Matchless Clubman 35

Year made????
Styles-Rock,Surf,Alternative,Blues Sounds great on these styles. By adding different pedals can accentuate each style.i use a Hot Cakes Distortion and a "Analog Man" modified TS9 Tube Screamer. by using these 2 pedals in combo or alone can get alot of sonic possibilities.

wish it had a reverb but I use a Danelectro Dan-Echo for reverb...nice lush and warm

Lots of power especially through a Marshall 1/2 stack...I usually use a Mesa Boogie with 2 12 inch speakers in a stand up 1/2 stack style

I need a 12" Vintage 30 speaker for going to friends house or small gigs

Various strats,98 American,Japenese '50's reissue


love this amp...gets lots of possitive feedback from critical listeners

Amp runs hot, if you are gigging alot replace tubes and pay attention to sound quality

Wish I had more Matchless amps!!!!

year unknown
versatile enough for rock music
1 channel - no channel switching
wish it had reverb
enough power for both rehearse and gigs
converted from 2 x EL34 to 2 x 6L6

Teles

This is my second Clubman, and this one is a 1995 model. See my review below on my first. Again, this is a one channel amp that delivers Class A vibe and tone with a minimum of bells and whistles. It does have an effect loop, most pedals work well - the Line 6 Delay modeler does not like either of my Clubman heads, the loop level overloads the inputs on the pedal. Like my 1993 Clubman, I use this amp live, in the studio and rehearsing with the band on a regular basis. This head features a preamp tube compliment consisting of a EF86, and two 12AX7's. It uses two EL-34's (although I like the Svet 6L6's in there too) running in Class A for the output stage and delivers 35 watts.

I would ditto everything I say below about my other Clubman and I will discuss how this one differs from that instead. I use this amp primarily with PRS guitars and it delivers exactly what I want from a Class A amp - a strong warm clean tone - with this head you have to watch the input, my PRS guitars seem to prefer the lower level input on this head - on the 93 they all sound better on the high input. This head is brighter sounding and has a more pronouced mid focus when cranked up. It doesn't have quite as much shimmer on top though, it sounds a bit "tougher" than the 93. For more rocking songs I like this head with a FDII in front, the 93 is better at shimmering Vox type of strummy tones. Again, no real "modern" distortion, more of a Vox grind than "brutal distortion". Beautiful 3D tones are stupid easy to get and I can sit for hours just listening - all with no effects at all - and "feel" the tone. These heads are loud enough for most gigs - very responsive to volume knob and tone knob tweaks. Very detailed sounding and feel very "alive".

I have back up tubes in my gig bag for every type needed with any of my amps - so I feel pretty secure about the amp. I also have a great local tech (Danny Russel at Blitz Amplifiers in Detroit) whom I trust competely. Thus far, no problems at all with this head.

Again, null and void. Too bad. It is a shame these guys are no longer doing amps. Both Mark Sampson and Rick Seccombe are out there making amps again though, so that is good.

Well I got enough money to afford another one by selling an amp. So now I do have two of these and I couldn't be happier with them. They both sound great, differ a bit in the character of tone and deliver a very complex and full sound that works great in any format that I like to work in musically other than really heavy distortion sounds. Highly recommended.

Mine is a 1993 model. This is a one channel amp that delivers Class A vibe and tone with a minimum of bells and whistles. It does have an effect loop. I use this amp live, in the studio and rehearsing with the band on a regular basis. Mine features the first preamp tube compliment offered on this model; a 6SH7, a 6AT6 and a 12AX7. It uses two EL-34's running in Class A for the output stage and delivers 35 watts.

I use this amp primarily with PRS guitars and it delivers exactly what I want from a Class A amp - a strong warm clean tone with a bit of glassy grit on the high end that makes the amp sound 3D. As you crank the gain, you get a nice overdrive distortion, but it falls far short of a high gain modern amp sound. I use a Fulltone FDII in front of it and other than heavy metal type of sounds, this amp delivers in spades and just kills with a beatuiful and detailed tone.

It is built very well, all Matchless amps are. I had some problems with some oxidation on the input jacks, my amp tech picked up on it pretty quick. No big deal. There is some rumblings on the net that the goofy choices for preamp tubes on my version of the Clubman - the 6AT6 in particular - tend to be microphonic, but that has not been my experience. I would never do a gig without an amp backup no matter what.

