Matchless D/C-30

Much has been said about the features and I only want to comment on some technical issues that affect the sound very much.

In summary, there are few controls, but it is almost impossible to get a bad sound. Very minimalist circuits, but this IS what makes the sound. A 10 for only good sounds at absolute minimal tweaking, and many good sounds.

I have two DC-30s (one 2001 and one 2003). Since a large number of people talked about the sound I don't want to add but turn to how the tubes affect the sound. When I had the 2 amps side by side I noticed that, the sound was quite different. One sounded awesome, the other just ok. So I got a tube checker (Hickok 750) and went though all tubes, comparing the ones in the good sounding one against the other.

The tubes made ALL the difference in sound. I tried several brands of 12AX7 tubes (since I have quite a box full of them) and noticed that the amp really seems to respond to "hot" tubes, i.e. tubes that have high gain. The sound of both channels is quite improved by using a high gain 12AX7 in the inverter slot (closest to the front, next to the transformer). This tube also needs to be balanced, otherwise the sounds suffers.

Channel 1 (clean channel). Using hot tubes made all the difference. I selected the highest gain tubes in my pile and the result was stunning. Regardless of the difference in manufacturer, the overwhelming sound, that famous chime, happened most noticeable with high gain tubes.

Channel 2 (distorted channel). The main thing affecting the sound is the EF86 tube. It was not until I had a Telefunken tube in it did I get the great sound. So, if you are unhappy with the sound of that channel, consider trying a different tube. Furthermore, I had an EF86 with a tamper in it. It would sometimes decide to make noises of its own.

All in all. If you don't get that chime, it may pay to find someone that has a tube checker. Even when I bought tubes (with certain features like high gain, matched and balanced) the tubes did not quite deliver what was promised. Only after going through them by hand using a tester and selecting hot tubes (and balanced for the inverter), did the real Matchless sound triumph.

The only other thing that really changes the sound is having new strings on the guitar - but that is a no-brainer.

The 8 here is because it is so touchy with the tubes. This is not the fault of Matchless. The EF86, which defines the sound of channel 2, can go microphonic just by looking at it. What this means is that it starts picking up sound like a microphone. This can cause unwanted ghost sounds. Use your fingernail and tab on the tube, if it makes much clicking noise, chances are your tube went microphonic and needs to be replaced.

I talked to Phil Jamison about an amp problem and he was very responsive. He indicated that an intermittent hum problem my amp had was possibly coming from one of the input jack leads touching the chassis - and he was right on. Then I changed the EF86 tube to a Telefunken and - oh boy...

Phil also answered my questions by email. Good folks!

Wonderful amp (unless you like super crunch). I also have Fenders (Twin & Super) some Boogies (Mark IV, Triaxis/2:90), a Peavy and had my share of other amps that came and went. The DC-30 got me really excited again, so much that I bought a second one. In stereo the are even more awesome.

One last note about sound. If you use a standard A/B switch to select channel 1, 2 or 1-and-2, then unless you use an active switch (one that has linear amps inside) you will loose some signal which will affect the sound negatively quite a bit. I finally broke down and bought the Voodoo Lab amp selector box (about $250 outch) but the difference in sound was stunning. Just run an experiment with your amp connecting the guitar directly or using your passive A/B switch, and you will know what I mean.

Mine is a 96' with black tolex and nicotine brown cloth. Channel one has active bass and treble tone circuit and channel two has a passive tone circuit. High cut and bypassable master volume. Variable impedence selector switch, half power switch, and polarity switch. One modified greenback and one modified vintage 30. I play in a rock band with 60's and 70's influences. I use this amp primarily for studio recording but I play it out in larger venues from time to time. Plenty of power in reserve.

This amp sounds unreal with older fender solidbody guitars like strats or telecasters. I like to bypass the master and color my tone with the preamp volume controls. Both channels compliment eachother perfectly. The high cut control doesn't do much with the master volume in until you get past 10 o'clock. This is a players amp for sure. Modern rock guys won't like this amp (this amp is the opposite of a mesa or soldano). Very sensative to what your fingers do (wrong or right). Extremely rich in even order harmonics. The harder you dig into your strings the more volume and grit you get. The tone of this amp is heartbreaking.

The original Matchless amps are as reliable as they come. The only downside to this amp is the weight. It weighs in at a backbreaking 79 lbs. Get a roadcase with casters.

We all know the story behind the company so find a good tech if you ever need one.

I've been playing now for 18 years and I've played them all (except for the Savage stuff). My other favorite amps besides Matchless are:
Blackface Deluxe Reverb
Brownface and tweed Pro
JTM 45
Vox AC30 tb
The Matchless 30 and 15 watts are the only amps I consider a step above those amps.

Two different channels. I prefer the first 'clean' channel....seems to have a bit nicer headroom for clean/crunch sounds and then I use my pedalboard for overdrive and distortion gain.

Simple all tube class 'A' design. Built like a safe (and weighs as much) this amp has a big warm tone to it. Heavy metal? nope!...hard rock, blues, jazz....yep! quiet operation, takes pedals real well, it does sound better the louder it gets, or saturate the output tubes (master up, volume down) and go for the lower volume with rich overtones. This is a masterpiece amp!

Built to take it!

The new owners are accessible and nice.

My amp was built in 96' it is black on black (very formal looking!) it is the best amp I have owned and I have had them all....

2 Channels, 3 knobs for each channel - it doesn't get much simpler! But make no mistake there is plenty of complexity within the 2 channels & 6 knobs + master volume, 7 knobs. phase speaker and 1/2 power switch...Push/pull master switch. FX LOOP or not really makes no diference at all this amp sounds incredible with FX right into guitar input...I just discribed both the MATCHLESS C30 and the BAD CAT BLACK CAT model...exactly the same amp with tonal diferences..READ sounds about the shootout in between this two amps.

I was on path to find a real great British (Voxy - Marshall) amp tones and I did a amp shootout with two amps the: MATCHLESS C30 and the BAD CAT BLACK CAT model. Major tone diferences, for the first time I could really tell how incredible the BAD CAT sounded compared to the MATCHLESS...The first channel on the BAD CAT sounds beyond my expectations and the 2channel just sounded more like a Vox, warmer, open and beautifull like an AC30 only better I though. I have no dought today after playing them side by side the amp to get is the BAD CAT BLACK CAT...KILLER SOUNDING AMP..the Matchless still a great amp but if you play them side by side with diferente guitars and speakers you will be able to hear incredible diferences.

Both of this amps were built like tanks the issues you may have MAY BE TUBES how long will they last....that is the question.

I am sure both would be pretty good...

I will rate the Matchless a 9 and the BAD CAT a 11 the only other tool you will need with this amp will be a EH HOLY GRAIL pedal and it sounds incredible just for a touch of reverb...that is for reverb freaks...I will buy a BAD CAT to had to my Kendrick, Two Rock and Divided 13 amps...

96 DC-30 I got in trade

This amp is what it is and that is a 30 watt amp with enourmous headromm and a powerfull raw sound when pushed to the limit and allowed to breath. I guess it doesn't have all the bells and whistles that other amps have but it does deliver quite a versatility of tones with all the diferent knob settings and 2 channels. The effects loop works well when wanting to add something extra to the sound

I play mostly blues rock with a Tele and Les Paul. I've heard quite a few guitars played through it though and they all sound great. The amp is so solid that it doesn't make a sound unless you are playing the strings. I'm talking nothing. No hum's, no crackles. One thing I will say about this amp is that it brings out the full range of a guitars sound like no amp I've ever played. The tone knobs on your guitar suddenly become vital and capable of drastically changing the sound. The array of sounds I can get from my 2 guitars and the 2 channels is great to have.

Built like the Proverbial brick outhouse. The guy I got it from never had a problem with it nor have I. The tubes have been replaced a few times but that is normal.

Have never dealt directly with them. I have heard stories. Some good and some bad.

I've been playing for 20 years and I've been lucky enough to use and own some good gear along the way. I have to say this matches up with any peice of gear I've ever had. Just by taking it apart and looking at how it was built tells me one thing. This baby was built to last by people with quality as the first priority. No corners were cut and everything was done the right way. Add this to the fact that is was designed by Mark Sampson and you got yourself a winner. Whether you like the sound or not is a matter of your own opinion. To me it has the grit of an old fender twin with a little more muscle (not gain, just power) but everyone has their own opinions. Oh yeah. I've heard the 2 12" speakers overpower a 4X12 cab with a quality head on it. This amp needs to be played loud or you don't apreciate what it is giving you but that is the nature of the beast with amps built like this.

The bottom line.
These amps are expensive. I wouldn't spend that kind money just to have one but if this sound is what you are into you will not think about how much it cost for very long after you own it. To me, this sound is what I've been after for 20 years and I found an amp that delivers it and will deliver it for the rest of my life.

A 1994 black leather 2x12 DC-30 combo with effects loops, low-power switch, speaker phase switch, and the rest as usual. It belongs to my guitarist, not me (I'm the drummer), but I store it so I play around with it, and I share a stage with it all the time. It has two unlike Matchless "Special Design" 12" speakers (one 25-watt, one 30-watt)--quite intentionally, as part of the design. The overall amp circuitry is modeled on old Vox AC-30s, but it doesn't look like one and is built way better. Point-to-point hand wiring and discrete components throughout. No circuit boards, integrated circuits, or chips in sight. Most repairs could be done with a soldering iron, a screwdriver, and a wrench. If you pull the amp chassis out of the combo enclosure, it looks like a piece of World War II military equipment.

The controls are minimalist but powerful: two inputs, each into a totally different channel. Volume, bass, and treble on channel 1, and Volume and tone (six-position click pot) on channel 2. Plus cut and push-defeat master volume. Power and standby switches, with a jewel lamp when operating. Plus the control panel and Matchless logo light up.

Controls on the back let you change speaker phase, reduce the amp's power by half (useful for home or small gigs), and use the effects loops (separate for each channel, and using single stereo TRS photo-tip cables per loop, not separate send/return jacks). There are also two three-prong power outlets, one switched, one unswitched.

There is no reverb, tremolo, or multi-band EQ, if you want that. Channel 2 doesn't even have bass and treble controls. But it's a pure Class A all-tube design, and doesn't need them--there's a shocking diversity of tone available from those simple controls.

We play in The Neurotics ( http://www.theneurotics.com ), a classic rock cover band that does high-paying corporate shows, weddings, parties, and so on. It covers every sound we need, from Elvis and the Ventures through Devo and Smash Mouth.

As others have said, this is probably the loudest 30-watt amp you'll ever hear. We've used it on stages big and small, from clubs near our home in Vancouver, Canada to a large outdoor beach festival in Melbourne Australia, and it's never once seemed underpowered.

My guitarist used to play a dual-humbucker hollowbody '70s Fender Starcaster through it, and it sounded fabulous. These days he plays a Japanese '50s reissue Strat through it, and it sounds fabulous. For effects, he uses a few settings on a Line 6 Pod, but he could plug straight in and get just as good (probably better, we suspect) tone. At some shows he runs a keyboard through it too.

If you have the money for these expensive boutique amps, and you like classic tube tones, you'll love this amp. I know I do, and I play drums.

This amp has rattled around in the back of vans and station wagons with no road case, just a slip cover, for ten years. It was flown from Canada to Australia and back in a cardboard box with some padding, and worked great at both ends. It was stolen and missing for a year before being recovered from a pawn shop. Our Mackie PA mixer sits on top of it at our shows, and since he added casters to the cabinet soon after he bought it, my guitarist has used the DC-30 as a platform to roll other gear to and from gigs too. The amp has fallen over a few times. He still uses it at every gig without a backup.

Here's the clincher: the amp has never even been re-tubed, or had any maintenance of any sort at all performed on it in ten years. The power-in socket got damaged several years ago and was hanging loose, until just this week in late 2004 when one of the wires finally popped off. Ten minutes with a replacement socket (a standard one, pulled off the back of a dead old computer CPU tower), a soldering iron, and a screwdriver, and we were back in business.

The hand-wired, no-circuit-board, industrial-strength design is the real thing. I've never seen an amp take this kind of punishment without a flinch. Amazing.

No idea. The amp has performed so well that we never contacted Matchless about anything. In the meantime they went bankrupt and then re-started, so their amps last longer than the company, it seems.

I took classical guitar when I was a kid, though I play drums now, while also dabbling in bass and a bit of piano. I remain interested in guitars, and so I appreciate a good amp. The DC-30 is a great amp.

