For 3 decades Ibanez Electronics has created effects the working player could afford, but couldn’t afford to be without. If your current boxes aren’t having the right “effect” on you, it’s time to “lock down” some new tones.
The Smashbox is the most aggressive weapon in the Tone Lok distortion arsenal. Armed with obscene amounts of gain, tight low end, and searing highs, the Smashbox is THE heavy rock sound for the contemporary guitarist.
Drive, Lo EQ, High EQ, and Level knobs provide precise effect control.
On the outside, Tone-Lok effects are equipped with the Ibanez exclusive “set and forget” Push-Lok rotary pots. Push the knobs down and your tone settings lock securely inside the case. No more lost settings or knobs broken by ticked off lead vocalists stomping off stage.
On the inside, Tone-Lok pedals feature hi-fidelity components carefully tweaked with the constant input from a new generation of Ibanez players. And all this great stuff comes encased in a cool looking, road tough metal boxes at prices the working player can afford.
im using a fender standard tele and sometimes a squier strat piece on a peavey mark lll. this thing is fantastic it has a built in quiet void switch that is perfect when i switch to the noisy bridge pickup in the strat. at lower picking levels, it will kill the sound completely, but when im in an attack, it completely kills all the buzz. it is great for massive distortion but it is only mediocre at tube driven sounds. it sounds colder than a real tube tone but ill never use it for that. for what it is meant for it is the best that you can buy.
Oh my goodness. this thing is the most wonderful distortion pedal ive ever owned. this thing is perfect if you want some nu-metal palm muting mesa style distortion but it even works for warm tube like distortion…most of the time. more on that later. but the various knobs and switches are a lot more than on standard pedals, but it doesnt make it complex to use. hell of a lot easier than that tonebone thing that took me days to figure out.
its called smash box for a reason. i thought i would have destroyed it at one practice when i stomped with all my might on it wearing boots. this thing is stronger than steel on crack. i would gig with this thing…had i a need for it still.
ive been playing all sorts of music from country to metal to grindcore and this pedal is perfect for most of those assignments. unbelievable for metal and hardcore. if it were stolen, i would cry but then i would realize i dont need it anymore. i just got myself a line6 spider2 amp. i just thought that since this pedal has done so much for me i should pay it back before i put it into retirement. if you have between $30 and $40 (you might be able to find it used at a bargain) and need or even want a change of distorted pace, by all means get this pedal. dont listen to any of the wierdos that dont like this thing or say its unreliable or bad in any way. those guys shouldnt have the privilege of owning this fine piece of work. it is the best distortion pedal ive ever owned, and ive owned (in order of purchase)boss ds-1, digitech metal master, digitech hot rod, and a cheap ass no name. this is the best. flat out.
Gregg (12/31/2003)
Im using this with very good equipment a gibson / epiphone and a strat. a sundown boutiquue amp a digitech rp100 processor dunlop crybaby and boss phaser. The effect sound great but all of a sudden your battery can end up dead and youll be stuck with the pedal refusing to turn on. I prefer new metal preferably staind and godsmack and this thing kicks the shit out of other pedals. The only thing I hated sound quality wise was it has this piercing sound to it and some excess noise but with my digiitech processor that all changed. With noise gates and compression this pedal sounds incredible.
This thing is obviously very easy to use. But you might need some work to get that perfect tone. I bought this used and it had a manual but it didnt really explain very much cause there is not much of anything to explain low end high end and void switch . Fairly easy to operate.
Ummmmm welll. This all depends on how new your battery is.
I can rely on it if the battery is fresh but when its not look out.
sometimes this pedal takes many clicks to turn on and Im prayin in my head that when I press the button it will engage . I absolutely hate the switch mechanism on this. It is weak and shouldnt have been used on a pedal this good.
I play hard rock such as adema system of a down staind and Mostly original . This pedal has given me much more value than its actuall cost. It really helps give me enough low end and it sounds great for thrash rock because when u palm mute the lower strings u hear it very loadly. Id like to say that if your having trouble with the switch just try to get the hang of hitting it down right and U should be fine.
