MATCHLESS
MUSICAL INSTRUMENT AMPLIFIER
For
All PHOENIX 35 models
INTRODUCTION
Thank you for choosing
a MATCHLESS brand instrument amplifier. Your amplifier has been carefully
hand-crafted using only quality materials. The chassis of your amplifier
is completely hand wired employing construction techniques of military
electronics manufacturers. We utilize point to point wiring instead of
a printed circuit board. The wire used is silver coated stranded copper
in a Teflon jacket for extra resistance to heat and decay. We use porcelain
and mica filled phenolic tube sockets that are shock mounted to a rugged
welded steel chassis. Our hand transformers are designed for 100% duty
cycle. Vacuum tubes are selected for tone, low noise and performance.
This kind of craftsmanship and attention to detail enables us to offer
to the purchaser our six year guarantee.
MATCHLESS amplifiers
are ruggedly built, and aside from the periodic tube or indicator lamp
replacement , should require very little maintenance. We have designed
every MATCHLESS product to be a trouble-free workhorse and hope you enjoy
yours for many years to come!
FEATURES
Your MATCHLESS
is a straight forward amplifier devoid of bells and whistles. It is an
all tube design including the power supply rectifier. Cathode bias operation
is utilized for the output stage. The tone-boost channel uses two 12AX7s
as the first preamplifier, while the vari-tone channel uses an EF86/6267
pentode. This configuration offers a unique tonal difference between the
two channels.
All PHOENIX 35 amplifiers incorporate a MASTER volume control enabling
the artist to take full advantage of the harmonic rich nature of an all
vacuum tube design. MATCHLESS amplifiers are available in a variety of
configurations thus facilitating the various operating requirements of
the modern musician with a taste for that truly vintage sound. An effects
loop is available as an option for most amplifiers. MATCHLESS amplifiers
may be ordered as single, dual or quad combos as well as separate head
and cabinet configurations.
Speaker cabinets are available for use with rack mount amplifiers or as
auxiliary cabinets for all combo amplifiers and amplifier heads. Cabinets
can also be ordered with custom impedance ratings; this is especially
useful when multiple speaker systems are used.
OPERATION: GENERAL
Your MATCHLESS
is an all tube design. If your experience is limited with regard to vacuum
tube instruments amplifiers, you should become familiar with the characteristics
that differentiate vacuum tube designs from their solid-state counterparts… Aside from the tone or sonic performance.
1. Vacuum tube amplifiers require a “warm up” period of up
to one minute before they become operational, and they usually sound better
as they “cook”. This is due to the fact that electrons only
flow when the cathode of a tube if fully heated. This is also the reason
vacuum tube amplifiers run so much hotter than solid-state design.
2. Many vacuum tube amplifiers incorporate a STAND-BY switch, which aside
from muting the amplifier, performs a more valuable function of removing
current from the circuit while allowing the heaters to remain energized.
The STAND-BY mode is used during short breaks and is usually preferred
to turning the amplifier off. This allows the amplifier to cool and greatly
enhances the useful life of the output tubes.
NOTE: MATCHLESS amplifiers
are biased hot and should not be allowed to idle with no input signal
or long periods of time.
3. Tube type amplifiers
are inherently sensitive to speaker impedance matching. This is due to
the relationship of the internal resistance’s of the output transformer,
the output tubes, and the load they are required to drive. A load imbalance
can cause loss of power, self-oscillation, or excessive current to flow
in the output stage. In severe cases this condition can cause the output
transformer to run hot and may damage and destroy the output tubes. This
kind of damage is not covered by the warranty. The impedance switch, located
at the rear of the chassis, is used to match the amplifier to the speaker
load. This rotary switch has three positions and can match the amplifier
to four, eight, or sixteen ohm loads. This switch should be set before
the amplifier is turned on. MATCHLESS single and four-ten cabinets are
normally eight ohms. Dual speaker models are normally four ohms.
When it is desired to use additional speakers with an amplifier, or multiple
speakers with an amp head, it is necessary to calculate the proper impedance
setting.
