Victoria Amplifier Co. 35310-T

This amp is great for blues or rock, even twangs in the bright channel below 7. It has a bright and a normal channel, you can jump them, I believe. No effects loops or any of that, just pure tone. Wish it had reverb, but then it wouldn't be that beautiful unadulterated tone path. I play bars and clubs and rehearsals with this amp. I had Mark at Victoria install a Bassman sized output transformer, for a little more headroom and bottom end. Makes the amp more useable for gigs. I also changed the 5U4GB rectifier tube for a 5AR4 for a little more snap and headroom. I love the changes. The lack of features is the amps tonal strong point.

This amp stay's pretty clean below 6. Though you can change the breakup point with the treble and bass controls. They act as gains above 6. Set the volume on 8 or 9 (out of 12) and it sings like a mad thing. Turn down the volume on your guitar to clean up the sound. We dont need no stinkin pedals. It really sings amazingly with P90's. Great with Strats as well. It does rock-n-roll better than other tweeds. On the bridge pickup with the P90's, I was able to get a Leslie West, Eric Clapton Bluesbreaker sound. On the middle and neck pickups, it was blues deluxe. You can do funk style chord work on strats with the volume rolled back on the guitar. I give it a 10 with P90's, a 9 with strats. Hard to give anything a 10.

I've been playing Victorias for a few years, never had a problem with one.

I've never had a problem. I've called the company a few times, they were always very helpful. Its cool, you can speak to the people who build your amp.

I've been playing for almost 30 years. I had a Victoria 45410 Bassman, which is also amazing, but I never got to turn it up loud enough to really break up. If your looking for loud clean, or louder breakup, thats your amp. It breaks up amazingly, but you have to have it up pretty loud. Thats why I have the 35310 Bandmaster. With the mods I've had done to it, its really great for bars and clubs. If the amp isn't loud enough, the band is too loud. You can get great natural breakup at decent volumes, but still have headroom when you need it. I also put Weber 10A125's in it. They work well in this amp. Sometimes they're too dark for Victorias, but work well with this amp. I would get another one if this was lost. This has taken over from my Victorilux. The Victorilux does amazing clean, and edge of breakup. It also has trem/verb, which is real nice. But nothing breaks up as sweet as tweed. Especially with P90's, strats and buckers are real nice, but its a 10+ with P90's, just perfect.

Mine was manufactured in 2005. I had the opportunity to play a '59 Bandmaster, and with the same "breaking in" I have no doubt that this amp will just get better with age. The amp's versitility isn't an issue since it's a replica of an old Fender tweed, and what is missing in the way of bells and whistles is more than made up for the beautiful tone and and wonderful tube snesitivity. If you want channel swithing, this is not the amp for you. That's not to say it's one-dimensional. Like any good old tweed, the tone controls respond to subtle changes. And if you want clean -- you can get clean. If you want overdrive -- crank it up and there it is -- a very tight overdrive too. The three ten speakers give this amp unique dynamics compared to other tweeds.

The main reason I bought this amp is that I read an interview with Pete Towshend (from The Who) a while back and he told the interviewer that sometime in 1968 Joe Walsh gave Pete a Gretsch 6120 and a 59 Bandmaster.
Townshend went on to say that he was skeptical at first, but when he pluged in the Gretsch to the Bandmaster, it absolutely blew him away. Towshend used that setup to record every Who album from "Who's Next" on. As a kid, I was always blown away by the guitar sound on, say, "Bargain." How did he get that ringing distortion without saturation?
This pair-up was the answer. So now I have my 6120 and my Bandmaster repro, and sure enough, I get that sound.

I also run a Les Paul with p-90's and a 69 Tele. This amp brings out hidden possibilities with all the guitars I play through this amp. And it is loud.

So far I haven't had any problems, and I don't usually bring a back-up amp to any gig. I do have it serviced every six months.

Haven't had any need to deal with the folks at Victoria, except when I purchased the amp. They were very helpful

I've been playing for close to 18 years -- much of that as a side man for various artists. This amp is the amp I use when I'm playing my own music just because I know the sound that I want. When playing for other artists, I used a Rivera 55-12 for versitility and endurence sake. I have used a Fender Hot Rod Deluxe, which is great, and a Hiwatt custom 50 Head. The Victoria is just another amp taking up space in my already crowded living room among my favorites.

This is a 2004 model. It has four inputs, two volumes, bass, treble, and presence. Plenty of midrange is built into the amp. Thank God it doesn't have effects loops, channel switching, or headphone jacks. This a touch sensitive tube amp which reacts well with pedals. I rarely use the normal channel, and have not tried jumping the channels. I would say this the most versatile of all the Fender tweeds, and can be used to play all styles short of metal.

I play a '52 reissue Tele and Alnico 5 Les Pauls. This amp is without question the finest 10" combo ever made for rock and blues. I would only say the Blockhead Marshall clones and the Low Power Tweed Twin beat it. The 35310 has an angelic top end which the others can't touch. I love classic rock and blues. I like modern rock as well. I have owned or played all Narrow Panel Tweeds, Blackface Fenders, and Plexi Marshalls. I have owned or played many of the new boutique amps and reissues. I traded a beautiful original '59 Fender Bassman for this amp, and I have no regrets whatsoever. I could buy whatever amp I wanted at any price and I chose this one.

Here's my two cents. If you like 10" open back combos, but are tired of the farty bass sound, this is the amps for you. Understand, you still can not run the bass above 4 or 5 at high volumes. There is something about the three 10" alnico speakers that is beyond beautiful. Two 10"s break up too soon to play with heavy handed drummers (Vibrolux, Matchless Chieftain 2X10). Four 10"s don't break up late, and tend to be farty when they do (Tweed Bassmans and Super Reverbs). This amp is perfect. It will give you all that great big crunchy Marshall tone in a compact package.

I believe all deviations from the original spec's are intentional, and are done to improve tone. The cabinet is the same size as the Bassman, a point the Clark reviewers make, but I believe this is no accident. The baffle board seems thicker, stiffer and less resonant than all of my originals. I attribute this to the improved low end. I'm also happy they put the GZ34 tube in it. They hold their value better than Clark Amps.

Everything you've heard about this amp is true. With the volume above six, turning the treble above six yields more gain and volume ( as well as more treble). With the bass at 12, it actually cuts the mids ( just like the Tweed Twin). When using the bright channel, turning up the normal channel adds volume and bass. You can dial in so many cool distorted tones, and that's before adding pedals. Did I mention that this thing loves pedals? Break out the Klons, and Fulldrives. Plexi emulators really go well with this amp (HAO, Fulltone Distortion Pro, EMMA). Crank this thing to 11 and stomp on a pedal set to low gain. It only gets better. I am not kidding.

This thing will smash your face in. It has plenty of power for gigs and lots of top end clarity with massive crunch. It is not a loud clean amp, but it can do the clean thing at gig levels. Just keep the treble and bass below six.

I can not figure out why the two reviewers below seemed to absolutely love this amp and did not give it a 10. I had college professors like those guys. As far as combos go, the only other amp which can touch it is the 40 watt Tweed Twin or perhaps a Blockhead Bluesbreaker clone.

Tough as nails. Have no fear. Be sensible and bring matched tubes and fuses.

They will take care of you.

I've been playing for fiteen years. I have been a vintage collector for the past five years. I love everything about this amp, and hate nothing about it. If stolen I might get the Twin, but I doubt it. Driven 10"s just have a special sort of magic, and this amp sits atop the mountain. There is a reason the Vibroking has three 10"s.

Amps were at their peak from the mid 50's to about 1969. Most of these amps have resistors values that have drifted and dried or leaky caps. Tolerances are much closer now and cabinets joints are much tighter, which is why I would rather buy a Victoria or a Blockhead over a vintage amp. Let my past mistakes save you time and money. Vintage amps are great, as are vintage guitars, but they really are better investments than players pieces. The Fender Custom Shop and Gibson Historics are as good as the originals, and are still smart investments (Sorry Ed Roman). The Fender, Marshall, and Vox Handwired Amps are fantastic as well, but tend to be limited in production. Every Victoria and Blockhead I have played sounded better than any well maintained original I have heard. If you have an original, I would seriously consider having one of these two companies restore it.

