Vox Mv50 Clean, aC & rock Heads
It’s minimum size, maximum tone from Vox’s new valve‑powered triple mini‑amp attack – 60 years on, and Vox is still cutting‑edge
Vox MV50 Clean, & AC & ROCK heads £199
one of the hottest product launches at this year’s Winter NAMM was also one of the smallest. Vox’s new MV50 heads are not much bigger than a stompbox and come in three different flavours: Clean, AC and Rock. Clean is based on classic American amps from the 1960s, AC is intended to capture the sound of the classic Vox AC30, while the Rock variant is a hot-rod that is inspired by classic British amps of the 70s.
While Class D power delivers a maximum of 50 watts into a four-ohm load, the real revolution is in the preamp. The MV50s use valves – not just any valve but a new design called the Nutube 6P1: a clever bit of lateral thinking by Vox owners, Korg (see What We Want To Know, left) that uses a tiny fraction of the energy of a 12AX7. This lil’ valve was first announced at the Winter NAMM show of 2015 with a couple of relatively low-key prototype demos to test the water. However, anticipation has ramped up with the arrival of these MV50s at this year’s show.
All three MV50s have the same black and chrome steel chassis; a diamond-shaped window on the top shows off the neat 6P1 valve, while the control panel’s main feature is a backlit VU meter. Removing four small machine screws releases the lid, exposing a miniature work of production engineering art, where practically every cubic centimetre of space is filled with something. Four smart red PCBs support a mix of surface mount and miniature discrete components, with the 6P1 (sat on its own board) piggybacked over the main PCB. It’s supported on anti-shock mounts and connected with a multi-pin plug, making replacement straightforward if needed. Under a magnifying glass, it’s just possible
From beginner to pro, the 6P1-powered MV50 could very well turn out to be a game-changer
to make out the 6P1’s single wire cathode and the lattice of the control grid.
Along with a single input jack, each amp has three mini chickenhead knobs, used for gain, tone and volume on the AC and Rock variants, while the MV50 Clean has treble, bass and volume controls. Rear panel features are nearly identical for all three models, with a speaker-emulated headphone/recording output and an EQ switch that changes the output from a flat response, intended for large cabinets, to an enhanced bass lift that works with the MV50’s partner cabinet, the specially designed BC108.
There’s a single speaker outlet with switchable four-, eight- and 16-ohm impedance settings for the Rock and AC amps, while the MV50 Clean gets a three-way attenuator providing a choice
The addictive response of these heads feels ‘real’. You’re not plugged into a digital facsimile; these are proper amps
of full, 1/10 or 1/100 power options. All three amps have a power switch together with an ‘Eco’ function that turns the MV50 off after about 15 minutes of idle time, and a socket for the laptop-style 19-volt DC power supply. We like the raked-back control panel and colour-coded diamond pattern behind the famous Vox logo, which gives the MV50 a distinctive retromodern look, with a tiny hint of Spinal Tap ‘Mr Horsepower’ from the VU meter that’s sure to appeal to many players.
Sounds
The MV50s are exceptionally quiet, with very low hiss levels and zero hum, thanks to the external DC power adaptor. You might think with only three controls on the front panel you’d be somewhat limited in terms of tonal range, but that’s not the case.
Each amp is perfectly dialled in. The MV50 Clean produces sparkling, syrupysweet highs and a round, punchy bass that typifies the ‘blackface’ sound. Pushed hard, with the volume control up to around three quarters, there’s a subtle edge that’s great for blues, country or jazz.
The MV50 Rock delivers stunning hot-rodded ‘Plexi’ tones, covering classic Hendrix and Kossoff at lower settings, while the upper reaches of the Gain knob will get you Billy Gibbons and Van Halen, with a few appropriate effects plugged in.
Onto the MV50 AC and this one covers the middle ground, nailing the AC30’s elusive midrange and chiming treble, together with proper class A grind at higher gain settings, which is perfect for The Beatles, Tom Petty and Rory Gallagher material and not far off Brian May at full tilt.
The addictive response of these heads feels ‘real’. You’re not plugged into a digital facsimile; these are proper amps, illustrated by the 6P1’s anodes flickering as you play. Real valve dynamics kick harder when you dig in, with tons of harmonic overtones, and sweeten up as you back off the guitar’s volume. There’s plenty of power on tap; the specially designed ported BC108 cab is amazingly loud for its size and very usable for lower-powered gigs, while plugging the MV50 into a 4x12 unleashes sufficient volume levels for most small pub gigs. For home recording, you can disconnect the speaker and use the excellent headphone/ line out for pro-standard results.
Verdict
We really think this MV50 trio of amps could turn out to be some of the most popular modern Vox designs. There’s no channel switching, digital effects or loops, but what you do get is serious tone that holds its own in any environment with enough power for recording, rehearsal and small gigs, in a package no bigger and no more expensive than a high-quality stompbox. From beginner to pro, the 6P1-powered MV50 could very well turn out to be a game-changer. It’s a credible step into the future and proof that, after over half a century, the Vox spirit of innovation is still very much alive.