Vox’s new Custom series continues this welcome trend by providing classic Vox tones and pro features in fully gig-worthy amps that cost about what you’d expect to shell out for a basic entry-level amp. Interestingly, the new Custom series AC30C2 features a simpler design that does away with the various switches found on its previous (and currently discontinued) Custom Classic counterpart, while the Custom series AC15C1 expands upon the features and versatility of its Custom Classic brother by adding a Normal channel and a master Tone Cut control. The new models also come stock with Celestion Greenback speakers, which replace the Wharfedale speakers and the more expensive optional Celestion Alnico Blues.
The addition of a Normal channel and a tone cut control brings the AC15C1 closer to the classic AC30 Top Boost model than its previous incarnation. With its 15-watt output and single 12-inch speaker, the AC15C1 is like a mini AC30 that’s ideal for small club gigs and recording.
Like an AC30, the AC15C1 includes a very cool tremolo circuit with speed and depth controls. Unlike an AC30, the amp also features built-in spring reverb with a level control. The tremolo and reverb effects are in the master section, so they are applied to both channels, and you can engage or disengage each effect separately with an optional footswitch. An external speaker jack with an 8/16-ohm impedance selector automatically disconnects the internal speaker when you connect an external speaker cabinet, while the extension speaker jack keeps the internal speaker functioning when you plug in an additional cab.
FEATURES
Blackstar's Series One 200 is one heavy amp, weighing in at roughly 60 pounds. Most of this sciatic-stressing heft is from the massive transformers that support the 200-watt power section. A quartet of bulbous KT88 bottles create all of that power, while imparting their special brand of smooth and complex midrange, round highs and deep bass extension.
Essentially, the Series One 200 is a four-channel amp with a two-channel preamp. The channels are Clean, Crunch, OD1 and OD2. The Clean and Crunch share one preamp, while the OD1 and OD2 share the other. The Clean and Crunch each have two switchable modes: Bright/Warm (Clean) and Crunch/Super Crunch (Crunch). Each channel has a dedicated gain and volume control, but Clean and Crunch share one set of bass, middle, treble and ISF (Infinite Shape Feature) controls, and OD1 and OD2 share another identical set of controls. This proprietary ISF dial alters the character of the tone stack from a warm, thumping American-style response to a wooly, lush and softer British personality.
PERFORMANCE
Incredible volume and sound pressure levels are easily achieved by the Series One 200, thanks to its 200-watt engine. However, that power also reveals subtle tonal and texture details that you can’t detect as well with lower-wattage amps. These abilities were pleasantly conspicuous in the Clean channel, which was punchy and surprisingly multidimensional for a circuit-laden amplifier.
The Crunch channel is very capable of producing classic British and American overdriven tones, although the KT88 power tubes maintain a wide midrange response and linear highs. Engaging the Super Crunch switch boosts the gain and also overrides some of the KT88s natural tone with more aggressive mids and punchier treble spikes.
OD2 has somewhat more preamp gain available than OD1. Otherwise, these two lead channels are quite similar in their snappy and harmonically rich vintage-modern tonality. Reasonably high levels of saturation and sustain are available in either channel, but the gobs of clean power maintain distinct note definition.
The amp’s DPR was useful for adding more body to the overall sound, even at low volume levels. It’s like having a built-in Variac, allowing you to keep a rock-solid tone at all levels, no matter where you set the individual channel volume controls and master volume.
THE BOTTOM LINE
Blackstar's Series One 200 qualifies as a true mega-amp, not just for its whopping 200 watts of potential output power but also for its ability to deliver that power with as much finesse as brawn. Four footswitchable channels provide instant access to a range of sounds and gain levels, while the ISF and DPR circuits allow players to infinitely shape the tone, power level and saturation permutations.
Since this time, diehard BLS fans - the Berserkers - along with Wylde have created a heavy metal institution true to his vision of uncompromising, unfiltered, and unrestrained rock ‘n’ roll.
“Order of the Black”, the outfit’s eighth studio album, was released to critical acclaim in August of last year, preceded with an incredible set at the High Voltage Festival. After teasing UK fans for long enough, the Black Label Berzerkus Tour hit our shores on Valentines day, with tonight’s Colston Hall show being the last of eight dates.
Starting their rampage via a melodic intro tape from behind a huge “Sonic Brew” album artwork flag, Zakk and co launch into “The Beginning... At Last” from the aforementioned debut album. The flag drops to reveal the band clad in their ever-present BLS attire, with Zakk stood astride a mic stand consisting of chain, skulls and a crucifix. Already I’m thinking: it doesn’t get much more rock ‘n’ roll than this!
The set-list consists of tracks from across BLS’s eight album catalogue. The first half brings: “Crazy Horse”, “What’s In You”, “The Rose Petalled Garden”, “Funeral Bell”, “Overlord” and “Parade of the Dead”. Flanked by John DeServio (Bass) and Nick Catanese (Guitar), backed by Will Hunt (drums) and a vast Marshall backline, Zakk Wylde and his “brothers” prove themselves to be a brutal live act, totally appreciated by the Bristol “chapter”.
A high point of the evening is the ballad: “In This River”, Zakk's tribute to close friend and former legendary Pantera and Damageplan guitarist Dimebag Darrell, who was shot and killed onstage in 2004. Not only is this an emotional and softer moment in the set, but shows one of the best guitarists on the planet, can also play the piano like a classical veteran.
“Fire It Up” is followed by a 10 minute, jaw-droppingly intense, guitar solo. Perhaps not the most melodic arrangement of his career, but certainly displaying the fretboard mastery and dexterity of the man that has won nearly every guitar award imaginable, and is a major influence to a new battalion of rock guitarists currently popular today.
There is absolutely nothing wrong with a loud band. However, there is such a thing as “too loud” and this was the only disappointment of the night. Towards the end of the show I had moved to the back of the auditorium in the hope of a clearer sound. During “Godspeed Hellbound” and “The Blessed Hellride”, the guitar was still thick and swamped, the kick drum was still too high in the mix and the overall volume was now becoming painful on the ears.
“Suicide Messiah”, “Concrete Jungle” and “Stillborn” completed what was probably the loudest gig I have ever experienced. Those expecting an encore may have been disappointed, but in all honesty, enough was enough. However, this was a great show of rock ‘n’ roll supremacy, a fact I shall reflect on, whilst awaiting the return of my hearing.
