Matchless D/C-30

2002 D/C-30. All tube, 30 watt 2x12 combo, class A design. The amp is a simple layout, with two channels utilizing completely different preamp tube paths, and somewhat limited yet very effective tone controls. Channel 1 has volume, bass, treble...Channel 2 has volume and a 6 position tone switch....which controls the tone envelope of the EF-86 preamp tube. A cut knob for high frequency rolloff and master volume (pull out to defeat the master) round out the controls. There is a effects loop, low/high power mode, and speaker phase reverse on the back of the amp. For more specific specs check out www.matchlessamps.com. Channel switching can be accomplished by using an A/B device. With a little tweaking two usable sounds can easily be dialed in for use as a real two channel amp.

I use the amp for playing in a rock band, and recording. Style of music I use the amp for ranges from spacey emo to Zepplinesque riffery, and well beyond. I can easily dial in any blues, country, R&B, Jazz, or Classic Rock tones with the amp, though I lean all the way to the rock end of the spectrum. I don't play blues or coutry music in a live band setting, so this review is based on using the D/C for rock music. Overall this amp can produce a wide variety of tones at a level of quality most amps can't achieve. It is not for agressive metal or heavy rock styles, but besides that it covers all the bases ridiculously well.

First off...I've seen amps rated as a 10 for sound quality on this forum that can't produce a single quality tone, or even be used in a real band setting. I don't believe in a rating of 10 for any amp, period. There can always be improvements, and no amp can cover every tonal possibility of music on it's own. So the D/C gets a 9. It is as good as you will get for what it will do, and it suits me very, very well for my rock styles. With that said, here is the low down from my point of view.

My primary guitar is a Gibson Les Paul Elegant, with a Fender American Strat on the side. I also have a bunch of pedals in front of the amp. If you want to know all the pedals, check out www.lazerwolfs.com and go to the gear section. This is a review of the amp, not the pedals. Overall the amp works well with pedals, as long as you are willing to tweak accordingly. Primarily I play without the pedals, but use them for leads and other dynamic effects. I have Channel one (12ax7 channel) set up for a medium grit rock tone. With either guitar this channel is very punchy and 3D (I'm talking about the crisp punch of a great JTM 45). Pick lightly for cleaner, or roll of the volume for full on clean. I could care less about the sound of a Fender guitar through a Fender amp, with some of that Fender spring reverb on it. That sound makes me want to eat glass. This kind of clean is British style. So if you want Fender through Fender...keep shopping. Overall this channel has very clear lows and highs, with just the right amount of midrange for most rhythm playing. I use the channel for about 75% of the rhythm parts I play. It is a very expressive channel, with great sensitivity and dynamic feel.

Channel 2 (EF-86 preamp) is a higher gain channel, with an abundance of midrange punch and presence. It is a little creamier than the first channel. I dial it in for the rock tone that the D/C is really known for. The 6 position switch works well to control the bass frequencies and gain in conjuction with the volume control for the channel. There is plenty of gain here, but not the attack and laser sterility of the high gain nu-metal world. I use this channel for heavier passages, dynamic changes, and for leads. Overall this channel is less picky with pedals. The gain and sustain you can achieve with this channel is unreal for most rock applications. At lower gain settings this channel can be used for the punchy (think JTM 45 again) rock tone...but I prefer the gained up creamy sound. After all with an A/B you can have them both right there.

Every tone that is produced from the amp is damn good. Not just to the ear when you are playing by yourself, but in a band setting and in the studio. This amp's tone holds up better than any amp I have heard in a band setting. It sounds thick and 3D by itself, and in a lot of ways even more thick and 3D in a band setting. I play it in a 2 guitar band, with the other guitarist using a Rivera Knucklehead 100 halfstack. We play loud. I keep the D/C basically wide open, as loud as it can go. The halfstack needs to be at a rather high volume to balance it out. Essentially what I am saying is that the D/C is plenty loud. If you need more volume with it, it is probably because you need to dial the tone of the amp in for real world applications. That is what the D/C does best. Makes your guitar sound how it needs to in a band, and not get buried in a mix.

