The Jazz Amplifier par excellence.
This Amp can achieve the sound of Django's later electric days.
The aim when designing the Nuance VLT15‑10 was to recreate the sound of
the original medium power valve amplifiers, in particular, the Stimer M12 as used by
Django Reinhardt, using a valve amplifier assisted by modern technology. The amplifier
is housed in an elegantly designed cabinet that has a "retro" look.
The preamp uses modern electronics to allow a wider range of control than was available in the original but,
of course, this range includes the characteristic sound of those early amplifiers.
All of the controls are easily accessible on the top.
At home, the elegant and unique appearance of the amplifier will grace
any living room or studio.
Features and Specifications - Nuance VLT15‑10
The power amplifier can provide a full 15 Watts from a push pull pair
of EL84 (6BQ5). The power supply uses carefully crafted electronics to
place the valves in the same electrical environment as in the older
amplifiers. This removes the weight of the smoothing choke and has the
added advantage that a standby switch working at low voltage can also be
provided. No dangerous high voltages are present in the pre-amplifier
The standard loudspeaker is a 10-inch Jensen with a neo magnet,
chosen for its
smooth response combined with high sensitivity and light weight. The power from the
amplifier, combined with the sensitivity of the loudspeaker, particularly in the
midrange, gives it a huge reserve of loudness with over 112 dB at full output and even
more as it is pushed into overload.
The amplifier has two inputs. The high gain input “H” has the usual high input impedance of
one megohm and is meant for guitar. The other, “L”, has a lower input impedance of 140 k ohms
and half the sensitivity.
The model VLT15‑10 has four pointer style “chicken head” control knobs
and a treble switch. Separate circuitry is used for each function, so that adjusting
one control doesn't affect the others. The controls have been carefully chosen to
combine range with usability. In many situations the neutral setting gives good
results, but the full range of control is always available. There is also a series FX
input placed between the tone controls and the volume control.
This control, centred roughly
at A on the top string is in its zero or flat position at 12 o'clock. Turning it
clockwise increases treble while reducing bass; turning it anti-clockwise enhances the
bass while reducing the treble. The control thus tilts the amplifier response in various
degrees towards bass or treble.
This control, with zero at 2 o'clock allows a modest boost or a deeper cut to the mid range,
centred roughly on A on the top string. Cutting the middle is equivalent to boosting both bass
and treble. When playing rhythm, for example, one can turn down the middle and move the tilt
control a little towards the bass. This will give a clear, bass heavy rhythm tone.
Volume A true gain control. The amplifier is designed so that
with a guitar input, only the output stage can be overloaded and the preamplifier has
the capacity to push it well into overload.
Reverb Reverb is added after the volume control.
This switch provides an extra fixed treble boost.
FX The FX connector is a Tip / Ring / Sleeve type jack, where the
ring is the send and the tip is the return. To use the FX loop a send / returnY-cable is
The main power switch is located on the lower back panel of the amplifier. It is combined with
a mains fuse holder and an IEC input socket for the power
The standard amplifier is wired to accept the normal European power supply of
nominally 230V. As an alternative, it can be supplied wired to accept 115V. Because the
power input is via an IEC connector, different power sockets can be accommodated by
choosing the appropriate power lead.
The amplifier requires a three core lead which includes a ground
The standby switch, marked by a lightning bolt, is mounted on the right hand side of
the control panel with the power LED below it. When the amplifier is in standby, with
power on but no supply to the valve anodes, the power LED glows orange. When the switch
is brought out of standby, the LED changes to green.
Normally, one would switch the amplifier to standby before turning on the power and
then wait for thirty seconds for the valves to warm up before switching to play.
The valve and power supply sections of the amplifier, which are located at the bottom
of the case, contain high voltages which can kill if touched.
To make the amplifier safe, the whole of the lower part of the case is protected by
a strong metal grille which is connected to ground at the power socket. With the grille
in place, the delicate glass of the valves is protected from damage and the user is
protected from contact with the high voltages and the hot output valve.
The amplifier must never be plugged in to mains power without the grille in
place. If used outdoors, the amplifier should be protected from moisture and rain.
For carrying between locations, the VLT6‑10 is supplied with an
adjustable webbing strap which attaches using strap locks for security.
In the studio or on a gig, it is convenient to remove the strap and carry the amplifier
by lifting under the back rail.
Size and Weight
The dimensions of the VLT15‑10 are: