

I play in a '60s style Merseybeat/garage pop combo, which is why I was more interested in a traditional AC30 instead of the CC. Simply put, the Vox AC30 defines the guitar sound of the British Beat era of the early-mid '60s. This amp instantly imparts its own character on any guitar, and fortunately it's a wonder character. There something magical about that combination of a 30-watt EL84-powered Class A amp with low-powered alnico Celestion G12 "blues." The amp sounds BIG at any volume, and is surprisingly responsive even at its cleanest volume settings. The tone knobs are very interactive, meaning that when you adjust the bass knob, the treble response changes too, and vice verse. My understanding is this the result of an engineering error back in '59, but it sounded so good that Dick Denney and JMI didn't "correct" it. "Chime" is the word most often associated with these amps, but that's only part of its appeal. I would also describe its tone as "throaty," meaning that the amp has a powerful midrange punch, even at low volume. (Turn it up a bit, and it REALLY roars!) One thing that I found surprising and wonderful is the nice sustain this amp gives to almost any guitar; they just ring out more!

AC30s are known and often desired for their creamy overdrive, but to get there you really need to blow out some windows. These amps can get pretty darn loud! I've heard of some AC30 fans using a power attenuator with their amps, such as a THD Hot Plate, in order to get real tube overdrive at reasonable volume. I personally am more attracted to their rich clean sound, so that's not of concern to me. When played fairly clean, at stage volume, the AC30 never sounds thin or tinny, like many amps. Whether clean or overdriven, the AC30TBX sounds fab.

FWIW, my main guitars include a variety of single-coil guitars: a '62 Gretsch Tennessean, a variety of vintage and modern Rickenbackers, a Tele, etc. The Gretsch sounds particularly wonderful through the AC30. By plugging into the Brilliant channel, and by setting the Treble 2/3rds up and the Bass about 1/4 up with the Cut completely off, I can perfectly nail the early George Harrison tone; it's almost frightening!

I haven't had any problems with any of the Korg-manufactured Vox products I've owned. The tolex seems on the thin side and is prone to tears and peeling, but such is life. Treat it with care and get a decent cover for it, and it will maintain its looks.

I've never dealt directly with Korg or its Vox division, but Vice President Mitch Colby makes himself regularly available on Vox-related web discussion boards. I get the impression that he was already a Vox fan, and has been doing his best to make his company's products live up to the legendary reputation associated with the Vox brand name. It also appears that Vox has launched new products based on customer feedback, such as the limited Hand Wired AC30s of a few years ago and the modern refinements of the AC30 Custom Classic series.

I've been playing guitar since 1977. Over the years I've owned several British Vox amps, including a '65 AC50 head (with 2 x 12 cab w/Celestion blues) and an '85 AC30 Silver Jubilee (which was much darker sounding than the TBX, and a lot less rich tonally). The AC50, despite being a genuine vintage JMI-manufactured Vox, couldn't hold a candle to the AC30TBX. It only sounded good at high volume, and was impossible to get any gain out of it unless you played at Shea Stadium volume. At "normal" volume levels it was just too thin and wimpy.

I've also owned a '63 Fender Bandmaster, which was a very nice amp to be sure, but it was much grittier than I like. I much prefer the rich chime, powerful punch and smooth breakup of the AC30TBX.

I also currently own a 40-watt Traynor YCV40WR, which is a 1 x 12 Class AB Canadian amp, which is voiced somewhere between a Vox and a Fender, with lots of sparkle and chime. These new Traynors are a superb bargain, at only $500-$600 new!!

I should also point out that there is a well-respected amp tech in LA named Don "Tone-Man" Butler, who performs a variety up upgrades to stock AC30TBs and TBXs designed to bring it closer to JMI-era specs. Among these upgrades is the replacement of the output transformer with a hand-wound Woden clone made by Mercury Magnetics. The full menu of "Butlerization" upgrades can be done for $380. Supposedly the amp will be tonally indistinguishable from a JMI-made AC30. I haven't had these mods done to my amp, as I am very pleased with the stock tone, but will certainly consider having it done the next time I have some spare $$.

Don't wanna write stuff that others have already written.

Playing Gibson Les Paul Custom & '52 vintage Telecaster through this sucker. I just love this amp. I am primarily a rythm guitarist and the thick full sound the AC30 TBX gives me is simply awesome. I use Fulldrive FD-2-FY and Boss CH-1, and sometimes Boss OS-2.

Well, I have had the AC30 TBX for about 6 months now. Never failed me once. (knock on wood)

Hope I never have to deal with customer support.