A few extra notes on the amp: The speakers are really well matched to them amp, producing the right amount of punch and breakup with the 30 watts supplied by the amp. My only gripe on the D/C is that they wire the speakers at 4 ohms, so you can't add additional speakers without a impedence conveter. It would be great to add a closed back 2x12 to the amp to get the best of both closed and open back sounds all at once. I have powered a Marshall 4x12 with Vintage 30's with the C-30, and it sounds great. Not the same as the open back,

The D/C is definately built to last. High grade components and workmanship. The first one they shipped to me was dropped by Fed Ex at least once (I saw them do it). It had some problems because of the damage they laid on it. Eventually it broke down and had to be sent back. See customer support for the rest of the story.

Any tube amp that is dropped 3 feet out of a truck will probably break. So that doesn't really factor into my rating here. The D/C is as solid as any amp I have seen for build quality. The fact of the matter is that class A amps need more attention than other tube amps. Tubes burn out faster, and the amp is more sensitive to tube quality. When you buy a D/C (or any other class A amp for that matter) the first thing you should do is spend $500 on some NOS tubes. Retube the entire preamp and rectifier. Some guys like to do the power amp tubes as well, but really some Groove Tubes or JJ's sound great for the power amp, and if you play a lot you will be relacing them a lot too. The preamp tubes will last a long, long time if replaced with quality tubes. This simple yet pricey move gets you better tone, less noise and higher reliability.

I don't use a backup live, but if I could afford another D/C I would buy one. No amp will work flawlessly forever.

When the first D/C I got broke down, I delt with Phil Jamison directly. He was easy to work with, and wanted to explore all options for fixing the amp. I sent the chassis back to the factory, where he found and fixed the apparent problem. I got the amp back, and it worked for 3 hours before going down again. Once again I delt with Phil directly. He gave me the option of them shipping me a new replacement chassis, or an entirely new amp. I opted for the new amp, and they sent it out. They also sent a prepaid shipping label for the old one to go back...which is about a $90 tab. They also threw in a hand wired Matchless A/B switch for my trouble.

Overall they took care of me, but it was a slow process. That is the way it is with a small company. I was fairly hot, having spent a bunch of $$ and then having the amp break twice, but I'm sure the Fed Ex abuse was the source of all my problems. The support was good, just a lot of hassel and time shipping amps all over the country.

I have been playing guitar for about 11 years. I own and operate a recording studio in Missoula, Montana, so we have a lot of gear. I also own a Rivera Knucklehead amp and a reissue Marshall 4x12, as far as amp gear goes. I use that rig for a totally different style of music (heavy rock...see www.lazerwolfs.com).

If I had to replace the D/C I would probably buy the head version for a few more speaker cab options. I think the H/C powering a Matchless 2x12 open back cab, and a 2x12 closed back cab would be the ultimate amp rig for me. I played Dr Z, Rivera, Marshall, Fender, Soldano, Boogie, Kendrick, Vox, and Groove Tube amps before selecting the Matchless. There are a lot of great amps out there, but the D/C works nearly perfectly for what I use it for. It is not cheap, but it is worth every penny.

I did not buy this amp for the features. In fact i like the plane jane look!

Tone! Tone! Tone !That is what it is all about any way.From the road to the studio and evey were in between!Needless to say how many amps i have played through could not have the balls to the wall to shimmering [with the use of the optoinal foot switch]with out loosing any tone!

Dose the word Tank give you an idea of how reliabal and how heavy this amp is.............

I have had mine{d/c 30}since 95.And i have bought several amps since then ,but i find my self allways compairing my other amps to my matcless.Do you want to sell yours?

Bought the amp second hand from Musical Exchanges Birmingham, Traded in my boogie recto and a bunch of other stuff. change of musical direction and band from Rock to country, I wanted cood clean fun and a bit of clip. heard one being used by a support band and it blew me away (Had to have one)!!!!!
Only using one channel at the moment but looking into the A/B box route to use both
Would have liked reverb but a bit of DD does me just fine, infact i have amost got rid of all my effects as the tone of the amp is just so good!!!!

A bit on the heavy side, and i have now fitted castors to it
Also the lights that light up the front look great, but when they blow they can be a bit of a pain to replace (small point)

Never had a sound like it, and whenever the band plays i am always getting comments about the amp, ie how can something so small create such a big sound?

