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And it’s devastating as a lead machine with volume and gain controls up high.
The best part of all this is it will only set you back about 450 bucks.
It rings in a uniquely excitable, British kind of way that classic, ubiquitous small amps like Champs, Princetons, and Blues and Pro Juniors can’t quite match. But I can’t remember having more fun with a Rickenbacker, a Telecaster, and a cable than I had in a few days with the little Vox.
The AC10 could be the ultimate amplifier for laying down power pop rhythm tracks.
Now, Vox makes this legendary design available again with an updated AC30 that benefits from some critical modern touches.
There are two distinct models available in this release: the AC30C2 and the AC30C2X.
The Verdict The AC10 might not have quite enough muscle to be a rock ‘n’ roll club amp (though I think it would hang tough and then some in a joint with really good front-of-stage monitors).
For those that use more reverb, a more tweakable, stompbox reverb might be a better match for the Vox’s bright, complex tone spectrum.
The VL-A5 is a 5" two-way reference monitor that's self-powered and employs balanced TRS/XLR combination inputs.
A deep-cabinet design with front-mounted bass ports extends the low end beyond similarly priced units.
Though the AC10 Custom’s virtues as a lead machine are copious, it’s also one of the best rhythm guitar amps I’ve played in ages. Less complicated fuzzes like germanium Fuzz Faces and Tonebenders that still sound cutting and acidic without heavy gain are the best match.
The abundant top end and tighter, faster compression that distinguishes Brit amps from their Fender counterparts means that snappy, syncopated Keith Richards and Memphis-style rhythms ring richly with harmonics, exhibit great articulation, and respond deliciously to picking and muting dynamics as you slash across chords. And even a low-volume Big Muff can add impressive thrust to the AC10’s tone spectrum in rhythm settings.