Many people still do not understand how much late Fender Tweeds sound like vintage Marshalls. The Victoria 35310-T can get you all the Cream, Zeppelin, Who, and Stones tones you've been looking for. This amp just also happens to be extremely portable.

My amp was made in 2004. As most everyone knows, the Victoria line is comprised of simple amps based on classic circuits (and now some new ones of Mark Baier's own design) so these amps by definition will have relatively few "features". They have what is necessary however, so I give the amp a "10".

I had a chance to play a Victoria Victoriette and must say that I was really tempted by the reverb and tremolo that come with that amp. However, in the end I decided to stay with the 35310 as I wanted an authentic tweed design.

The rated power is 35 watts and it seems to cover a large room quite well yet, in my opinion, the amp doesn't have to be too loud to start breaking up. Very nice balance in this area.

The 35310 is quite versatile. It is great for rock, blues, jazz, country, roots, rockabilly, etc. So far, I have used it for a jazz gig and to play at church where I used it with a Fulldrive pedal for overdrive. I was able to cover contemporary sounds with this setup.

Of course, the overdrive sound from this amp is not a heavily saturated, brutal overdrive that would suit modern, aggressive styles. However, if you are after an amp that you can turn up and use your guitars volume to go from clean to overdrive, then this is a great choice. This amp lets all of your expressiveness as a musician come through. It is a living, breathing instrument that is very inspiring to play and responds so beautifully to your touch on the guitar.

One thing I love is the balance of frequencies. The 35310 has a detailed top end that is not thin or overly bright. The bass is wonderful - very detailed as well, full, not flabby yet not so tight as to be sterile. The mids fall right into place as well. I love it that this amp is so balanced. Plus, no tweaking is necessary to get to this point. Subtle changes of the treble, bass, and presence controls allow the amp to be dialed in quickly for different rooms.

I have read that the old tweed amps didn't really need reverb as the pine cabinets are so resonant. Well, they were right. This amp is very 3 dimensional sounding and big.

The amp is dead quiet. This is one of the benefits of buying something like this over a real vintage Fender tweed. Not only that but, with a Victoria, I have an amp that does not need constant attention due to old parts failing.

As this is my first Victoria amp, I have not had to contact them to resolve a problem. However, I have heard nothing but good things about Victoria's customer service. With the lifetime warranty that comes with the amp, I doubt I will have to worry.

The fact that the circuitry is simple and proven, I would think the reliability factor would be very high. I have and will use it on a gig without a backup.

The parts all seeem to be first rate and the construction is very good.

I haven't had a problem yet, but Mark (and one of his employees) at Victoria were very helpful in answering my questions as I tried to decide which model to get.

As I mentioned above, the warranty covers the amp for as long as Mark Baier is alive. It doesn't get much better than that.

I played a Victoria many years ago and have never forgotten the sound. I kind of knew then that I would get one someday. I also have 2 Rivera amps which I love (and will keep) but they do different things than the Victoria.

This amp has turned out to be beyond my expectations. I would definitely buy it, or any Victoria, again.

I love the fact that it is so lightweight and simple. It just makes a beautiful sound without any frills or tweaking necessary.

Listen up this is 50's style Tweed amp,so the features are, what they are! If you are considering this amp you know,it is all about the tone

My style of playing is all Blues. I use a 1955 Les Paul Special w/P90's or a'57 Stratocastor. I also play a 67ES 125 CD as well. I do love the single coil pickups. This amp gives me all the clean tone I need as well as the wonderful tube saturated tone when the the amp volume is set above 9 and the Tone and Base controls are set above 9. This is my current setup. Mullard GZ34 Rectum Frier, Sylvania jan 5881, Brimmer 12AX7's (2) & NOS Westinghouse 5751. Weber Alnico (2) & 1 Weber Ceramic on the the top. This amp will do whatever it is told to do. This amp will inspire a player at any level I would think. My first guitar was a used 57 Les Paul Jr and '59 Bassman amp. when I was a kid so that tells you how long I have been at it.

I have had this amp for a couple of years now and have had no problems. Keep in mind that I keep the amp serviced by a qualified tech about every 6 months. which is about right for this type of amp

I have never had to deal with Mark directly, I have heard he is more than happy to talk to anyone about his amps.