Well, this catagory is nill. But Rick Seccombe at Overbuilt Amplifiers in CA used to run production for Matchless and is available to do repairs - he is a good guy.

This amp is exactly what I wanted from a Class A amp, and exactly what I hoped a Matchless would deliver me. If I had the money, I would buy another just to have another. Outstanding amp that records as well as it performs live. I love this amp.

For the person who really knows how to play the amp, as well as the guitar, it delivers it all....in spades!

Mostly use 57 classics in a LP classic+, but sometimes use fat 50's in
cheap strat for cleaner sounds. Either way this amps defines the ultimate raunchy, down home blues sound

Other than typical tube complaints (EF86), never a problem. Use for 3-5 hrs. 5-6 times a week. Backup? It's heavy enough already.

That's all history now, isn't it? I've been told they were reasonable to deal with.

Put it this way, price isn't an issue- tone is!
I continually look for and purchase this model because it rocks!
Runs warm, but makes a good hand warmer or space heater, too.
Smokes Voxes, Vibro-Kings, Tone Kings(what a joke), Boogers, Marshalls, on a regular basis! Never compared to Trainwreck.
Try one with Celestion Vintage 10s or the Blue AlNiCos. Magical with a
pair if old AlNiCo Jensen 10s in an Ampeg Bass cab!

I purchased this amp new in the Fall of '95. As far as features it has enough (pre gain, bass, treble, presence, master) features for someone who is an amp/cable/guitar kind of person. I could see how some would feel left wanting. It's not a do-everything amp but how it does what it does is pretty damn good. I sometimes wish it had reverb but you know it's a good sounding amp when you can stand to play it just by itself. It's always been loud enough although it's not quite Marshall Lead 50 loud. I've never been on a gig even outdoors with big P.A.'s where it needed to go above half or 2/3 up. As far as recording it seemed to track better at even lower volumes than that(?) which is somewhat different from most of my other amps. The cosmetics/covering are sort of light-duty compared to how the amp is built on the inside. I guess they assumed that the working guys would buy ATA cases for them. The only other thing about it is, since it is CLASS A it makes a lot of heat. The chassis is in the top of the cabinet which sort of eludes me since you would think heat would dissipate better in a bottom-mounted chassis (i.e. Marshall,Soldano). But I've never had a problem even though it gets really warm.

I use PRS guitars mostly but also have strats and an old abused tele with a mini humbucker (most likely a LP Deluxe) in the neck. The amp seems to favor humbuckers but it would depend on your personal taste. Most of the stuff I play is blues/improv/rock but not so much leaning SRV like a lot of the guys copping that Texas sound. What I play is very touch-oriented so this amp suits that thing real well. I love the way a good older(non-master) Marshall sounds but how long would you really keep your gig if you got it sounding right? The 35 isn't exactly that but it crosses an AC-30/JTM-45/Bassman thing with sort of a high gain (NOT metal or Mesa Boogie) complex tone that's very rich in overtones. If you're good with a volume pedal or your volume knob you can paint some pretty broad tone strokes with it. However, it is not an amp that gets Fendery clean. It compresses a LOT - this isn't bad - you just have to learn how to use the dynamic range you have to work with. That in itself lends it to a lot of suttle shades which I haven't found in too many other amps, vintage or not. Basically you always have some degree of overdrive but there again thats not all bad. I've covered a lot of gigs (from sessions to 50,000 people outside to coutry to reggae) - most anything and at varied volume levels. It works really well especially if you have a good 4x12 (mine's one of the Allmans' old Engls with Celestion vintage 30's ) that's stereo. Only 3 of the speakers are hooked up. One by itself(small gigs, studio), the other pair for bigger places. An important note: This amp, like a lot of the British amps is phased in reverse on the speaker output from Fender amps. This doesn't really show up until you record with another amp running at the same time. I think Matchless included an output phase switch on some of their other models. It's no big deal - just make a speaker cable that is inverted polarity or flip the console channel out of phase. Or don't. Maybe that's some of the amp's sound.

The only problem I've ever had with the amp was due to it being under water for three days when my house flooded in '97. That wasn't covered under warranty but they (Matchless) treated me right as far as the repairs were concerned. This amp probably had 250 dates on it before the flood and has about that many since I got it back from them. Other than GZ-34 rectifiers that go bad I've had few if any tube problems. It likes the Svetlana EL-34s (they sent it back with GT grade 6) but they don't live long. Ah, the downside of class A. I guess I should count my blessings since from what I've heard they are not in business any longer. As a footnote as with any tube amp I'd always carry extra tubes. I've needed them before; especially the rectifiers. That's not the amp's fault - just the QC in the Chinese tube factories. As far as backup goes never say never no matter what amp. There again, no non-tube failures.

Like I said they were real cool. WERE being the operating word there. Imagine an amp filled with mud and river water. Not a pretty picture, especially since it's been my main amp ever since the day I got it. Now imagine new output trans, pots, filter caps, and tubes and a complete cosmetic cleanup for just the cost of the parts. I think that ran about $250 give or take a little. I'll give them a 10 for what they did - that obviously doesn' matter much now though.

Iv'e been playing guitar for 13 years now with the last 9 or so "professionally". It's a meager living but I wouldn't trade it for anything. Along the way I have literally owned dozens of amps (plexis,tweeds,brown,white,blackface,Mesas,Voxes,Hiwatts,you name it ) new, reissue, and vintage and the only amps I even rate up with the Clubman 35 are my tweed Vibrolux and my '65 Super Reverb. My Clubman WAS actually stolen one time (I got it back) and I hope I never have to go through that again. If I could find another right now I'd buy it but I haven't found one. In fact, if there's anybody out there who has one for sale or has a lead on one I'm interested. Please email me - I have tried to contact Matchless but no luck. I know this sounds crazy wanting an amp that you can't get parts or service for but I'm willing to risk it. As far as value goes its been well worth it. I hear good things about the Trainwrecks and Bloodhounds but they're probably further out of reach.

It as every thing you need, the tone controls are more efective that the Chieftain. It as a loop if I have a which will be the reverb but with a good Inteleflex on the FX loop you do not miss it. The most versatile Matchless Amp.

I play a strat with Antiquities and a Les paul with Seth Lovers. This Amp is a like a Chameleon you can go from a clean Fender to a Marshalls "ZZ top" Raunchy to the bone. Use the FX in front or loop and anthyng sounds killer. You can do the J.J. Hellecasters sound. But still very Voxy sounding. Try different tubes and you get very different sounds. You can use 6L6, 6550, EL34 and the rectifier use the chinese GZ34 or for that ZZtop a 5V4 or 5U4 NOS. I used Grooves LS good, Sovtek G good but less Bottom end, Svetlanas 6L6 or EL34 sound good. This amp as bottom that goes for days. I love it, I love it a 0wned A SC-30, CHIEFTAIN AND SPITFIRE. I will not sell my CLUBMAN and my DR Z MAZ This is a great studio amp or for gigs. It sounds louder that a Chieftain I played them side by side.

The model that I owned is the most reliable it as the EF86 on second stage. You must have a good set of tubes and they last but do not aspect to get them for a life time. They can last from 6 to 1 year depend how do played them. Tubes are the diference of great sounding to an average sound. You should try different ones and see what you like. SERVICE FREE AND BIAS FREE, I MEAN NO BIAS NEEDED WITH POWER TUBES.

Every time I called Rick was allways ready to help you. Never a problem since 94. Lifetime Warranty.

From 50's, SRV, SURF, Country, JAZZ, Heavy Metal, Grunge and megadeath. I use it for Blues and great guitar tone. I want live without my Clubman and my DR Z Studio Deluxe MAZ. Two great FIRST CLASS and Class A amps.

Class-A, El-34 driven, one channel rock and roll machine. Controls are straight-forward with volume, bass, treble, presence, and master volume. With just those 5 controls, you can dial in a surprisingly wide range of tones, from a pseudo Santana or SRV clean to thunderous Led Zep. Has an effects loop, although I find my fx sound better running through the front inputs. Wish it had reverb, that would make this amp nearly perfect.

For blues or classic rock, this amp can't be beat. I play in a classic rock cover band, this amp can pull of whatever I need-Santana, Black Crowes, Zeppelin, Floyd, Clapton, Stones, Aerosmith...you get the picture. Extremely versatile for the limited number of controls you have. The amp is fairly responsive to the tubes you put in it. The stock tubes were horrible (I discovered after replacing them), and settled in with Sovteks after experimenting a little. They gave me more headroom and much more controllable gain. With my Les Pauls and this amp, I'm set.

No problems in 9 months of nightly use, and I bought it used when it was about 2 years old. I'd gig (and will be soon) without a backup without thinking twice about it.

I had some questions about tube replacement and was sent to one of their techs who was incredibly nice and helpful. Lifetime warranty is nice. Well for someone who bought it new, which I didn't.

I've owned the amp for about 9 months and the more I play it, the more I like it. I've shopped around for other amps (because I had the money to blow on one) and have never come home with one. I'm trying to think of something negative to say about this amp and can't. Wait, here's one: It runs really hot (class A amp, no surprise) and when I set my rum and cokes on top of it, it melts the ice really quickly. That, and it being single-channel I need to use my TS-9 for lead boosts. Waah. One interesting note: you can switch tubes without rebiasing, and it'll also take 6L6's. (according to the tech at Matchless I talked to) Just wish it had reverb! That would earn it a "10" overall. Would I buy it again? I got a good deal on this one used, $1200 with a Matchless 2x12 cab. Best money I've ever spent on gear, but if I was buying a new amp I'd also look at other Matchless amps or Egnater and Rivera too. But then again, only fools buy new gear!!

One chanel, not many features, but that's fine with me. I find that with higher priced amps, usually the fewer knobs the better the sound. The pre-amp has only gain, treble and bass, ant the poweramp has brillance and volume controls. I don't use the effects loop effects sound better plugged into the front end.

For rock or blues, I can't imagine how the sound could be improved. I once aditioned for a band, and although I didn't get the gig, the members of the band were astounded with the sound of the amp. I use a PRS Custom and a Rickenbacker 360-12. The Rick sounds great for Beatles and Byrds tunes. This amp really shines at high volumes. If you overdrive the pre-amp, it sounds good, but so do 1000s of other amps; to really make this amp strut its stuff, you have to saturate the power amp--that's when you really get the class A groove. I also play jazz with a Yamaha AEX-1500--this is NOT a jazz amp.

I have had several problems. After owing only a few weeks, it stated sounding terrible, and I had to send it back to Matchless for a modification (this was years ago--it was one of the firt Clubman 35s made). Since then, I've had fairly frequent pre-amp and rectifier tube failures. The power tubes have never failed.

The only time I had to send it back, they paid shipping both ways. A couple of minor problems were handled quickly by the dealer. I have no reason to believe they won't stand behind their no-time-limit warranty.

I sold this amp this week. I truley enjoyed it for the years I owned it, but I'm not currently in a band, and it was overkill for playing at home. I will probably some day buy a Matchless again--they're heavey, run hot, and fry tubes, but the sound....

I have found this amp to be very easy to dial in for the varied tones required to use in both bands I play in: a Top 40/Classic Rock as well as a more strait ahead blues band. I pretty much always use the hotter of the 2 inputs, and never have bothered with the fx loop. I would love trem on this model, but get by using a pedal effect. Having trem would eliminate cluttering up the signal path-always a good idea. This amp has been my main workhorse now since May '95. I have used it in all weathers, indoors & out,bars taverns, festivals,barns, garages....you get the idea. It is always loud enough & then some!

This amp is exactly what I was looking for- Clean to mean & in between. I play a wide variety of material, and this amp has proven to be the best base to start from! I use guitar volume, a TS-9, and a DOD TR3R, as well as dynamic picking to control tone, this amp is very resposive. Havn't noticed too much noise, other than that pesky 60 cycle hum from those @#$%&** beer signs that most amps pick up... Tone is sweet and always musical except when preamp and/or tone controls are stupidly applied (set at 11 !) I use a Reissue Tele with G&L pickups, a '62 Reissue Strat with Van Zants, a Hamer Duo-Tone, and a '60 Tele. Its all good.

Heres where things depart from the prior reported "perfect world"... Since I've had it, I have had much tube failure,mostly power section, but pre as well. Local trusted amp repairman can't find anything wrong... I never gig without a back-up...

I'll keep you posted- I just wrote a rather blunt letter to Mark expressing much of the above. This letter went down to him along with my recently purchased Hot Box for repair-1 week after I bought it...

I don't know if I would buy it again-Sure,I've used it alot,and I love the tone enough to put up with its short tube life and all, but can't I have both good sound and reliability?? I would like to close by recommending that anyone who buys one of these to be prepared to buy good tubes to feed it, and lots of them- I have found Svetlanas to be robust& good sounding. I will monitor this website in hopes of hearing other reviews of this amp- Hope others have had better luck with theirs...