Matchless DC-30 - Opinions?
LJH59
OK all you tube tone mavens. I'm looking for a Class A amp that can do the
grind thing as well as the Vox chime. I've heard that the DC-30 can do both
pretty well. Any other amps that are better or comparable? Thanks in advance
for any info. I don't subscribe to this newsgroup, so please email me directly.
Larry
SEFSTRAT
<<I'm looking for a Class A amp that can do the
grind thing as well as the Vox chime. I've heard that the DC-30 can do both
pretty well.>>
I have an SC-30. It's the last gigging and recording amp I'll ever buy.
One channel does the Vox Top Boost chime thing real well, the other has the
Marshallesque teeth.
Steve
SEFSTRAT
LJH59
Hi Steve,
Just a few questions about your SC-30. First of all, I assume that the SC-30 is
just a 1x12 version of the DC-30, yes? Is it channel switchable, or would I
have to use an AB box? Also, can the volume of the two channels be balanced
individually, or is there only one master volume? I plan to use it most of the
time for live work and I'm wondering about flexibility.
Thanks,
Larry Harrold
SEFSTRAT
<<ust a few questions about your SC-30. First of all, I assume that the SC-30
is
just a 1x12 version of the DC-30, yes? Is it channel switchable, or would I
have to use an AB box? Also, can the volume of the two channels be balanced
individually, or is there only one master volume? I plan to use it most of the
time for live work and I'm wondering about flexibility.
Thanks,
Larry Harrold>>
Yes, the SC-30 is the 1x12 version. SC30=1x12....DC30=2x12....HC30=head.
I use mine live all the time. You need an A/B box to switch between the
inputs. I use the Morley; it's an A/B/Y....combining the channels for some
leads is VERY cool (the preamps of the two channels are totally separate).
Gives a big volume boost.
I use a Fulltone Fulldrive2 for overdrive and distortion. The character really
changes form one channel to the other; from Vox-y to Marshall-like.
Each channel has its own volume (gain), and there is one master volume that you
can engage or bypass.
If you really wanted to use channel two for overdrive, with the preamp set
high, you'd necessarily have to set the master low, to avoid excessive volume.
Ordinarily preamp distortion doesn't thrill me, but the unique pentode
arrangemnt of channel two is pretty damn good. If you set up this way, channel
1 will obviously be too soft as a clean channel, though...but you can resolve
this by putting, say, a DOD FX10 FET preamp pedal in the effects loop of
channel one, boosting the hell out of the clean signal after the preamp, but on
the way to the power amp. Then you could just channel-switch, without any
distortion pedal.
I prefer the Fulldrive, though, in fropnt of the amp, befoer the A/B/Y switch.
The two channels sound VERY different, even in conjunction with the overdrive
pedal.....very American OR very British.
There are separate effects loops for each channel, too (single tip/ring/sleeve
jacks, I wish they'd left them as separate in/out jacks!).....extra speaker
jacks and an impedence selector...a phase reversal switch for the speaker
(interesting effect in conjunction w/outboard cabinets)....a high/low power
switch...and swiched and unswitched electrical outlets, all on the back of the
amp. I leave a little ART FX-1 and its wall-wart power supply velcroed INSIDE
the amp, set to 'stereo room reverb", with one side to channel 1, the other
side to channel 2; it all plugs right into the back of the amp with a 2 foot
extension, into the 'switched' outlet.
Beware, though...the amp weighs a ton.
Steve
SEFSTRAT
Jack A. Zucker
You said that about the SC-15 a couple years ago !
-Jaz
SEFSTRAT wrote in message
<199805211357...@ladder03.news.aol.com>...
><<I'm looking for a Class A amp that can do the
>grind thing as well as the Vox chime. I've heard that the DC-30 can do both
>pretty well.>>
>
>I have an SC-30. It's the last gigging and recording amp I'll ever buy.
>
>One channel does the Vox Top Boost chime thing real well, the other has the
>Marshallesque teeth.
>
>Steve
>SEFSTRAT
Steve
Jack A. Zucker wrote:
>
> You said that about the SC-15 a couple years ago !
