A lighter, more flexible take on a British-voiced ’60s stalwart: The PG Victory VC35 "The Copper" review.
RatingsPros:Great AC30 tones. Light, portable design. Cool modern options. Cons: No spring reverb or tremolo. Street: $1,399 Victory VC35 “The Copper” victoryamps.com | Tones: Ease of Use: Build/Design: Value: |
Okay, imagine you’re designing a modern amp based on a vintage model. Would you cling as closely as possible to the original sound, or try to update it for current tastes? Would you mimic the original appearance exactly or create something free of visual associations?
There’s no right answer, of course. We’ve seen magnificent clones of vintage amps, and equally magnificent amps that have only tentative ties to the old designs that inspired them. U.K. amp builder Victory’s take on Vox’s AC30, "The Copper," manages to walk both sides of the traditional/new-school divide. Simply put, the amp sounds like a fine old AC30, even with the addition of a few welcome updates. But cosmetically, it’s a big, bold departure. Or maybe it’s a little bold departure.
A Lighter Shade of Wail
The first thing you notice about Victory’s VC35—even before unboxing—is how light it is. The head-only unit weighs roughly 18 pounds, which is less than half the heft of an equivalent modern Vox head. It’s petite, too: roughly 13.5" x 7.5" x 7.5". It comes with a cute padded canvas gigbag with a shoulder strap. Ask anyone who’s ever earned a hernia from hoisting a heavy Vox (me, for example): An AC30 you can sling over one shoulder is a lovely concept.
The concept isn’t all that’s lovely here. The VC35 head resides in an all-metal enclosure—there’s not a splinter of wood. Most of the housing is perforated, facilitating tube-cooling air circulation and lightening the load. The seven chicken-head knobs are one of the few nods to traditional Vox style. Removing a couple of screws provides access to the tubes. Removing a couple more reveals the inner workings. It’s a neat, attractive layout, mixing traditional through-hole components with modern parts. Tubes and sockets are board-mounted. The transformers are from England’s Demeter Windings, while the caps are from South Korea’s Samwha company.
We tested the Copper with Victory’s V12-VB, a vertically oriented 2x12 cabinet housing a Celestion G12H and a G12M Greenback. (You hear a close-miked G12H in the demo clip.) A fabulous-sounding cab in a matching copper color, it does a magnificent job of supporting the Copper—in both senses.
True vs. New
Like an AC30, the Copper employs four EL84 power tubes, plus two 12AX7/ECC83 preamp tubes. But the VC35 has no rectifier tube. It is solid-state. There’s also an EF184 pentode driving the preamp’s tone stack. Unlike a vintage-style AC30, the Copper is a single-channel model minus a tremolo circuit. Meanwhile, the reverb is digital—one reason the amp weighs so little. The splash comes from a Spin FV-1, the same chip used in so many current digital reverb pedals. It doesn’t sound very spring-like, but it’s an attractive sound that gets the job done. There’s also a mono effects loop.
Another departure is the amp’s biasing scheme. The Copper’s low-power switch drops the wattage from 35 to 12. According to Victory, “In low-power mode, which uses lower plate voltages, the amplifier runs entirely in cathode bias, which is effectively Class A operation. This mod produces very natural and sparkling tones reminiscent of early British amplifiers.” But in high-power mode, the amp employs both cathode and fixed bias. “Many EL84 amplifiers exceeded the recommended plate dissipation,” explains the manufacturer. “This can lead to early valve failure and the output stages running extremely hot, even when they are not being played.” (Huh. Maybe that’s one reason vintage AC30s tend to require frequent service.) The Copper requires biasing when installing new power tubes. But Victory eases the process with external biasing points and an excellent bias walkthrough in the manual.
