V-Amp recently announced their new K-range of compact combo amplifiers, specially designed for keyboard instruments, and we are glad, to be the first to bring you a proverbial blasting from and about their top-of-the-line VA-60K. There are two other models in the K-range, the VA-10K and VA-30K rated at 10+ watts into 4 ohms, and 30 watts in to 8 ohms respec. The VA-60K claims to pump out 60 watts r.m.s. into 8 ohms, and from the various tests I carried out, these figures seem to be more or less accurate.

All products in the V-Amp range sport the same basic construction. The cabinet is constructed (by Packhorse Cases I'm informed) from 15mm birch ply bonded with 18mm chipboard, and is pinned and glued, so for cabinets of this size these are pretty solid units. Now many different coverings have been employed over the years to get away from the leathercloth/rexine of yesteryear; V-Amp have come up with this plastic covering that has the appearance of glossy black porridge. Anyway, its been sprayed all over the wooden casework, and the result is rather nice, maybe a bit like a box that has just been Tarmaced. Anyway, it seems pretty rugged stuff, and makes the cabinet bloody solid. The electronics and speaker are front loaded into the casework, and the unit is finished off by bolting a black nylon coated wire mesh over the speaker for protection.

Keyboard amplification is a bit of a grey area, however its importance is ever increasing. To call a product a keyboard amp is rather like going into a greengrocers and asking for some vegetables, you see different types of keyboards need specific amplification. For example electro-mechanical keyboards such as Wurlitzer and Rhodes Electric Pianos, are generally best suited to valve amplifiers, whilst synths really should utilise solid state amplification circuitry. Interestingly the Hammond tone-wheel organ amplifiers were designed to operate only up to 9kHz; it was only when people started using fuller frequency rigs that the now customary and desirable key-clicks were discernable.

But I digress; it would seem pretty obvious that Deanvard Ltd, the V-Amp's manufacturers, are expecting their product to be used on modern electronic keyboards, and consequently the following prime requirements are desirable: 1) full frequency response — many electronic keyboards of today feature rhythm units, and for these to sing out you need quite a bandwidth; 2) a clear clean sound with low distortion; 3) No spurious background noise; 4) Several inputs — most players have more than one keyboard these days, though the large stacks of the Seventies are far less prevalent; 5) Reverb — the only spatial effect generators that are to be found on most electronic keyboards are chorus/ensemble circuits, therefore a reverb unit is necessary to compensate for the dryness of an electronic keyboard, especially for imitative work; 6) Tone controls — not so important, but useful.

So let's take a look at the VA-60K and see how it fairs alongside our checklist. The frequency response is remarkably good, even with the 'tone controls' flat. The bass end response is suitably punchy, and the cabinet is relatively free from nasty resonant peaks. Nothing seemed to rattle unduly, even at Storm Force 10 on the Fiona Richmond Scale. (Hmmm, must try that one — Ed.)

"...IT SEEMS PRETTY RUGGED STUFF..."

The VA-60K utilises a 12" Celestion G12K-85 dual concentric speaker, with cambric edges (mmm... ) and this seems to do the job quite nicely. The sound is relatively uncoloured, a difficult task for a combo amp, and even when using a top octave generator type of poly keyboard (i.e. a cheap Italian electronic piano) little distortion (other than that what's already there) can be detected.

Strangely, V-Amp have given the VA-60K just two inputs — both Flat, and of 100mV sensitivity. There are two controls associated with these inputs — 'Mix-Balance', which enables one to compensate for differing levels of the inputs, and Master Gain. Now, I realise that this is an inexpensive item, but I feel for a modern keyboard amp there should be at least four inputs. There is a trend towards separate mixing stations before amplification, but if this were in the designers' mind, why incorporate the next feature, the parametric?

"THE FREQUENCY RESPONSE IS REMARKABLY GOOD, EVEN WITH THE 'TONE CONTROLS' FLAT."

Actually this is a powerful tool if you are amplifying a keyboard with little tonal control. This circuit is a cross between basic tone controls and a parametric, with set Bass and Treble rotary pots that provide +/-14dB at 100Hz, and -28dB/+15dB at 10kHz respectively (manufacturers figures), whilst the middle frequencies have a one-band parametric circuit whose frequency can be set between 120Hz and 1.6kHz and which has 35dB's worth of cut and gain. So, as tone controls go, the VA-60K is more than well provided for.

The reverb spring is remarkably well isolated from knocks, it takes quite a thump to get it rattling. The spring is mounted on the bass of the cabinet, and is controlled by a single depth control, however it can be switched in and out by using a footswitch (pedantically?) (Groan — Ed.). The bandwidth of this spring, as with nearly all springs is no greater than 2kHz, but nevertheless it still adds that naturalness that electronic circuits cannot provide.

The cosmetics of the control panel aren't particularly wonderful. The panel itself is grey, with bold black graphics. The knobs are nice chunky black plastic ones, whilst we have our old friend the neon mains rocker interfacing us with the National Grid.

I must say that this is an excellent value for money amplifier, that does the job... plus. I think that the unit could be a little more attractive and its styling a little more modern in order to appeal more to today's electro-culture. As a group-gear keyboard amp the VA-60K must score pretty high marks.

V-AMP VA-60K (RRP £165-77)