The overdrive settings are fine for the music we play (hillbillie rockish country stuff) the amp clips at that twangy place telecasters just love

Not broken down yet.... apart from the little lights at the front, no big deal.. touch wood

Not had to deal with matchless as when i bought the amp they had gone under
would like to know where i can get my hands on an extension cab or the floor pedal

Had all sorts of amps from fender/Marshall/Session/Boogie/Vox all good amps but none had the sparkle and depth this little 30W had

1996 and 1994 models. Both killer tone, rock-steady reliability and NOT for Blues! Excellent VOX AC-30 replacement or upgrade.

I play (NOT BLUES) the following guitars through my DC-30's:
Les Paul 1958 historic reissue Standard
Les Paul 1968 Standard
Guild Brian May
Gretsch 6120
I originally got my first DC-30 to replace my vintage 1964 VOX AC-30 that was starting to be too vintage (irreplaceable) to take gigging. After 6 months with the Matchless I (gasp!) sold the VOX and bought a second DC-30 to leave in the studio.
The first channel is a nice 60's VOX sound. the second channel is a VOX that you can find your own tone with. The 'pentode' channel is amazing. The amp is loud and breaks up amazingly well at mid and high volumes thanks to the versatile power halving switch on the back. It records phenomenally well. I may be a Matchless snob for life - but it's because these amps are so amazing. And yes, I have played all the esoteric hand-made amps including the Dumble and Trainwrecks. There are such thing as CLEAN amps that don't mean that hideous Texas bell-like SRV sound. This is British clean! :)So if you are playing Brit-Pop influenced or mid Americana (Petty, Byrds etc) or if you actually want to spend 5 minutes getting even more versatility out of the 2nd channel - it is a great amp for you. It's not a Marshall or Fender. If you like VOX you'll LOVE Matchless. Then yes, you can be a snob because you'll have amazing tone!

I've played both amps alternately since 1994. I've replaced and upgraded tubes and that's it. I have a roadcase for the gigging one and it still sounds as good as the 'princess' one.

I had some personal dealings with the old company and they went out of their way to help me and provide me info on many occasion. I have not dealt with the new version yet.

I also own the Matchless Reverb and it adds a bit of noise to the equation but nothing would part me with this tone. I would buy another immediately were either of them stolen or destroyed. I think the looks are an added bonus. Nobody spends $3000 for a good looking turd. Where anyone would get the notion this amp is only a blues amp is beyond me. I've owned Marshall, Vox and Fender and I don't anymore. There is nothing false about any of the myths and luckily - they're back! So you don't have to buy them used or sight unseen. Go try one out!

This is one of the first amps made since Matchless reopened. It has 2 channels. Channel 1 is the "clean" channel, and channel 2 has much more breakup. It has a master volume that both channels share, and separate effect send/returns for each channel. Channel 1 has volume, bass and treble, channel 2 has volume, 6 position tone switch and high cut switch. It has 30 watts with a half power switch in the back which is very handy for lower volume needs. The 15 watt setting has more than enough power for most gigs, and the full power setting will blow out your eardrums. I use it mainly in worship services in settings ranging from small churches to 1000 seat auditoriums and it is never underpoweres or overpowering. I wish it had reverb, channel switching and a shared effect loop.

I wouldn't give it a 10 if it didn't deserve one. I have owned numerous amps and have been on a tone hunt for years. This is it! I purposely waited for 6 months before submitting this review because I usually "love" my new gear until a few months go by, and then I'm on the hunt again. I use a Godin LGX with humbuckers and a 5 way switch for splitting the pickups for the single coil sounds. I use a T.C. Electronics G-Major effects processor, and a TS-9 Tube Screamer (original). I play many different styles and with this combination I am never disappointed with the sound. The tone controls are very useful. Adjust them to enhance the pickups on your guitar, and play. Wow! Sweet!! I didn't buy this amp for it's looks (but it looks awesome) or for the snob value, but for the tone. True, this is not a "clean" amp, but if you keep the volume below 4 on channel 1 it is very clean. It will certainly cover rock and blues as well as many other styles, but if you want it to sound clean at 10 or play heavy metal, you need to keep shopping.

Built like an 85 lb. tank. It has never broken down, but tubes are tubes. I am ordering spares just in case. Matchless has a good reputation for reliability.

After I bought it I noticed a small in one corner of the name plate (which is backlit and looks totally cool). I called them and they sent me a new one right away - free. Very eager to please. The warranty is lifetime.

I've been playing for 25 years. I have been through more guitars, amps, amp simulators, amp ers and stomp boxes than I care to admit. I sold everything that wasn't necessary to get this amp. I am now down to 1 guitar, 1 amp, the T.C. Electronics processor (which is also killer), the tube screamer, and a crybaby wah. I have never been happier. I have never been happy for that matter! My only gripe is the lack of channel switching, but I use an a/b box for that. It was a fantastic value for me because it has the tone I am after, but at $3100.00 you had better be sure it is what you want - it is expensive! If it were stolen I would definately get another one. There are many great amps out there, but this one does it for me.

Limited in tone, limited in appeal. high and low channels, this has all been covered. This particular one is a 94 model.

Okay, i'm tired of the hype these amps get. sure, they sound good, but who cares.Nothing special is the whole review of these amps. I'm also tired of people saying these amps have a clean tone. Bullbutter. Clean tone is a fender Twin. matchless tone is flubby breakup tone. kinda chimey, but no better than a marshall plexi or the likes.
They charge way to much for these amps. They dont do that much better than the Dr. Z stuff, or any classA amp for that matter. Hell, the new Gibson goldtones roll over the matchless gear.
i'll say once again, nothing special unless gritty blues tone is what you seek. anything else, it's not here.
Another note i want to make is players with these amps think they are really something. let me tell you, dont buy a matchless amp just to have one. You will too become a snob. The people that buy these are the people that buy it for the looks. not sounds. I owned one of these long enuf be4 realizing i like the breakup tone of all other amps over this one. this one is just too gritty. perfect for all out blues, but i like to mix it up now and then.o yeah, people also say these are touch responsive. Obviously they haven't played a Dumble or a TwoRock. now thats what i call touch responsive.
Dont be a snob, and dont buy it for looks. Find something better! belive me plenty is out there.

These are dependable amps yes...but who knows how long the co. will stay in business THIS time.

never dealt w/ them...i've heard the horror stories. especially if the people that make them are anything liek the other people that own them. geez...their shit dont stink.

I wish i was still a matchless snob so i could pretend to be better than every1 else. but i sold mine for cheap. There is no reason to own one of these amps, unless you play strictly the blues, or need a good blues recording amp. it will do that beautifully.
Spend 3000 on an amp, and get high off of blowing people off telling them about your matchless amp.

Not a whole lot; channel 1 has active bass and treble; channel 2 has a single passive tone schizo knob (5 positions I believe); defeatable master volume; 2 inputs per channel; 1/2 power switch. The speaker configuration is 1 Matchless Celestion Vintage 30 and 1 Matchless Greenback; "special design" means that these speakers were 'broken in' extensively at the factory before installation. Cabinet is birch ply I believe and this unit is EXTREMELY heavy, especially with a road case. Very cool backlit control panel and of course, big 'MATCHLESS' lighted logo (mine shines blue, which I really dig...). Also has switched and unswitched AC outlets in the back.
I always play through the amp with the master volume defeated; If I let the amp distort, I want genuine power tube saturation, which seems to happen somewhat gradually with this amp, or maybe it seems gradual because the drive sounds are so clear.
FYI, I bought this amp 5 months ago; have gigged with it in my folk-based alternative band, for church worship, and just playing by myself at home.

This amp in 2 words? Clarified drive... I really dig the clean and overdriven tones this amp has. Although, I must say the dc-30 cannot do loud and clean (although what 4xel-84 can?). To get any clean, I need to back off on guitar volume or use a EB volume pedal, which I don't mind. I mainly use a PRS Custom 22 with the dc, although I sometimes use a G&L ASAT Special or '72 reissue Tele thinline w/ humbuckers. The rhythm drive tones I get with the PRS on neck humbucker (position 1) and also position 3 are amazing; clear grind; this amp SINGS with the PRS; before I brought these 2 together (the PRS and the Matchless), I had never heard anyone use them together. WOW, an awesome match in my opinion; this combination screams... The "tele-sounding" P/U combination on the PRS (position 4) has lower output than the other 2 positions I like, and causes the Matchless to emit a beautiful, clear, tele sound great for picking, rhythm strumming, clean lead, whatever. Position 5 of the PRS (bridge humbucker) gets a very nice cutting lead tone (lots of midrange and cut). The thinline tele w/ HB's also sounds VERY good through the dc.
The amp can be quite noisy, if you stand close to it with some guitars, or if you have noisy pedals (my Matchless HotBox overdrive pedal is really noisy if in the signal chain).
I mainly use channel 1, the triode channel; has the best rhythm sound and the most headroom as far as I have been able to tell. I would really like to hear how the dc sounds with 2x12 Celestion Alnico Blues in it instead of the v30 and greenback; I think this would definitely improve the tone and add more headroom (clean volume).
As for effects, the Fulldrive 2 sounds ok through it; I am not terribly impressed in either the compressed or non-compressed modes of the FD2. I think the HotBox is possibly better sounding through the dc. The Voodoo Lab tremolo and Fulltone Choralflange sound fine. I would love to try an Echoplex or a Plex (reissue of original) through it to get some good analog delay sounds. To get the best clean and overdrive tones with this amp, I generally just roll back the volume on the guitar or volume pedal for clean, and then increase the volume pedal/knob OR simply play harder to get killer drive tones. I find this amp to be quite touch responsive, which I like.
I wish I could get more clean headroom out of it (but like I said, it is an AC-30-based amp, so low amount of clean headroom is the nature of the beast), and reverb would be a plus, although the sound is so pure and complex, I really don't miss reverb that much at all.

I feel very confident that the Matchless will not let me down as I care for it properly (have periodic checkups done on the tubes and components to see if they are all functioning up to par, use a roadcase, don't drop it, etc...). The Matchless is EXTREMELY well-built, more like completely OVERbuilt. One thing I DON'T like, however, is having to remove the chassis each time one of the light bulbs (4 inside the chassis and 4 inside the Matchless logo) burn out; to access the light bulbs in the nameplate, you have to remove the chassis to get to the lightbox and then you have to remove that as well. Other than that design flaw, the construction is second to none.

Old Matchless is out of business. I doubt the newly reinstated Matchless Amplifier company will accept my warranty papers?? =-)

I have been playing for about 8 years. I am mainly a rhythm guitar player; I absolutely LOVE playing electric guitar and I love music. I have been in a few bands, progressing slowly toward the professional-quality realm; also been in lots of religious/church bands.
My favorite electric tones that I have heard: Toad the Wet Sprocket (they used one HC-30 and one DC-30), Sarah McClachlan (Fumbling Towards Ecstacy and Surfacing), Innocence Mission, Sundays (Static & Silence).
My two favorite amp sounds now are Fender-type 6L6 clean tone w/ lotsa headroom (Bassman, Twins, etc.) and EL-84 drive tone (Matchless DC-30, Bruno UG-30, vintage AC-30, even the Boogie Maverick sounds pretty good). My ideal amp would be a point-to-point wired, 2-channel amp combining class "A" EL-84 overdrive on channel 1 and 4x6L6 class "A" or 2x6L6 class AB1 (?) clean on channel 2 (lotsa warm clean headroom), with a really good 1-3 knob Blackfaced-fendery-sounding reverb. I think I am pretty partial to 12AX7's in the preamp, as well.
I may have found my ideal overdrive tone, although after what I have read about good Dumbles, Two-Rock's, and the new Bruno Super 100, I want to try out the drive channels on these amps to compare to the DC-30. The headroom, reverb, and clean sound of a great Fender-type 6L6-based amp with a GZ-34 or solid-state rectifier are still SLIGHTLY favored by me over the DC-30's clean sounds and headroom. Overall, I think it is a great amp; if it was considerably lighter and had heavy-duty pop out casters, these factors would be a huge plus. I may need to find a premium channel switching amp to use for live and practice, since hauling the DC-30 and a Twin around is a LOT of weight (and I have had back surgery, so this is literally impossible without help). The DC-30 will see a lot of recording and live use anyway though until/if I find something better. I want to also try a Bruno Underground 30 w/reverb and an Alessandro English, both with a 2x12 Celestion Alnico Blue-loaded solid pine cab, and see how those compare to the DC-30. Wow, what an amp though; sounds awesome and looks EXTREMELY cool!

My amp was born around April '96. I found it in a shipping liquidation store because a box knife had been used to open the carton and it had cuts in the grey Tolex covering. I paid roughly $1100 US and when I contacted the company they agreed to accept the warranty papers. Too bad the company has since gone out of business but reliabilty hasn't been a problem. I always use a small clip-on fan to blow a little air around the tubes and I've gotten pretty decent tube life so far with steady (3-4yrs.) use.

