Price paid: C$ 250
Purchased from: Georges Guitars and Music
Sound — 7
For pickups, I used single-coil and humbuckers, in Les Paul style guitar(s), and a Telecaster. I played this live a couple of times. One of the things I liked was the amps ability to retain its original sound, even when cranked. Some solid state/modeling amps either muddy down or brighten up too much, and with this amp's master volume cranked, it managed to retain the sound I wanted without any altering. I used a Boss GT-8 through it, and it worked great. Handled effects very well. I would recommend putting the amp through it generally flat sounding clean channel without any EQ altering, and then putting an effect pedal into the front, like the GT-8. It works quite well. My style was blues and rock. I played quite a bit of metal, but you come to realize all the amp models sound somewhat "generic". They are good, in that they a smooth and rich, but even with a 12AX7, as I remember, resembled in no way true "tube" break up. For soloing and sweep picking, it was smooth and rich, which was good. As far as anything else going, it lacked (for metal), crunch, break-up, and just generally balls. All amp models seemed to retain "tightness" to the point that any amp model have the same "feel" to it. The best heavy amp model was the "nu-metal", and required something like a Boss SD-1 Overdrive to beef it up. Aside from metal, clean and jazz would be great. The tremolo and phasers were quite nice, as well as the flanger being surprisingly gutsy. The clean amps, like I said with the 12AX7, didn't resemble true tube distortion break-up, but had their own unique sound. Even with the gain on full, you just got a louder punch with the all around smoothness, which was nice. I particularly remember the reverb. It was quite good, and very sensitive, which I loved. Adding reverb and such to any amp was a good idea, and the delays also were easy to control, and didn't overwhelm your sound, no matter how much you put on. The effects were exceptional, and most of the amp models were decent and exceptional. If your looking for an overall nice rounded smooth sound, with guts on most amp models, go for it. Adding any type of multi-effect or distortion pedal to this amp, you cannot go wrong. Going for metal, this amp will eventually lack the ballsiness you might desire as your ear gets more fine-tuned. I had this amp thinking it was all I would need. It was up until I hit metal, that was my big breaking point. But it introduced me, with its sensitive EQ, spectacular amp models, and effects, into a realm where my ear became a part of my voice, and this amp would suit a lot of peoples needs.
Overall Impression — 7
I play a large variety of music. Virtuoso, jazz, blues, classic rock, and metal. Like I said, this amp lacks truly in metal. Any other genre served pretty good. I used it for a couple of years, and I didn't find out about the tube in it until later. So don't be fooled, as I was disappointed to see its role had no role at all in the amp; if your looking for a tube amp, go for it. I've been playing for around 10 years, and when I had this amp, about 9 years. It was not my first amp, but my first modeling amp that I upgraded to. It served its purpose, and I have no regrets. If it were stolen (I love this question), I would buy it back, and generally beat the crap out of the person that stole it, because stealing is wrong!. For everything but medal, I don't think you can go too to wrong. It's versatile. I now use a Line 6 Flextone III as I am a fan of good modelling amps. The Line 6 surpasses this amp, honestly, by a lot. It does the Vox better than the Vox itself does, which I find ironic. It has no claim to tube like the Vox does, and sounds infinitely better. But like I said, it's all about your ear. Overall, this amp is a solid 7/10, but as the saying goes "if your good at something, there is always someone (or in this case) something better".
Reliability & Durability — 9
This amp was solid. Built like a tank. There was a pound for every what, haha, so a 50 pound guess would be accurate. It was very sturdy, I remember inspecting the speaker when I took off the back. The soldering for the speaker, connections, and inside cleanliness was very surprising. The speaker was a custom built I believe for Vox by Celestion, and to me, you cannot go wrong with either brand. I did however, experience some electrical problems, where a channel cut out or something. I never dealt with the customer service, but I did just send it to my guitar store, and they sent it to Vox where they fixed it, free of charge. I would depend on this amp for live, studio, or bedroom use. I would use it on a gig for the right type of music of course, and I can see the tubes never ever being an issue, as they seem to do nothing sadly. No warm-up time is needed for the amp, like a real tube amp needs.
Features — 7
This amp when I got it, was a great amp. It features a 12AX7 tube. I have come to learn that the tube, if taken out, does anything from lowering the volume, to nothing. Other than that, it's a "trans-tube" digital solid state amp. It has 2 channels I believe, with a built in noise suppressor, several effects, all of which are easy to navigate. I used this amp in-home, and I played blues, rock, some metal on it, then my styles changed (which I will get to). As I said, it had many amp models, most of them just general "Vox" models. Sadly, I currently have another modeling amp that does Vox amps better than the AD50VT can, which is very ironic. There is no effects loop, but a headphone output jack, and one input for guitar. The speaker, as I took off the CLOSED back to see, was a "Vox Celestion 70/80". At 50W it was plenty loud enough.