I know you’re seeing a lot of Rave reviews about the new FD2-MOS and some are thinking “I had a FD or a FD2 10th Ann.. No thanks!” Sorry, you owe it to yourself to put down that (insert flavor of the month) for an hour and take the new FD2 for a little testdrive… let’s just say the blanket has been lifted in both “Normal” and “Mosfet” modes.
Just in 5/07 Winner! Guitar Player Magazine’s Reader’s Choice Poll “BEST STOMPBOX of 2006″chosen by Guitar Player Magazine as one of the all-time top 50 effects ever! Fulltone claims to be the first to offer a switchable “Boost” Channel in an overdrive and manufacture tbeir own Super-Duty 3PDT footswitch allowing True-Bypass plus LED.
Housed in a beautiful powder coated Blue 16ga. steel enclosure, the first channel is the “Overdrive Mode” capable of Clean Boost or non-compressed overdrive or choose light to medium softer Overdrives all while retaining your guitar’s original tone. The Tone knob is a very effective Presence control that can smooth out or add upper harmonics… There’s also a footswitchable second channel “Boost Mode” with its own separate Distortion control for medium to higher gains with a more singing violin-like sustain!
Full-Drive devotees include:
The Rolling Stones
Robin Trower
The Black Crowes
Ian Moore
Steve Stevens
Drew Zingg
Pete Anderson
John Abercrombie
… and most studio guitarists in LA, NY and Nashville.
Use this power supply to power your Line 6 Stompbox Modeler. This is also the authentic Line 6 power supply originally included with the PODXT and Variax. Conforms to North American standard voltage: 100-120V
Absolutely superb. No noise at all. The only time I noticed anything was when I powered a Boss TU2 tuner that was plugged into the tuner out on an Ernie Ball volume pedal. I noticed a slight pop when switching the tuner on and off. Powering the tuner from a dedicated isolated output solved the problem. Other than that – absolutely stellar. The VBat is a *great* little thing. I can only suggest you experiment with it. There are some very fascinating subtle differences with varying voltages and sag times. This only really works with overdrive/fuzz/distortion pedals, and not time-based effects. I currently don't use the VBat, but I may well do so in the future.
Pretty straightforward. There are four isolated channels of DC and one dedicated 9V AC output at the back of the unit. Two of the DC channels are set for 9V DC and each of them has four outputs. These four outputs are not individually isolated, but this has never led to any trouble for me. The third DC output can be set for either 9V or 18V with a dip switch under the unit. The fourth output has three options; either straight 9V DC, 13.2 V as used for certain Boss pedals that require the ACA-type power supply (DM3 and DM2 come to mind), *or* ADL's VBat circuitry. This great little feature lets you set the exact voltage from 6.5V to 9.5V, and also how much "sag" there will be in the DC supply. This emulates the way a battery, particularly the favoured Carbon-Zinc types deliver power – there is sort of a slight "delay" in the power supply. Quite a subtle effect, but very useful. There are two dials under the unit for sag and voltage, a dip switch to switch the VBat circuitry on or off, and finally another dip switch to select either 9V or 13.2 V. The VBat switch overrides the latter dip switch. There is also an LED indicator for each of the four isolated channels. If you plug in a faulty (shorted) power cable, the LED will go off. Very neat. At the back of the unit there is an additional AC power outlet that puts out whatever voltage goes into the unit (110V or 230V depending on where in the world you are), as well as the mentioned isolated 9V AC output.
My only minor quibble is that I wish there were some labels under the unit that told you which switch is which. Also, I think there should be labels on the front that tells you which isolated channel has which options (18V, 13.2V, VBat) and finally LED indicators that light up when either of these options are selected. If you accidentally plug into the wrong isolated channel, you could potentially fry a 9V pedal with 18V without knowing. The manual is very good, but I usually don't keep it at hand, so I've put my own labels on the unit to prevent any such misuse.