Hold on, an unbelievable amp. Massive, versatile tone, simple controls, and built to take anything you can dish out, it seems. Its only downsides are its lack of reverb, tremolo, or channel switching (if you want such things), its price, and its scarcity: $5000 Canadian for a new one these days, if you can find a dealer.

On the other hand, before buying the Matchless, my guitarist went through a series of amps from Peavey, Fender, Mesa (the lovely Trem-o-Verb, also very good but not as good as the Matchless), and others. After the Matchless was stolen, he acquired a few other amps, but once it came back they went into storage. (He'd probably buy another if he could afford it.) Our other guitarists play Fender amps, and those sound good, but not this good.

If you're looking at Matchless amps--among the first of the modern "boutique" retro trend--keep in mind that the company is now run by the original production manager, while the founding designer went on to start the Bad Cat amplifier company. Their amps are also apparently very good (and very expensive), but I've never heard or seen one in person.

made in 1993 great for very kind of music except maybe heavy metal, still with a pedal this amp could handel it IMHO. Two channels which can be switched and combined (this is a must) with a ABY pedal (whirlwind works great). Reverb would be nice to have. I play this amp out with my classic rock band (Atitagain.com)and also at my house (it has a master volume and low power switch)

Mostly I use my 58 RI LP with custom 5 in the bridge and 59 duncan in the neck. I also used a clapton strat (2001 with hot gold p/u's) and a 2001 PRS McCarty soapbar. The amp sounds great with all the guitars. It doesn't favor single coils or Humbuckers. I'm using it for Classic rock and it handels that with no problem. It's not noisy at all. You can use the master volume to drive the amp very hard or you can defeat the master and go for a real clean sparlle vox sound. The other great thing is the secound channel which is a lot hotter and can sound like my Marshall Plexi (not kidding) Then the real magic happens when you combine the two channels for a great sound. I use the one channel for rythm and I combine the two channels for dynamics and also use a TS9 overdrive (keeley modded) I get four different sounds and volume levels with this combination. I like to use the high imput on channel one and the low input on channel two and then combine them and use them seperatly with a whirlwind ABY pedal. I think NOS Mulards screem in this amp If you can only by one change the EF86 preamp tube to a Mullard otherwise this channel could be a little harsh. I also had two Celestion Blue speakers in it and changed to two Celestion V30 The sound difference was amazing IMHO. The V30's were in your face with tight bass and well defined sound The blues were very lose bass and just sounded like crap at stage volume. Maybe I had a bad pair but the blues were a big disapointment IMHO. The Clean sound will start to break up pretty fast but in a very good way IMHO. The distotion is great for classic rock not metal. The main thing with this amp is at home it sounds awesome but with the band in a room it can't be beat. It fills the room and is just comfortable to play. One other thing I did was go with a weber solid state Rectifier instead of the tube which to me I like the solid state rectifier. I had NOS GE power tubes and I went with JJ el84's which to my ear sound just as good and cost a hundred dollars less. The only NOS tubes that are worth the money in this amp are the preamp tubes. I think this amp loves mullards and telefunken but what amps don't like these. The NOS pre and the V30's and the ABY switch made the amp a killer sounding combo for me. The bad news is I'm 6'2" 230LBS and I'm having a hard time carrying this beast. Thats my only knock on this amp, it's a ton to carry.

It's been going strong since 1993.

The matchless company seems very good. They had no problem answering my questions about the amp.

30years playing I love my Marshal 50 watt plexi (1992 RI)and my new addition is a Line 6 spider II 2x10 combo 120 watts and $349 This Lin 6 kicks major ass IMHO This amp may retirer my DC30 (I'm sick of carrying it)If my DC30 was stolen I couldn't afford to replace it. I love the sound I hate the weight. I have had a ton of amps SLO 100 Fender twin 5150 Hot rod 100 bogner shiva TSL 100 DSL Cornford ETC this amp does it for me but I love the beatles and dig classic rock so whats good for me may not be good for you. The sad truth is you got to play them to see if there good for you. It's taken me many yeats and thousands of dollars to find the stuff that works for me. Good luck and have fun.

This amp, made and purchased in early 1994, has the features and tone to play nearly any style of music you can throw at it.