This isn't a 'features' type amp but rather a simple to use well crafted tone machine. I mean, just look at the two or three knobs for each preamp, eh? The controls are very powerful, especially channel one's interactive bass and treble control. An A/B/Y box is the only feature I've added that the amp really needs to access most of the tones in this amp.

The two channels work very well alone (A/B'd) and when combined through a 'Y' switching box. I play country, R&R, blues and pop music and I'm always able to get a nice tone very quickly. My primary axe is a G&L ASAT (soapbars) but I've used Les Pauls (Humbuckers), semi-hollow Gibsons (including P-90's) and even my acoustic (Thinline) sounds nice when used with this amp. Awesome touch, feel and sound for every playing situation. It's very loud and clean although I've noticed a slight drop-off in 'headroom' lately and new tubes haven't helped. Hmm?

My model has the speaker phase reverse switch and I use it whenever I need to turn the amp upstage for lower volume situations. That way my stage sound is 'in-phase' with the PA. I had a little problem with the effects loop jacks where one of them was grounding out the signal to the chassis because there's not enough room where they mounted those jacks. I never use the effects loop so I opened the amp and hard soldered the loop out of the circuit and since then, no problem.

There's a lot of tonal variety using picking dynamics and the volume control on the guitar. An A/B/Y box gives me several tonal combinations that I've never been able to get from 'channel switching' amps.

I'm not gonna say it sounds like this amp or that amp but it sounds good. I've noticed being able to cover Beatles tunes and Byrds stuff very well so I guess it's got the heart of a AC-30. I really like older amp designs and Matchless has done a great job of getting that vintage 'vibe' in a modern, durable package.

I play 6 days a week and I've never had a failure with this amp or any tube amp that I couldn't fix on the gig. One time, a tube shorted but with a new fuse and a spare 'bottle' she was working fine. One reason I prefer to gig with class 'A' amps is that I don't have to worry about 'matched sets' of power tubes and you can stick just about any tube of the proper type in there and it'll work fine. The sound may suffer or sometimes improve but no technical problems like under or over bias. Yeah!

I used to talked to a guy by the name of Paul who was helpful but since they've gone out of business that's dried up. Oh well, I don't conact Fender when I have a question about my 1952 Deluxe. I'm a good amp tech myself and if I can't fix it I know somebody who can.

It's a great amp and I would have to get another one if it were stolen. It's a big part of my signature tone and I love the way it feels with any guitar!

I only use hard wire bypass effects through the front end and that's only when I 'have' to use some delay or OD. I never use my chorus pedal anymore because the amp has such a nice swirling, complex sound by itself that most effects just get in the way. Awesome!

Oh, by the way, I did find some NOS EF-86 preamp tubes for channel two because the stock Sovtek was a little microphonic.

sounds good - can get muddy.

well built. in the shop - I have been calling them for 2 months with no response. That's what you get with a small company.

n/a

Has been alot of trouble - and the factory won't help me out. The guys at Westwood Music were great (where I bought it). I should have taken it there for repairs - I wonder if I'll ever get mine back.

I hear the company went bankrupt. I guess it's the amp owners who will now have to bend over. Does anyone else have this problem with them?

I bought a brand new one for 2,400 bones on a special order.All I wanted was black and elk with brown speaker cloth and white knobs.They told me it would take 6 to 8 weeks.I got it in 12 with bad tubes,wrong color knobs and a whole lot of ghost notes.I really like the amp and its features but when I waitd an extra month for shipment, heard every lame excuse in the book,paid an arm and a leg for this thing and got jerked around and then had to ship it back for repairs and was promised its return in two weeks I've been pretty pissed havingwaited 6 weeks.I called and talked to Rick 20 to 30 times and have been treated like someone who IS NOT A ROCK STAR.I have been pretty amazed that after spending that kind of money I was and still am not being treated fairly.I told Rick last week to go ahead and keep it and he thought that would be"just fine"That just blew me away that they wouldn't care enough about someone who bougt their flagship amp.I'm still waiting because I love the amp but guess what?they still are giving me lame excuses and bad attitudes.I hope anyone who wants to get one of these amps takes note of this and the fact that this company probably won't be around long enough because of the way they do business to honor a lifetime warranty.

GREAT!!!!

New.

POOR!!!!