I've had it for about 9 months. Never had any trouble whatsoever. It sits on my pedalboard under a shelf. I do gig without backup. Wish I could afford a spare, but I can't. It would be a major bummer if it screwed up, but it has never failed me anywhere. I use this board at all rehearsals too, so I'm confident it'll hold up. It certainly seems very well built. I don't think it's fair to rate it yet, but there hasn't been as much as a hickup yet.
I used to have a Voodoo Lab Pedal Power. That's a great unit for sure, but opted to upgrade to this for a number of reasons. First of all, it has many more features than the PP. More current (each of the VL's 8 outputs only have about 85mA, whereas the Juicebox has 2×400mA, and 2×200mA), more outputs, more different voltages, and best of all, a dedicated 9V AC output. This was essential to me to power a Foxrox Captain Coconut. This is also required for some Line6 pedals. The upgraded Pedal Power 2 has more options, but still not as many as the Juicebox. The Juicebox is the only one I know of that has a dedicated 9V AC output. So if you have a Captain Coconut, you know which unit to buy. Same goes for those with Line6 units that can't be powered off of the PP2. *Or*, like me, those who have just too many pedals…;-) The unit might seem a little large, but it really isn't. The PP is taller, which means it's hard to put it under a shelf. This can very easily be done with the Juicebox. That way it's better protected, plus I can use the shelf to put pedals on. All in all, you get what you pay for. *Very* much worth the extra dough. I would *definitely* buy it again – nothing else will do. Simple as that.
Thorleif S. Hoff (02/01/2002)
The best. Zero noise. Never seen better. Too bad it's not made anymore (as far as I can tell)
Thank god for this site! Otherwise I would'nt know anything (lost the manual, none on net that I can find)! I came here to find out if I could power a 12VAC mixer in my rack with it. The answer was no. I hate my Line 6 Pro delay! I hate my straight signal being digitized! Why don't they build midi-programmable analog mixers into effects? I dont mind my delays being digital, but my straight signal? Agh! Thanks for the opportunity to vent.
Has'nt failed yet.
I am an fx junkie who has had to become practical in the live rig. This thing makes practicality optional. I like that. You can power more pedals than you would probably ever use. I have played for 22 years. This is much better than buying batteries.
Pedaltrain’s most popular model. This unit will easily hold a wah and a dozen standard sized stomp boxes. Includes a tour grade flight case with recessed and lockable latches and new heavier duty handles. Case interior has additional storage space for cables, spare pedals, and accessories.
New Features for the Year
All new Pedaltrain models now include specially designed brackets and
instructions for mounting the popular Voodoo Lab Pedal Power 2 and BBE
Supacharger power supplies underneath the pedalboard with no cutting
modifications necessary. As always, you can still use any power supply of your
Your search for the Holy Grail of VOX tone ends here. To commemorate the 50th Anniversary of VOX guitar amplifiers, Vox introduces the latest in the new Heritage Collection range of hand-wired amplifiers – the AC30H2. Rather than just a typical reissue where a vintage amp is dusted off and copied, this amplifier, like the others in the Heritage Collection, transports you through the golden age of VOX tone, combining the prized EF86 preamp channel of 1958 with the 1963 Top Boost channel all in one amplifier. Add in some modern tone shaping control enhancements and the result is perhaps the finest VOX amplifier in the company’s 50 year history.
Channel 1
Channel 1 is the EF86 Preamp channel, and features two inputs wired in the traditional way providing a 6dB gain difference between them. A two-position BASS SHIFT switch is included, with position 1 voiced to the original vintage-correct bass response and position 2 voiced to tighten the bass response and reduce any muddiness during high volume use. The three-position BRILLIANCE SWITCH provides flat response when in the OFF position. Position 1 is a new position voiced like the early AC30 “Treble†amps, while position 2 is the original brilliance circuit, which acts as a dramatic bass cut. The EF86 Mode switch re-configures the EF86 valve from Pentode mode to Triode mode. Triode mode will give a lower gain tone with higher headroom. Pentode mode is the famed original mode and has a very sweet high gain tone with less headroom.