This model, a D/C 30 L, S/N M-2023 includes an effects loop and has the Pentode and Triode sides as well as the particular features that are described in detail elsewhere. The graduated tone roll-up/off on the pentode side is very useful to dial up a sound. The use of two celestion speakers with slightly different characterists means experimenting with mics in front of each speaker; one side is a little cleaner than the other. The half/power and phase reversal switches on the back of the chassis can also be very useful.

I use a '94 custom Gibson ES-335 Dot Reissue with '57 PAFs. I use the amp to play blues, blues and more blues. After reading the other reviews you might not have heard that loud and clear. Typically, you can set one channel up for rhythm/clean (Triode) and one channel for an 'on the edge' lead.

Utilizing Class A circuitry means never having to hear odd-ordered harmonics. The amp's tone AND volume blow away a 100 watt Marshall or Fender Twin with equal ease. Like GP said, the loudest 25 watt amp you've ever heard. There is never any noise unless it is from an older and microphonic tube.

It has been said that this amp can only get one sound. This is an overstatement of the facts but, even if that is the case, you will find that this is the one sound you can play any music with. Whether you're looking for a clean brit type sound with jangly overtones, a Freddie King ES-345, an Albert King Flying V, jazz/fusion, a Keith Richards SG or a Roy Buchanan/Danny Gatton hot rod sound this is the amp that will do it all. Rhythm or lead; your needs will be met.

This amp excels at giving clear definition and sustain at the same time. Anytime you are using complex waveforms, like two notes played or plucked simultaneously, you will hear the rich overtones that this amp is noted for. Like others have said before you can throw all the pedals and stomp boxes away, you won't be needing them anymore. I was addicted to using an EP-2 Echoplex as a front end to an amp for years because of the tubed preamp characteristics it imparted. No more. The only effects unit ever used is an Alesis Nanoverb that is used for a touch of reverb in smaller clubs. I don't use spring reverbs because of their propensity to bounce and crash.

One trick you can use to make the two sides of the amp work for you without the footswitch is to use a micro single pole single throw switch (SPST) mounted to a little hand crafted metal enclosure that sits on top of your 90 degree, 1/4 guitar plug. Using just a stereo two-conductor shielded cord that splits at the amp end to two plugs, you can switch between both channels at will. It makes life so much easier, especially if you have better things to do with your feet.

I played a different DC30 in Europe and the sound was completely different. It had a paper thin sound without the power, balls and bottom end that are this amp's forte. Whether the differing type and voltage of the electricity played a part I just don't know.

There is never any distortion, just the natural preamp saturation and overdrive. The pickups and/or front-end electronics of a guitar/box would change this equation no doubt but if you use a lower output pick up like Gibson's 57 PAF or a Seymour Duncan 59 Classic the amp does the work with pleasing results. You want to push the amp by (pushing) pulling out the master volume and setting around 9 o'clock to start.

Even though this amp sounds awesome (a ten rating), I assign a value of nine because nothing is perfect.

This amp exceeds reliability requirements when coupled with a quality ATA 300 road case. The weight with the solid aluminum flight case is just under 128 lbs. Casters along with a split tray case are essentials. Just set the brakes, remove the lid and you are ready to go. Keep in mind that, as a piece of equipment gets heavier, it is more prone to damage because of inertia and rough handling by weak dummies. Again it is very dependable (10 rating) but it gets a 9 for the stinking little juke box lights inside that need replacing from time to time.

The old Matchless people were both helpful and friendly, although it did take a few calls to get the prepaid amp cover delivered.

I have been playing over thirty years now and have discovered that less is actually more. One good guitar and one good amp are all you really need, the rest is just icing on the cake.

I have and also play an '04 Gibson ES-346, a '98 Korean made Epiphone '56 Gold Top' with soapbars, a '95 Heritage H-535 with SD's and a Schecter/Warmouth strat with Joe Barden PUPs. I also own and use a Johnson J Station, a 1949 Fender 600 and a Fender Blues Jr. (great harp amp). One of these other guitars is always sitting right behind the amp for string breakage.

The Matchless is a must have and must replace piece. If you are into boxes this is not the amp for you; practically any amp can churn that stuff out. If you are into tone and know how to play you will never regret buying this amp.

It is expensive and heavy. Get used to it and go buy one.