A sure 10 here. Love eveything about this amp. Guys!!!! PAUL McCartney submitted!! Dang!!!!

hello folks! let me tell you about this new korg ac tbx reissue ac30. i happen to need a vox ac30 because the old ones i have i just totally retired them because of my old memories an thought i wanted to really know the new ones. well here we go,first of all this amp was made in 2003 acording to the serial number. this imp is really versatile and as well as the originals. basicly the only difference that i can at least tell is the wireing this people do on them now days.as far as the sound and features, ho my god, its just like the little old ones from back then. they actually are similar to each other. i had the time to put them side by side at home and the sound of the new ones are just about the same, im guessing because my old ones have the original speakers and beside they are 40yrs old you can just a bit tell a difference. i am using this in the studio now for my up comming project and my plans are to take a couple of them to my up comming shows.in my opinion if you link the normal channel with the briliant channel you'll come up with a good clean sound that when i use my overdrives they sound good as well.

very distinctive. very simmilar to those little ac 30's from the past,(the 60's). like i said before i am linking the normal channel with my brilliant channel. sounds superb!

well they seem reliable!

well lets see how long have i been playing! that i remmember since 1955. you guys should know more than me now days i think!i'd been around for a while lets see the silver beetles,THE BEATLES,wings and i have a solo career,hum! well lads i wanna tell you this little new vox ac30's are very simmilar to the ones back then in my beatle years and i cant believe this my self. i cant believe a company out there really is taking the time to do them again. they are sweet! try them. like i said im using this for my recording now and im planning to do shows with 2 of them on my up comming projects. thanx

All valve reissue of the classic AC30. A little different internally (they're using some PCB in this the originals were all PTP wired) but very similar tonally.

FRONT PANEL
===========
2 x Vib-Trem Inputs
2 x Normal Inputs
2 x Brilliant Inputs
--
3-way Vibrato Speed selecter
2-way Vibrato/Trem selecter
--
Vib-Trem Channel Volume
Normal Channel Volume
Brilliant Channel Volume
--
Treble
Bass
Cut
--
Standby Switch
ON/OFF

PREAMP VALVES
=============
5 x 12AX7
1 x 12AU7

POWER AMP VALVES
================
4 x EL84

RECTIFIER
=========
1 x GZ34

SPEAKERS
========
2 x 12" Celestion Blue Alnico

Overall good. Only gets an 8 because the original Voxes have a proper fully variable Speed selecter not a 3-way one, which makes it harder to use the Vib-Trem channel. I find the Brilliant channel great for cleans, but the normal channel is the best one.

Using this with a Gibson SG Standard made in 2001. Any pickup combination yields great tone. The beauty is the simplicity - infinite variations can be found and the way this reacts to changes in guitars and pickups still surprises. Plenty of variety here, incremental adjustments in tone can make all the difference.

I play any style that is required when it comes to the business side of guitar playing. My own choice is pop-rock with nods to AC/DC, Catherine Wheel and the Smashing Pumpkins.

Gibson SG Standard -> Danelectro Daddy-O -> MXR Distortion+ -> MXR Distortion+ -> Danelectro 7-Band EQ -> Electro-Harmonix Big Muff Pi. With this combination of equipment I can get all the drive sounds I need and more besides.

The key for me is the all-valve nature of the amp - I can hear the difference a valve rectifier makes in tone. The blueback speakers help with this - worth the upgrade from the greenbacks.

To further improve on this the amp will be retubed with JJ Electronics valves (www.eurotubes.com) soon - the best on the market IMO, not rebranded like for example GrooveTubes.

Noisy? No more than your average amp and certainly quieter than some others. Even with the Normal Channel cranked to 2 o'clock there's very little hiss and hum, less than I imagined. All in all, this amp is fantastic.

Hmmm... well actually reliability will be a problem I feel. They don't seem to have great QC in Middlesex where these are made. My one broke the day I got it - one of the valves was microphonic and there was a bad cap in the tone circuit. It was brand new and under warranty so I sent it back.

It works top notch now, but I see I'm really going to have to baby it to keep it in top shape.

I have to be fair - the support I recieved was first rate all the way. Took it back to place of purchase and they contacted the company directly - picked the amp up the next day. Within a fortnight it was returned to me, carefully packed and in full working order sounding better than before.

Considering I moved from Portsmouth to London (nearly 100 miles) and they sent it back to my place of residence and did it quickly too, I was impressed. Great job.

I sold quite a few other things and made some sacrifices to get this amp and I don't regret it one bit. I get lots of hours of use and it's put some spark back in my playing.

It's one of the few amps that's aesthetically pleasing to the eye too. I'm also pleased because I knocked #300 off the price because it had been sitting untouched in a corner for months while several Marshall stacks had flown out of the shop. These included a JCM900, a JCM2000 DSL and some others that can't do half the things this does, nor do them as well. Of course I wish they made the Vib-Trem channel more versatile but it's not a huge problem.

Absolutely superb amplifier. If you want something with killer tone that is versatile as heck here it is. This isn't a one-trick pony, this is a classic. Buy one now!

if your reading this you should know by now but....

blue speakers
nos mullard gz34 rectifier
4 el84's
tan colour

i use a brian may red special with this and also a dallas rangemaster treble booster pedal.the sounds i can get are amazing and when it lifts off into feedback it travels up in octaves! from small alterations on the guitars volume control i can make it scream or i can make it sing.this amp is a beauty.hooked up to a thd hotplate so i wont go deaf!, this amp sounds like brian mays setup ALOT!

its never let me down yet but you never know what will happen with any valve amp

never tried or needed it yet

playing for 10 years i can say this amp is the best i have ever had.Dont get the greenback speakers if you want to be brian may cos they are alot harsher and have more treble than the blue ones.