Channel 2
Channel 2 is the Top Boost Preamp channel. Like Channel 1, this channel includes two inputs wired with a 6dB gain difference between them. The Treble and Bass controls are from the 1963 Top Boost circuit and are extremely interactive. Very minor adjustments of these controls can yield dramatic changes in tone color. And true to VOX form is the Top Cut control, which cuts high from either channel end as it’s turned up.
Flexible Power
The O/P Switch adds even more flexibility to the AC30 Heritage. This switch changes the power output valves from Pentode Mode, which is the normal operating mode of the power amplifier, to Triode Mode which halves the power output to 15 watts and at the same time offering smoother tonal characteristics.
The Finishing Touches
Great care and research went into the cosmetics for this special amplifier which perfectly blends authentic vintage styling with contemporary attributes. These touches include vintage-inspired cream vinyl covering with complimenting dark tan colored handles.
I like the Top Boost chanel. It's very bright sounding but that's the charm of it. I play differently when using it, as it's hard to make it sound bad. Really an amazing amp! You should recognise zillion of classic UK tones with it. A nice alternative between Fender and Marshall. I could use it all the time if given the oppertunity.
Simply an AC-30 TB head. Made in 1966 by Jennings Musical Instrument Co. Three chanels, all tube, hand wired, etc. Rather odd controls for this Fender guy but funtional none the less. I own a matching super twin cab with blue bulldogs. I use a variety of new and vintage effects with it. It's a little sensitive with the noisier stuff but the tone is worth it.
It runs very hot, and likes good tubes. I wouldn't want to depend on it, but I love it none the less. I just keep it serviced regularly and baby it. Definately not my daily driver
I think that if you play jangly rock and roll this is the holy grail. I used to own a Matchless, and I prefer the Vox. These amps are magic, and wonderful for those accidental sounds and overtones. They crunch and chime and you hear every note in the chords you play. I consider myself very lucky to own one, being the po boy I am. Playing for 30 years. Blues, Rock and Roll. They're expensive, not good value, but the sound is second to none. So that rates a ten in my book.
Bill Johnson (09/07/2002)
Vox Handwired AC-30
Absolutely incredible! Vintage Vox tone with great features! The amp a thousand times more incredible in person. I didn't get the combo due to the heavy weight. Both amp and cab are roughly 40 lbs. each so it makes for an easy tote. Great product! Highly satisfied!
Peavey proudly introduces its 6505 Series guitar amplifiers, named in celebration of Peavey’s first 40 years, 1965 to 2005. The 6505 is also the relaunch of the 5150 Series, the immensely popular amplifiers Peavey designed with Edward Van Halen.
6505 Series amps feature five 12AX7 preamp tubes and four 6L6GC power amp tubes, with presence and resonance controls and three-band EQ for taming their notorious tone.
While known as the 5150, these amps became the undisputed go-to guitar amps for scores of rock, hardcore and metal bands due to their raw tone, relentless power and road-proven reliability. The 6505 is still the unquestionable choice for an ever-expanding list of endorsers, including 3 Doors Down, Ted Nugent, Atreyu, Steve Morse, In Flames, Arch Enemy, Visqueen, God Forbid, HIMSA, Darkest Hour, Sworn Enemy, Unearth and many more.
IT makes metal sounds and rock sounds with some tweaking. the distorion is brutal and can choke a donkey. The guitar sounded really good with a schecter hellraiser with emgs in it. I'm sure my guitar would sound good too (esp m400 w/emg actives). it suits my style perfectly which is metal /hard rock. It does make some noise but definitely not as much noise as my pedals those things are too loud.