I have been playin for so many years I hate to thinkabout it. I have always loved the Fender Tweed era amps! This Victoria amp reproduces the sound I was raised with. Thanks to Victoria

Traded in a Mesa Maverick for this amp late last year. I was disappointed with the delay when channel switching in the Mav and had longed for a similar wattage tweed tonemonster that was touch sensitive to the guitar volume pot. This is certainly it. It has a great range of sounds for blues / rock. I use this amp in the studio and for gigs, 100 to 200 seating rooms. Plenty loud cutting through with my band which includes a sax and piano player.

I play through this amp primarily with an ES 335 with reissue PAF's; I also play a modded Tele (Fralin blues in bridge, duncan antiquity 'bucker in the neck). Setting the amp volume around 9 you get a huge sound, natural distortion from slamming the power section of the amp. With the 335, I roll off volume to clean up and push volume to get more distortion. The amp is very sensitive to picking dynamics as well, so when you play soft it is sweeter, you hit the strings harder and it crunches at higher volume settings. 35 watts is ideal for the rooms I play, not too much headroom, but enough to cut through. Tighter bottom with 10's than I expected. Do yourself a favor when roadtesting this one...plug in a 335 and crank the volume up to 9 and you will experience what I am describing...simply one of the best I've played through yet.

I have had this amp 3 months, done a handful a gigs and logged alot of studio time with it. Simple circuit built to last. I gig without a backup but always have spare tubes handy. Limited experience with it, but thusfar no problems.

Lifetime warranty. I called Mark at Victoria directly to talk about reverb and he was approachable, honest and as you would expect very knowledgeable. On his suggestion I picked up a used Fender reissue tube reverb unit and it makes this thing huge, especially at lower volume. As other reviewers pointed out, at 9+ on the volume, the cabinet sings so much you don't need reverb. Mark is not a fan of adding internal tube reverb to the circuit of this amp although more and more customers are requesting it.

I'm an old dog, been playing 20+ years. I own a '66 blackface Pro Reverb and a Mesa Mark IV. I've owned and played a number of amps, and guitars over the years. Most has come and gone. I'm now down to 3 keepers all with different character, but functional both in the studio and on gigs. If you're looking for a reliable Fender tweed amp that has enough power to gig with, absolutely check this one out. I sold a Clark tweed deluxe as it would not cut through my band and longed for the unique sound of an overdriven tweed combo. I also played the Victoria low powered twin, but it simply has too much headroom for what I need.

Basic features, see other reviews for details, or go to www.victoriaamp.com. If you play blues, this is the ultimate gig amp. I tested this small but formidable amp at Gguitars in New Haven, CT ... the one feature that is usually not talked about that is the most important to me is how well sound is dispersed via the solid pine cabinet. Make no mistake about it, this little amp puts out a ton of sound, and not just in a linear fashion. You can walk around the amp and hear the sound coming from all angles to the front. Fantastic. This means you don't need 50 or 100 watts to let everyone in the room hear you. Wonderful tone drips from this amp. You have got to hear one in person to experience the spacial quality the pine cabinet contributes to the sound.

Single coils, humbuckers, 1,2,3,4,5th positions, all sound fantastic, all sound full of life with sparkle and yet enough warm underneath to make you want to play the amp all day. The presence and treble really let you dial in the right tones for the pickups you are using. This rates right up there with the Tone King amps, which are my all time favorite 6v6 amps. This Tweed wonder is clean tone heaven leading right into that power tube breakup we all crave for solo time. Plenty loud, believe me ... do not let the 35 watts fool you. This is like surround sound when you play in front of it.

No Idea ....

No idea ...

Been playing for 30 years, I have gone through the gambit with Bogners and VHTs and Top Hats and all sort of Fender and Marshalls and more ... only to arrive back where I was in the early seventies ... craving that clean sound rich with harmonics and yet warm and full sounding. These are expensive as hell ... lets not kid ourselves here. Only a priviledged few will ever own one of these. But you can't blame Victoria for charging what they are worth. I have not bought this yet, but I am planning on owning one soon. If you want a great place to test drive a Victoria, try Gguitars in new Haven CT.... great store, and a room to turn the amps up a bit in.

43 lbs. You can carry it with one hand if need be.
35W from a pair of 6L6's. 3-10" alnico speakers.

G&L Legacy (Strat). I have the volume set somewhere b/t 7 and 9 (goes to 12) and roll-back the guitar vol. knob for clean. It cleans-up beautifully this way, while holding it's tone. OD is smooth and crunchy. Chords hold the definition. A very musical, non-fatiguing tone with no harshness. The 35W makes it very "club-friendly". Ultimate Blues amp w/single coils. Has enough gain when pushed to do Rock as well. A very quiet amp.

Rock-solid and reliable. Used it for 5 yrs. w/no problems. Built like a tweed tank.

Mark totally supports his stuff and makes himself available, if you need to speak w/him.

30 year prof. Have some nice stuff including Carr and Dr. Z. I a/b'ed this Bandmaster against the Victoria Deluxe, and Low-power Twin. It was the most versatile. Also it has this jangly, beautiful, and complex high-end that the other two didn't; yet still plenty ballsey.

Minimal features which is what makes the old tweed amps so great. The less bells and whistles you have, the more pure tone comes through. It's kinda hard to rate this category. I think that it's lack of features is great.

I'm using this with a Fender Custom Shop '56 Relic Strat. I play mostly blues and rock. All I can say is WOW! I plug into the normal channel, bass on 8, treble on 6 and presence on 4. When you hit that first chord, man, it's awesome. For a new amp it is easily the most alive sounding amp I've ever played. When playing with a band, all I bring is a volume pedal. Turn the amp up to 9 or 10 and back off for clean and step on it for leads. It gives you that nice power tube distortion. The other amazing thing about this amp is there is no need for reverb. The way the wood resonates you'd swear you had reverb.

These amps are EXACT replicas of the old Fender narrow panel tweeds. And they're still around after 40-45 years, so I have no doubt the Victoria will last just as long. Another thing about tweed amps is they are very easy to service. You don't even have to pull the chassis out. Just take the back panel off and everything is right there.

I e-mailed Mark Baier, the owner, with a question about tremolo pedals and he got back to me the same day. You can't get any better than that.

I have been playing for 30 years and have tried a lot of different amplifiers in my time. I traded a 1966 Fender Pro Reverb for this, so that should tell you something. I have always played the blackface amplifiers but about 3 years ago I purchased a tweed deluxe and that was it. After that I have always preferred the tweed amps. There's just something about the sound of them. If it got lost or stolen, I would definately buy another one.

I mostly piddle at playing blues and a bit of rock, and the 3x10" "Bandmaster" type Victoria is my favorite amp. The Clean tones are to die for , and it has a nice, smooth overdrive, Fender-like , but like the /best/ tweed Fender you ever heard. I have a heard some criticism that this model Victoria isn't quite loud enough for normal gigging, but I don't believe that'r true. It may be that Mark reversed the positioning of the normal high and low-gain inputs in the early models, and some players have plugged into the low-gain input and not experimented further.

I play just about everything through it: some slide on a Tele; a Gretsch Country Gentleman, an old 335, a Rickenbacker 370-12, and a Rick Jon Kay model. It's quite capable of supporting rich blues tones or chimey stuff with the Rick-12. I use a Tube Screamer modified back to TS808 specs for distortion and an outboard reverb rig. The amp handles them all well and has plenty of balls.
I would note that I personally found the Mojotones which came native with the amp a little wimpy compared to the quality of the rest of the amp, and I replaced them with WeberVST P-10-N's, which although the amp now weighs a ton, it has endless bottom and much is much more dynamic and authentic sounding.

Mark Baier is an absolute perfectionist and the amp is built like a brick S**thouse. I have absolutelyu no concerns about reliability.

I bought the amp directly from Mark and I know that if I had any problems I could call him up and/or ship it back. I'm sure he stands behind his work.

My other amp is a near-perfect 1952 Fender tweed Pro, and I use it sparingly. The Victoria logs most of my hours. I'm perfectly satisfied and it was a great investment, especially compared to what I've seen as the other so-called custom/boutique/reissue amps.