>
> -Jaz
>
And how about you? Still love the TopHats, and DR.Z Prescription?????
Steve
Stratoman6
>I have an SC-30. It's the last gigging and recording amp I'll ever buy.
><
>One channel does the Vox Top Boost chime thing real well, the other has
>the
>Marshallesque teeth.
Steve,
Thers a SC-30 for sale in the Trader for 1475.00. Is this a good price used??
I believe it's a 1X12 combo. I've been using a Peavey Delta Blues for little
gigs, and it doesn't sound bad. Hows the headroom on the Matchless??
I'm looking for a lil' good sounding tube combo thats versatile enough to be a
one pony-thing for me. I sold my old Mesa 22 and bought a Tremoverb to replace
my custom built Uncle Alberts rack, that I sold, so I wouldn't have to lumber
around with so much shit anymore. I'm just not happy with the Peavey.
I like the new Milliniums ( would be great for my new studio in recording
direct and miked) but they don't sound like the amps they hype.
I also use a huge pedal board,( 9 pedals with loops), to get various sounds.
Any info on this lil' amp would be appreciated.
Regards,
Stratoman
" Gonna make pretty womens jump and shout..." Don't you know Muddy Waters
invented 'lectricity?
SEFSTRAT
<<You said that about the SC-15 a couple years ago !>>
The SC30's first channel---the Vox Top Boost circuit--is the same as the
Lightning's sole channel, and it's the one I use 90% of the time. In addition,
I use the SC30 at 15 watta all the time (low power)...just like the Lightning.
I'm now the only guitarist in the band, and I needed more bottom end in the
signal. The SC30 was a better solution for me than bringing the Lightning and
another outboard cabinet.
Steve
SEFSTRAT
SEFSTRAT
<< Thers a SC-30 for sale in the Trader for 1475.00. Is this a good price
used??
I believe it's a 1X12 combo. I've been using a Peavey Delta Blues for little
gigs, and it doesn't sound bad. Hows the headroom on the Matchless?? >>
The Peavey is a piece of junk, sonically, next to the SC30. You're talking a
Dodge Neon vs. a Lexus. Completely different level.
That's a REAL good price....the list new WAS $2700, and it just went over
$3000.
Steve
SEFSTRAT
dgm...@my-dejanews.com
In article <199805211606...@ladder01.news.aol.com>,
sefs...@aol.com (SEFSTRAT) wrote:
One more question steve - have you put in the pair of 5V4Gs or do you still
have it set up as shipped? I'm trying a pair of Philco 5V4Gs and still trying
to decide if I like it better or not.
> I use mine live all the time. You need an A/B box to switch between the
> inputs. I use the Morley; it's an A/B/Y....combining the channels for some
> leads is VERY cool (the preamps of the two channels are totally separate).
> Gives a big volume boost.
I have a DC30 and the same Morley - never have tried the Y setup but probably
will tonight. I agree that it would be impossible for any amp to ever top
this and I've owned a lot of amps.
> I use a Fulltone Fulldrive2 for overdrive and distortion. The character
really changes form one channel to the other; from Vox-y to Marshall-like.
Hmmm. I've tried a few OD pedals and have a Tech21 TriOD which is lame (at
least on the DC30. Might have to check out the Fulltone.
> Beware, though...the amp weighs a ton.
That's an understatement.
-----== Posted via Deja News, The Leader in Internet Discussion ==-----
http://www.dejanews.com/ Now offering spam-free web-based newsreading
Steve
SEFSTRAT wrote:
>
> The SC30's first channel---the Vox Top Boost circuit--is the same as the
> Lightning's sole channel, and it's the one I use 90% of the time. In addition,
> I use the SC30 at 15 watta all the time (low power)...just like the Lightning.
>
Do you think a Matchless HC-30 (?) head works well with a 4x10 cab???
Steve
Zekmoe
I also own a DC-30 and agree completely that it is the best , most resposive
amp I have owned. And I've owned and own quite a few. Not as many as a full
time collector, but enough to feel I have a good handle on the sounds. The
DC-30 is the only amp that sounds good with any guitar, yet retains the guitars
individual character. I've had Boogies that sounded good with PRS's, Marshalls
that rocked with Les Pauls, Fenders that wailed with Strats but none sounded as
good and true with any guitar as the DC-30. Still wish it had channels
switching instead of the A/B/Y sitiuation (I use a WhirlWind). I would
definitly buy a second one, or maybe a Jorgensen version if I have the funds
available.
Bob Maggio
Stratoman6
>The Peavey is a piece of junk
Damn Steve, call it what it is!! LOL...
>Dodge Neon vs. a Lexus
How's the headroom on the Lexus?? Is it good for medium venues??
Is it a two channel amp, and if so, how does the clean channel sound in
comparison to a Fender product??
Busman Dave
Lightning 15 w/ 2-10 cab. The lightning is a bit harsh on the high's but
very tight speakers, usually a/b it with the DC 30. Ilove my DC30 but
felt it was a little muddy sounding at high vol. and not to dynamic at
lower vol. Did some 12AX7 tube switching using Telefunken's, Amperex,
and EI's. Just about any combination ( though the Tele's were a little
better for clarity), voila, the amp sounded incredible!!!! Like Bob, I'd
buy another in a heart beat.
"my opinions are not even necessarily my own"
Busman Dave
SEFSTRAT
>One more question steve - have you put in the pair of 5V4Gs or do you still
>have it set up as shipped?
Mine was shipped with the rectifier pair, instead of the single, and I left it
that way.
Steve
SEFSTRAT
SEFSTRAT
<<Do you think a Matchless HC-30 (?) head works well with a 4x10 cab???>>
Sure...but you don't NEED it.
Steve
SEFSTRAT
SEFSTRAT
<< also own a DC-30 and agree completely that it is the best , most resposive
amp I have owned. And I've owned and own quite a few. Not as many as a full
time collector, but enough to feel I have a good handle on the sounds. The
DC-30 is the only amp that sounds good with any guitar, yet retains the guitars
individual character. I've had Boogies that sounded good with PRS's, Marshalls
that rocked with Les Pauls, Fenders that wailed with Strats but none sounded as
good and true with any guitar as the DC-30. Still wish it had channels
switching instead of the A/B/Y sitiuation (I use a WhirlWind). I would
definitly buy a second one, or maybe a Jorgensen version if I have the funds
available.>>
Yup. Friends who plug into my SC30 are amazed at the way they "hear" the
pickup selector positions on their guitars for the first time.
Steve
SEFSTRAT
SEFSTRAT
>Is it a two channel amp, and if so, how does the clean channel sound in
>comparison to a Fender product??
There's no "clean" or "boost" channel. Just two channels, very different in
character, and you could overdrive either...although the seciond channel has
more gain available.
The first channel is like a Vox Top Boost: does the sparkly thing real well.
The second channel is kind of Fender-like, clean, at lower gain; steely and
punchy...and thickens like a Marshall when you overdrive it. That channel is a
pentode-based preamp; no one else does one like this, as far as I know.
Steve
SEFSTRAT
Steve
Has anyone a/b'd a mathless DC30 with a Top Hat Royale..
(or a Dr.Z Maz 38 for that matter).
Steve
Jack A. Zucker
Steve wrote in message <356762...@sprintmail.com>...
>Has anyone a/b'd a mathless DC30 with a Top Hat Royale..
>(or a Dr.Z Maz 38 for that matter).
>
>Steve
I've not done that with the Maz 38 but I have with the Prescription which is
also a 4xEL84 based amp but with more gain than the Maz.
I a/b'd a Matchless DC30 with a Dr Z Prescription. They are both great amps
but overall I think I preferred the Prescription and it's also 1/2 the
price. I previously owned both the Prescription and the Top Hat Royale and I
preferred the Prescription. A buddy of mine owns both the Top Hat and the
Prescription (not the same amps I had) and he prefers the Prescription as
well.
-Jaz
James Doherty
Jack A. Zucker wrote:
> I previously owned both the Prescription and the Top Hat Royale
>
Jaz,Kind of curious what amp you've gone to and why you got rid of the Rx. As I
recall you were one of the first (and probably strongest) champion of the Z's in
this group.
JD
SEFSTRAT
<<I a/b'd a Matchless DC30 with a Dr Z Prescription. They are both great amps
but overall I think I preferred the Prescription and it's also 1/2 the
price. I previously owned both the Prescription and the Top Hat Royale and I
preferred the Prescription. A buddy of mine owns both the Top Hat and the
Prescription (not the same amps I had) and he prefers the Prescription as
well.>>
I';ve heard this from a few people.
Remember, though, that one reason some of us play Matchless is the build
quality and technique. Probably the most bulletproof tube amp ever made.
Certainly the only one with a lifetime warranty.
Steve
SEFSTRAT
Jack A. Zucker
SEFSTRAT wrote in message
<199805240550...@ladder01.news.aol.com>...
I don't know about the Dr Z warranty but in terms of construction, the Dr Z
amp is made every bit as good as the Matchless. I've seen both and in fact,
mechanically the Dr Z is superior since it uses a hand-wired circuit board
approach whereas the parts on the Matchless are wired to turret posts
meaning that the parts themselves are suspended in the air with only their
electrical connections providing mechanical rigidity. I don't know what kind
of electronics background SEFSTRAT has but suspending parts by the leads is
definitely NOT the way to achieve bulletproofing.
Additionally, Dr. Z's electronics background includes being an electronics
technician for GE doing X-Ray/CAT-scan equipment maintenance. For anyone who
doesn't know, GE's XRAY division has incredible quality control standards
which are regulated by the Feds. Dr. Z's work is mil-spec quality and I'd
put it up against ANYONE's that I have seen. I don't think you can improve
upon that.
-Jaz
SEFSTRAT
<<I don't know about the Dr Z warranty but in terms of construction, the Dr Z
amp is made every bit as good as the Matchless.>>
No way you will convince me that boards are as durable as point-to-point to
terminal strips.
Steve
SEFSTRAT
Doug
Jack A. Zucker wrote:
>
> I don't know about the Dr Z warranty but in terms of construction, the Dr Z
> amp is made every bit as good as the Matchless.
The Dr.Z vs Matchless argument goes back at least three years!!!
Apropos of this discussion, I once read this very informative review:
Subject: Dr. Z Prescription Review
From: "Jack A. Zucker" <j...@en.com>
Date: 1996/05/13
Message-ID: <319714...@en.com>
Newsgroups: rec.music.makers.guitar,alt.guitar,alt.guitar.amps,rec.audio.tubes
[More Headers]
[Subscribe to rec.music.makers.guitar]
Dr. Z Rx Review
I recently borrowed a Dr. Z Prescription guitar amp. After a week of
playing it, I decided to write a review of it in order to share the
information with other network folks.
Description:
The amp has 3 12AX-7 preamp tubes, 4 EL-84 power tubes running in
class-A with no negative feedback, and a GZ-34 rectifier tube. As stock,
my evaluation unit had 2 NOS Phillips 12AX7s in the first gain stage and
phase inverter, and a Sovtek 12AX7 powering the 2nd and 3rd gain stages.
Rectification was handled by a Groove Tubes "Reactive" solid state
rectifier but may also be ordered with a GZ-34 rectifier tube. The power
stage is handled by 4 Tesla EL-84 tubes which put out about 45 watts.
The controls on the front of the unit from left to right consist of:
Bass, Mid, Treble, Volume, Expand Switch, high input, low input. The
expand switch bridges a capacitor across the first gain stage cathode
resistor for an extra thick tone. There is no reverb or effects loop.
Dr. Z was going for a design with an emphasis on tone and felt that
reverb or an effects loop would compromise the tone and integrity of the
signal path.
The controls on the back of the unit consist of 3 jacks for 4,8 or 16
ohms.
The head-cabinet is a very small, sexy enclosure measuring 9.5" tall,
19.5" wide and 9.5" deep. I really like this design and it seems
equally at home on top of a 1x12 as well as a 4x12 cabinet. Very groovy.
Design:
The Dr. Z Prescription is a brand new design. Dr. Z does not make retro
or copy amps and this amp is no exception. While it certainly borrows
concepts from classic Western Electric circuit designs, you won’t find
its schematic in the Tube Amp Book. The amp employs a fairly novel
conjunctive filter circuit before the output stage which seems to really
juice the amp up and give it a very original tone.
The amp is built almost entirely of parts designed by Dr. Z himself. Dr.
Z has his own special formulation (Sprague) capacitors which are not
available commercially. They are designed to react in a similar way as
the old "Black-Cat" capacitors which were used in many classic early
60’s amps. Transformers are manufactured to his specifications as well.
The output transformer in the prescription is huge. It has 11
interleaves, paper bobbins, etc. Though the amp puts out about 45 watts,
the output transformer looks like something you’d see in a 100 watt amp.
(For those of you doubting the output rating, I compared it to my 50
watt Plexi Marshall which is really loud and the Z amp kept up with it
pretty well.
Resistors are NOS Allen Bradley carbon composition. Pots are CTS, jacks
are SwitchCraft. Wire used throughout is 600V, solid core. The
components are hand wired on custom made glass boards using turret
posts. Turret posts make better electrical connections, are more
reliable, and less prone to cold solder joints than eyelet boards. The
tubes, while not designed by Dr. Z, are hand selected and matched in
order to make the amp as quiet as possible with the best tone possible.
Dr. Z is extremely committed to doing that and I’ve seen him
painstakingly going through phase inverter tubes and measuring the
voltage of each triode until he finds a tube which is a match. (A 12AX-7
consists of 2 triodes in one glass bottle).
The actual mechanical structure is simply wonderful. The chassis is
solid aluminum with a special plating. This material increases the
conductivity to that of solid copper, yet retains the strength of
aluminum. This is an important factor in reducing hum and maximizing
tone. All wire runs are as short as possible and bent to right angles.
Dr. Z is very meticulous about wire routing and I noticed that extreme
care was taken to keep AC voltage wires away from signal grid wires.
There are no loose wires or silicone goo holding parts together.
Whenever possible, wires are twisted together and/or wire wrapped with
cable ties. No parts are hanging in the air either. Soldering is very
carefully done as no wires showed signs of insulation burning, and all
solder joints looked very solid, with just the right amount of solder
applied. This amp is built for the long haul.
Sound
First of all, let me say that the amp sounds amazing. It’s dripping with
tone. From the very first note, you can hear and feel it.. The amp’s
tonal range encompasses many facets. The first thing I noticed was that
the amp sounds radically different depending on what range the volume
control is set to. The volume control seems to be calibrated into 3
distinct areas: Clean-Sheen, Bluesy/Stingy/Crunch, and High-Gain
Clean-Sheen
Beautifully clean and chimey. The tone was bell-like and glassy with a
piano-like clarity on the low notes. Note separation was very good.
Playing complex jazz chords with ½ step voicings, I was able to clearly
discern each individual voice of the chord. Playing riffs across the
guitar from low strings to high strings demonstrates the evenness of the
amps tone across a wide frequency range. I was able to get a really full
bodied jazz tone as well as a really sweet maple neck Strat tone.
Bluesy/Stingy/Crunch
Using a Strat and with the volume about 1/3 the way up, I could get a
really great Stevie Ray Vaughan tone. At this volume level, overdrive
and compression are controlled by the guitar’s volume control. With the
guitar’s volume partially down, I was able to get that really sweet,
clean, wispy Strat tone that I’ve been looking for forever, and with the
guitar’s volume pegged, the amp is just starting to distort. If you’ve
heard SRV’s Texas Flood CD, you know the tone I’m talking about.
Switching to a 335 brought out another completely different personality
in the amp. With the guitar’s volume down and gradually increasing the
amp’s volume, the sound went from slight compression, to crunch, to a
really bluesy/stingy/cutting tone. Turning the guitar full up yielded a
very rich, bluesy, distorted tone. Not the least bit buzzy or unnatural.
Playing on the treble pickup yielded a really rich, smooth overdrive,
not unlike Eric Clapton’s live Crossroads tone.
High-Gain
Turning the amp up past halfway increased the gain and harmonics
considerably. Here, the amp started to take on the character of the Eric
Johnson violin tone. With my buddies Les Paul and Pearly Gates pickups,
the amp yielded a very fine early ZZ-Top tone. I was able to get
harmonic feedback, squeals and squawks on just about every note and the
incredible touch sensitivity was astounding. The only other time I’ve
had a ride on such a wild beast was playing a fully cranked 100 watt
Plexi-Marshall through two 4x12 cabinets!
Tone Controls
The tone controls on this amp are wonderful. They are specially tuned to
enhance the bass, mid, and treble bands that most effect the guitar’s
tone. When the controls are at the 12 O’clock position, the amp sounds
very natural. The effect is not unlike having a detent position and
being able to add or subtract from the zero point. Sweeping the tone
controls up or down yielded clearly audible, yet musical results. This
was very pleasing to me since so many amps today suffer from tone
controls which either do nothing, or are so severe that the majority of
their range is unusable. Again, this is not the case with the
Prescription. In fact, I could not find a combination of tone settings
that was not extremely musical.
And More…
At this point, you’re probably wondering if this amp suffers from
multiple personality disorders. I’m here to tell you that Sybil has
nothing on this amp. Read on…
A few days ago, I picked up a blues CD which had some really nice tweed
guitar sounds on it. It was a recent recording but done in the style of
the old Howling Wolf or Muddy Waters sessions. I really loved the guitar
sounds and it inspired me to try to get those sounds out of the
Prescription just for kicks. I decided to change the preamp and
rectifier tubes to see if I could get more of a brown/tweed sound out of
it.
I replaced the first preamp tube in the Prescription with a GE 12AY-7.
(This is the tube the ’59 bassman had in this position). I replaced the
phase inverter tube with a GE 5751 which is a lower gain than a 12AX-7
but higher than an 12AT-7. The last thing I did was to substitute a
Sovtek 5U4 rectifier tube. Because of it’s higher internal resistance,
the Sovtek tube lowers the plate voltages on the EL-84s as well as gives
the amp more sag. Additionally, having seen many tweed amp circuits, I
decided to leave the "enhance" switch in the off position since many
tweed amps employed no bypass cap for the cathode of the first preamp
tube.
Voila ! Instant tweed. I could not believe the difference. With my
Strat, the amp sounded incredibly like the tones I heard on the blues
CD. With the amp on 4 and the volume turned down on the guitar, the tone
was full bodied and clear with lots of sustain, and with the guitar full
up, the amp just ripped. It sounded very woody and reminded me of many
tweed amps I had played and heard on records.
I plugged my 335 in played a few notes and once again my jaw dropped.
With these tubes and the amp up about ½ way, the amp sounded almost
exactly like Eric Clapton’s tone on the John Mayall Bluesbreaker
recordings. It was fatter, darker, less distorted, and less harmonically
rich, but it had the touch, tone, and feel of the record. Twisting the
treble control, I found that I could make the amp transition from ’59
Bassman to ’64 JTM-45. I’ve played through several original ’59
bassman’s as well as original JTM-45s and I would have to say that this
amp holds its own with any of them. I suggested to Dr. Z that he make
available a "Tweed Upgrade Kit" consisting of the 12AY-7, 5751, and 5U4
rectifier tube. This seems like a simple way to add a whole plethora of
sounds to the amps palette.
Closing
In closing, I would have to say that this amp produces the widest array
of tones I’ve ever experienced from a single amp. It’s possible to go
from 50’s tweed, to 60’s plexi, to 90’s violin-tone. It’s well built,
well designed and well thought out. The designer Dr. Z, personally
builds and inspects every amp. He does not employ students to build his
amps and he does not have a factory. He works out of his basement and
has resisted attempts to be bought by larger companies. He’s very
committed to making hand-built amplifiers for guitar players who are fed
up with paying exorbitant prices for vintage or retro gear. His
philosophy seems to be very simple: Hand-build a top quality, original
product, designed to last a lifetime which will become an extension of
the player’s personality and sound.
If you recall, Dr. Z was listed in Guitar Player™ Magazine’s 50 best
buys for 1995. With a price tag of under $1000.00, the Prescription
ought to shoot Dr. Z to the top of that list for 1996 and beyond. If you
want an amp with interchangeable modules, multiple channels, progressive
diode expansion, midi switching, LED’s, aged tweed, etc., look
elsewhere. If you want an amp with damn good tone, check out the Dr. Z
Prescription amp. You’ll be glad you did.
Jack A. Zucker
Oh well. Some people still believe in goblins too!
Common sense should tell anyone that a part hanging by two wires is not as
mechanically secure as a part held by two wires and supported it's entire
length by a board. Why is that so difficult to understand ?
-Jaz
SEFSTRAT wrote in message
<199805241346...@ladder03.news.aol.com>...
><<I don't know about the Dr Z warranty but in terms of construction, the Dr
Z
>amp is made every bit as good as the Matchless.>>
>
Jack A. Zucker
Jack A. Zucker
Jack A. Zucker
SEFSTRAT
<<Common sense should tell anyone that a part hanging by two wires is not as
mechanically secure as a part held by two wires and supported it's entire
length by a board.>>
Yes, it does. Only my C-30 ain't made that way, so the relevance of your
comment escapes me.
In any event, screwing a wire to a terminal strip, soldering with silver solder
and then painting the solder connection is a lot more solid than a board solder
connection. In amps I've had that failed, parts didnt fall off. Solder
connections broke.
Steve
SEFSTRAT
Jack A. Zucker
>Yes, it does. Only my C-30 ain't made that way, so the relevance of your
>comment escapes me.
>
>In any event, screwing a wire to a terminal strip, soldering with silver
solder
>and then painting the solder connection is a lot more solid than a board
solder
>connection. In amps I've had that failed, parts didnt fall off. Solder
>connections broke.
That's exactly how the Dr Z is made except in addition to the terminals, the
parts also rest on the board. It ain't a printed circuit board if that's
what you're thinking.
-Jaz
SEFSTRAT
<<That's exactly how the Dr Z is made except in addition to the terminals, the
parts also rest on the board. It ain't a printed circuit board if that's
what you're thinking.>>
I know. Soldering to an eyelet boatd is not the same as having leads SCREWED
AND SOLDERED to terminal strips.
Let it rest. I;m sure the Z sounds great; I've heard that from a lot of folks.
But it ain't built like a C-30....damn near nothing is, any more.
Steve
SEFSTRAT
Roger L. Cordes, Jr.
SEFSTRAT wrote:
> Remember, though, that one reason some of us play Matchless is the build
> quality and technique. Probably the most bulletproof tube amp ever made.
> Certainly the only one with a lifetime warranty.
Holland amplifiers have a lifetime warranty. And the build quality
is superb.
SEFSTRAT
Never heard of them, and never saw one. Tell me more.
Steve
SEFSTRAT
Roger L. Cordes, Jr.
SEFSTRAT wrote:
> >Holland amplifiers have a lifetime warranty. And the build quality
> >is superb.
> Never heard of them, and never saw one. Tell me more.
Check out:
for detailed info. I have the "Little Jimi," 35W 2x10 combo. Sweet,
sweet amp. Thank you, Mike Holland.
James Doherty
lou...@my-dejanews.com
> Holland amplifiers have a lifetime warranty. And the build quality
> is superb.
That's funny, after receiving my Holland amplifier directly from Mike,
nothing worked. After checking the tubes, Mike suggested I take it to a tech
which i did. Guess what he found? Over 10 cold solder joints! When I sent
the ammp back to Mike he said he's build me a replacement within a month...
three moths later no amp. Numerous calls got numerous exuses from a variety
of his employees.... "The chassis is done, we're waiting on the cabinet"...we
just got the cabinet, the chassis is almost done" Now finally I was fed up
with the excuses so I sent Mike a letter saying I was no longer interested in
a replacement and asked him to credit my account.... no credit came...called
the credit card company and since the original charge was over three months
done there wasn't a whole lot they could do but they would ask the merchant
for a refund, well finally over six months later I got my money back. Mike
was nice on the phone when I did get to talk to him but this guy knows
nothing about running a business.
Lou
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Sisco.
i tried the holland on a gig as a freebie endorsment kinda thing
and i dubbed it as a "hollow" not a happy amp ..