This AMP rocks! I used to get solid state amps and use pedals such as the metal muff to produce metal distortion, but this thing comes with enough distortion i need and because it's a tube amp it's tone is nice and thick, not thin like solid states. It has three channels clean, crunch, and lead and an eq. It has an effects loop too, which i use to put a little 6-band eq in. I used this amp in guitar center and i was blown away, it had the metalcore tone that i was looking for but also has good lead and solo sounds too. I love it, i find myself heading up to guitar center just to play it and as soon as i have enough money, it will be mine.
It looks solid and sounds solid and tubes are nice and umphy. It looks like it will last as long as you don't drop it off a roof. I would probably gig w/out a backup, but that's because i can't afford another one right now.
I've been playin for three years and own a esp m400 and several effects like chorus, wah, and delay. I would be sad if it were stolen cuz i couldn't afford another one so i would prolly settle for something else. I love the gain but i hate the price, if it were cheaper i pick it up now! It has all i need.
Peavey convert (10/27/2007)
i use a fender showmaster FMT with emg 81-85 set up, bridge pinned down, tuned to drop C. i also use a schecter 006 with a Duncan distortion. big difference between passive and active pickups with this amp. i like the emg's better for the output. surprisingly they were quieter than the duncans.
i play in a newer metalish/progressive at times band. to hear this amp recorded well go to (chronicles of bobby kemp and three hundred are the 6505, the others are a vht deliverance/mesa dual rec combo, very nice as well)
myspace.com/merciany
my only complaint with this amp is feedback. solution: boss compressor. 90$ and cleans up all noise by 99%, without sucking up alot of the important noise-tone. like i said befor, this amp is a rocker, and just like the people that play them, it likes to get a little wild. if you plug into the low gain setting it helps alot if you don't want a compressor, but you lose some power.
I have a hard time rating this one. it's hard to say an amp that was essentially created by EVH lacks features. this amp was never intended to do anything other than produce great rock sounds, no matter what level of rock. it is stomp box friendly, the loop works very nicely. these days what other feature do you need other than an effects loop? ALSO, to the guy below me, if they made a half watt version (50 or 60 watts), it would not sound anything like the 120. cutting two power tubes means losing the tightness this amp has, and sacrificing bottem end (which there is more than enough), and 4 power tubes supports bottom end much better than 2.
any ways, i think the first channel is actually extremely flexible. before i got this amp i owned a Rivera knucklehead 55, and the first channel of this amp produces almost every sound that amp did, (the exception being the better than fender clean that the rivera could produce). this channel is great for blues, classic rock, and good 80's lead. with the crunch button it almost has enough gain for modern metal. the cleans are good for a jazz lead, not the best for chords, it gets muddy if you set the eq up for a good metal sound.
the second channel is nothing but gain. set the pre gain at 3 and you have enough distortion for new hard rock, 4.5 and its enough for the most brutal hardcore/nu metal bands out there, which is why nearly every hardcore band out there has at least one on stage. they are bulletproof amps, extremely reliable, come stock with jj tubes and perform as advertised.
The master presence and resonance controls make tone shaping almost effortless combines the the master 3 band EQ. slight adjustments are very noticeable, bright switch really tightens up the rhythm channel.
i have seen one of these heads dropped from a full stack (WHILE IT WAS ON) and it didnt even bust a tube. without a doubt one of the most reliable amps available. flawless.
If you want lots of buttons, lots of easily accessed flexibility, effects, etc…don't buy this amp.
If you have the patience to find your sound, this can be a very good tool for your tone. I would challenge someone to find an amp that can challenge the 6505 as far as a brutal tone, and cost 1100 or less. im not saying this is the best amp out there. if i could afford a framus then this amp wouldn't see a lot of playing time, but i can't, neither can the average guitar player. peavey did right by their customers, they gave them affordability, great tone, and bulletproof reliability. i don't think you'll be disapointed in this amp if you want great rock/metal sounds.
Almost every guitar center has one, go check one out. hearing is believing.