Chime and Grime
Despite those departures from AC30 orthodoxy, the Copper sounds like a fine original. Most sounds exhibit a crackling presence, while low-gain tones are luscious and smooth. At higher gain, you get that uniquely Vox distortion, with its violent upper-mid breakup. Check out the first riff in the demo clip, played on the bright bridge pickup of a 1963 Stratocaster. Hear that spattery sizzle on the riff’s highest notes? To me, that’s Vox in a nutshell. It’s not a “pretty” sound, but man, the energy! Hearing distortion like that always makes me wonder why the hell the guitar community describes this property as “chime,” since bells ring clear and pure at high frequencies. Sounds more like “crackle” or “shatter” to me! (Reviewer dismounts hobbyhorse.)
The Copper dispenses a wealth of authentically ’60s-sounding tones. Meanwhile, several modest but meaningful additions stretch the amp’s range. A bass-cut switch filters out the lowest lows at the amp’s input. The result isn’t terribly dramatic with clean tones, but at high-gain it can be the difference between focus and blubber. (Not that there aren’t many uses for blubber tones!) Meanwhile, the mid-boost switch expands the treble control’s bandwidth so that cranking the knob gooses more upper mids. Finally, there’s a separate low-pass tone control in addition to the bass, mid, and treble pots. Situated in the circuit after the phase splitter, it can help tame excessively bright sounds. These features don’t compromise the retro-sounding tones, but they help you get louder and dirtier than a traditional AC30 without crapping out.
The Copper sounds stunning through its optional companion cabinet. But given the amp’s meager weight, I imagine some players will pair it with something smaller than the 47-pound V12-VB. For example, I connected the Copper to a Universal Audio Ox, a combination load box and speaker emulator. Pretty much every virtual speaker pairing was lovely.
The Verdict
I seriously dig the Copper. It offers a fantastic rendition of the classic AC30 formula with such modern refinements as bass cut and mid boost switches, digital reverb, half-power mode, and an effects loop—all in a light, compact, and attractive package. The Copper is also available in a 1x12 combo model for $2,499, and a deluxe head-only version with true spring reverb and a tremolo circuit for $1,749.
Watch the First Look:
Mooer's Ocean Machine II is designed to bring superior delay and reverb algorithms, nine distinct delay types, nine hi-fidelity reverb types, tap tempo functionality, a new and improved looper, customizable effect chains, MIDI connectivity, expression pedal support, and durable construction.
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be ‘frozen,’ creating static ambient drones, an effect that sounds particularly impressive considering the pedal’s DSP upgrades.
While the original Ocean Machine’s looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with OceanMachine II’s other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the device’s ‘Play Mode.’ Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.
Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter ‘Patch Mode,’ in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to threepresets, resulting in a total of 24 save slots.
The pedal’s versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsend’s tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.
In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.
Considering the experimental nature of Devin Townsend’s performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.
Overall, Ocean Machine II brings higher-quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsend’s original device. As per MOOER’s typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.
Key Features
- Improved DSP algorithms for superior delay and reverb quality
- Nine distinct delay types that support up to 2 seconds of delay time: digital, analog, tape, echo,liquid, rainbow, crystal, low-bit, and fuzzy delays
- Nine hi-fidelity reverb types: room, hall, plate, distorted reverb, flanger reverb, filter reverb,reverse, spring, and modulated reverb
- Freeze feedback feature, supported for both delay and reverb effects
- Tap tempo footswitch functionality
- New and improved looper supporting up to 120 seconds of recording time, along withoverdubbing capabilities, half-speed, and reverse effects.
- Customizable order of effects in parallel or series chains
- Flexible bypass options supporting both true bypass and DSP bypass
- Large LCD screen, controllable through twelve easy-to-use physical knobs for real-time parameter adjustments.
- Adjustable Global EQ Settings
- Full stereo inputs and outputs
- Synchronizable and mappable MIDI In and Thru support
- USB-C port for firmware updates
- External expression pedal support via TRS cable
- Support for the MOOER F4 wireless footswitch (sold separately)
- Designed for durability and reliability in both studio and live environments.
The Ocean Machine will be available from official MOOER dealers and distributors worldwide on September 10, 2024.
For more information, please visit mooeraudio.com.
MOOER Ocean Machine II Official Demo Video - YouTube
Some of us love drum machines and synths, and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.