This is a 2002 Matchless DC/30. It has enough functions to make it versatile within it's own realm of class A tone, but the versatility is limited because it doesn't have enough as far as a variety of different tones. I play rock, jazz, funk, pop, and blues. This amp is limited to classic rock and country in my opinion, but it does both very well. It features 2 channels with an effects loop and courtesy receptacles. I never use the courtesy receptacles or the effects loop because the effects loop requires a Y-cable(stereo cable). I record and play at home only. This amp has more volume and power than anyone should ever really need. Here is the downside to all that power -it comes with enough head-cutting treble and spike to kill your ear drums. ALSO, mine started to have "Ghost-note" problems only six (6) months after I purchased it brand new. It sounded like you were playing out of key! (MORE ON THIS LATER)

This amp is only good with a Tele or Strat equipped with single coils. It CANNOT handle humbuckers at ANY volume without being excessively harsh. It is good for that Rolling Stones type tone and that is about the best it can do as far as I am concerned. It had this sickly Ghost note thing going on and it drove me crazy. I paid almost three grand for this amp and it does this to me. It sounded like a broken octave pedal. Also, I bought it because in the store the amp sounded unreal, but it changed over time for the worse. I spoke with Phil Jamison(Matchless owner or partner) about this, and he explained that these amps have very little "Filtering" in the power supply and this is why they make the "Ghost Notes". He also said that these amps change their tone to to the changing values of their components. I will tell you, this is not good enough for a guy who just spent his hard-earned 3,000 dollars for an amplifier. I have since sold the amplifier.

A preamp tube went out the third month after I bought the amp. No big deal. I am fully aware that tubes can fail. However, the tone change and the Ghost noting that Phil Jamison said are characteristics of this type of amplifier are unacceptable to me. I lost 1,100 dollars when I sold this amp by the way. I wouldn't have played this amp for anybody as bad as it sounded with the "Ghost Notes" it was giving me. I am giving this category a rating of 2 because every time I played it sounded sickly.

I tried to get the Ghost note problem fixed, but Phil Jamison said it was normal. I understand, but I will never own another one. The warranty is for 6 years, but it didn't do me any good. I have an old Matchless from 96 and it has NOT gave me a single problem EVER. Maybe I just got a lemon of a DC/30, but I am very unhappy about the whole situation. I was hoping Phil could fix it for me, but he acted like it was normal. I called Bad Cat and they said that 1 in every 10 will do that. I would have been happy if they would have fixed it to like it sounded the day I bought it. It sounded incredible that day with NO GHOST NOTES and a full, rich and warm tone.

I have been playing guitar for 16 years. I have owned MANY hi end and boutique amps. I currently own a Matchless Clubman 35, Two-Rock Opal, Soldano SLO-100, and a Les Paul. I have owned and played MANY other amps. NO OTHER AMP HAS EVER BEEN THIS BAD. I had a Bogner that broke on me one time and there was no hesitation on the part of Bogner to repair it. They even paid for shipping BOTH ways. I want to make clear that this was a VERY bad experience for me and in no way do I think Matchless is a bad company. Generally Phil Jamison was a gentleman when we spoke, but he wouldn't even think about fixing my amp. It was a sour deal all the way around. It left a VERY bad taste in my mouth about these amps. I could only sell it and retrieve part of my money because I went on what Phil told me. He said that it was the characteristic of these amps. I assumed people liked that and I sold it for a big loss. I will NEVER buy another one. I have played other people's DC/30s and they sounded fine. One other one had that ghost note thing.

I purchased my DC30 in 1995, and have for all intents and purposes, been extremely pleased with it. I have put countless hours of live, and studio time in with the amp, and always get a great response to my tone. I use the amp in conjunction with a slecton of stomp boxes;
ts9, boss EQ, RV3 reverb,etc. The amp has great tone and is plenty loud for most applications. I did wish it had a tad more low end response, but that was easily solvable with the addition of the boss EQ. The continuous output of class A design, is hard to explain to someone who has never had the pleasure of such touch sensitivity in an amp. It breathes. Ihave used the amp on country recordings in Nashville, live in front of 17,000 people, and on pop as well as hard rock recordings and gigs. No, it will never have the muscularity of a 120watt stack, but that stack will never have the sonic versatility of my "grey baby". You asked for no "glowing reviews", well sorry charlie. It's one helluva amp.

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