1998 Korg Reissue, used for recording (and live if venue seats over 200 people). Do yourself a favor and use a Sovtek 5Y3 rectifier tube in place of the stock GZ 34: you lose some bite and easy feedback, but the tone still rocks and you'll go deaf much later in life, as the amp will "give it up" at a lower volume.

I use a Ricky 360 OS 12-string, Tele, Strat and '64 335; all of which sing through it better than anything else I've used in my 35 year career. It's fun to use pedals with it, because the tone doesn't die as is usually the case when no parallel effects loop is available. If you run a short jumper between the vib-trem channel and the brilliant, and juggle the volumes, you can have your cake and eat it too with only a slight apparent loss of gain in the brilliant channel.

I have a great amp tech that goes through my stuff top to bottom, but I still take a Bassman or Vibrolux along just in case, as excuses don't cut it in the pro world.

My tech has two mid-sixties AC30's himself, and I'd go to him before the factory anyway.... The lower power rectifier I use makes the thing run cooler anyhow, which helps the whole situation out. I suppose you could use a THD Hot Plate instead, but it seems you'd lose EL84's sooner.

If this were lost, I'd buy a Matchless DC30, as I could afford it now, but as it is, if I find another one of these reissues in good shape, I'll snap it up for one of my kids (they all play too).

I dont know what year this one is.All tube with celestion greenbacks.I listened to the blue speakers,the tone was the same.Three channels,top boost is best for guitar.I use the amp mostly at home ,sometimes for band rehersal where I play guitar,keys,and sax.I will hook my keyboard through the tremelo channel and guitar through the top boost.Plenty of power.Not my main amp,as I need Distortion at lower volumes and I dislike distortion boxes.

I use a PRS custom 24 and a 79 strat.The PRS is stock but the Strat has a Dimarzio X2N humbucker,Seymour Duncan single coil,and a stock single coil.This amp is fine for all styles,as I play all styles,even metal if you crank it up.It was kind of noisy but I learned a trick to keep the noise down.I just crank the normal channels volume halfway[with nothing plugged into it]and the hum and hiss just go away.Now it is as quiet as any amp.The clean sounds are wonderful and when you crank it up,you can go from subtle overdrive[wind cries Mary]to all out feedback and grind.My comparison amp is my main amp,Boogie Mark IV.

So far ,no problems.I would always carry some extra tubes just in case.The amp runs hot,I like to warm my hands with the heat.

Never needed it fixed.Hard to get to the tubes,you have to take out the whole amp head out of the chassis just to get to them.

Been playing since about 1979.Even longer on the sax.I also own a Boogie Mark IV.I have a studio and live room with various outboard gear,keyboards,drum set,effects,etc.I play a Yamaha classical guitar,a Martin steel string,and a ovation 12 string.I would by this amp again for its unique clean sound and great overdrive.I tend to just plug and play with this amp without playing with knobs.Also,dont let its lack of knobs fool you,you can dial in many different sounds with the three tone controls and volume.I find that if I am not happy,just tweak the volume up and your in tone heaven.Great solid amp.If you need a great sounding amp,look no further.If you need 3Thousand knobs to twiddle,look elsewhere.I find that real players like this amp a lot and jokers like to twiddle knobs.

This is a reissue 1999 of the 1963 Vox AC30. It has the blue speakers. Simplicity is a running theme using this amp which suits me fine. Everyone knows the controls. The normal channel IS great at big volume. Be wary of that bright channel - it can skin a cat at a hundred metres.

Using a Usa standard tele with this amp and a array of anologue (NOT digital) pedals produces God's voice himself! The beauty of this amp is that it pruduces the best platform of tone from which you can shape the sound using various pedals. You have to be very adept on the fingereboard to control that natural overdrive at horrendous volume though!

Three months after purchase it died on me mid gig, mid song! The culprit I thing is a faulty GZ34 rectifier valve which is being replaced right now. I hope this will be the end of problems, but it's a valve amp, and I knew what I was letting myself in for.

Korg Uk have been helpful and talked me through possible causes of the failure. I know I'm not alone if it dies again. They're sending me a knew GZ34 which is taking forever to arrive.

Playing for six years and own a plethora of gear. I use boss pedals for distortion sounds (SD1 and a blues driver - perfect!) and a danecho plus Crybaby Wah connected to a Zoom 4040 player (which I'm thinking of ditching because it converts the entire signal to digital, uuurrrgg!). I would probably buy a small Fender tube amp if it were stolen because we mike everything in the group. I'm in love with this amp apart from it's reliability. I'm convinced it's a woman.
Consider the AC15 before parting with money for this thing. It's compacter, quieter (a good thing here!), cheaper (not much!) and lighter. Don't know about the sound though. . .