The correct setting for two 8 ohm cabinets connected in parallel should
be the four ohm setting at the amplifier. It is also possible to connect
speaker systems of unequal impedance values using the same formula, simply
set the impedance switch to the value closest to the result. Remember
that volume output may be also be unequal, as the lower impedance speaker
is likely to be slightly louder because it demands most of the power from
the amplifier. Also, be sure that the power handling capacity is adequate.
POWER
SOAK DEVICES
The use of “power-soak”
devices is not recommended on your amplifier. These devices can severely
shorten the life of the output tubes which should be replaced as a matched
quartet. Replacing vacuum tubes can be quite expensive. If however one
of these devices is an integral part of your sound, choose one that is
well designed and built by a reputable company. When the amplifier starts
to sound dull, it’s time to replace the output tubes. Always replace
tubes with premium quality tubes only! Cheap tubes will not sound good
and will not last. MATCHLESS sell replacement tubes for all models. Please
contact your dealer or call the factory.
SWITCHES AND INDICATORS
POWER: OFF/ON
This switch supplies power from the A.C. mains and is used to turn the
amplifier off and on as well as the switched A.C. outlet at the rear of
the amplifier. The amplifier on status is indicated by the illumination
of the “MATCHLESS” logo on the front of the amplifier.
STAND-BY
This switch serves as a mute for the amplifier, and is used when changing
or unplugging a guitar cords or taking breaks, especially if volume control
setting are to be set and left. Additionally, the stand-by mode allows
the amplifier to cool down, extending the life of the output tubes. Substantial
amounts of current flow through the output tubes whenever the amplifier
is operational, even with no signal from an instrument! A stand-by status
indicator is located on the front panel. The stand-by indicator lamp can
be wired to illuminate for either state. Stand-by or operate. All MATCHLESS
amplifiers come from the factory wired to indicate the operate mode.
PRECAUTION! Cathode
biased class A amplifiers do not like to “idle” for prolonged
periods. These amplifiers draw more current idling than they do while
being played. Use the stand-by mode or turn the amplifier off if you are
not going to play for a while. Save your tubes!
SPEAKER PHASE SWITCH
All Amplifiers manufactured
after November 1993 incorporate a “Speaker Phase” reversal
switch at the rear of the speaker system. Reversing the motion of the
speakers can influence clean and distorted sound, especially if a direct
signal is taken from the guitar and “mixed” with a mic’d
amp. If two amplifiers are used in stereo, reversing the speaker polarity
of one amplifier creates a whole new tone dimension.
ABOUT THE FUSE!
Your MATCHLESS amplifier employs a line safety fuse for protection against
damage. The line fuse offers protection against irregularities in an A.C.
source, tube failure, component failure, severe overload to the output
amplifier, and other conditions that prove unsafe or damaging to the amplifier.
If an amplifier blows a line fuse, an investigation into its cause is
required. Correct any problems that may be found before putting the amplifier
back in service.
Never replace a line
fuse with one of a higher amperage rating! Not only is it unsafe, but
it leaves your amplifier unprotected in the event of a tube or component
failure and voids your warranty.
Use this chart to determine the correct fuse type for your amplifier:
PHOENIX 35 Chassis
(USA) 3AG size 3 Amp rating
PHOENIX 35 Chassis (Japan) 3AG size 3 Amp rating (Slo-Blo)
PHOENIX 35 Chassis (Europe) 3AG size 2 Amp rating
For amplifiers designed to operate at non-standard voltages, the required
fuse size and rating will appear on the manufacturer’s tag affixed
to the inside of the amplifier cabinet, or at the fuse holder on the chassis.
When in doubt, consult your dealer or contact the factory.
If you are traveling with your amplifier, and are uncertain about the
voltage requirements and fuse type, please contact the factory. In some
countries the line voltage may vary slightly from the voltage at which
an amplifier may be set. This may require modification of the fuse rating.
ABOUT THE PREAMPLIFIER SECTION
Your MATCHLESS
amplifier employs two very different tube types and circuit designs for
the preamplifier channels giving each channel its own distinctive response
and personality. This enhances the versatility of our “simplicity” of design philosophy.
INSTRUMENT INPUTS
Your MATCHLESS amplifier has two input channels or preamp paths. Each
preamp has two inputs, one just above the other. The purpose of having
two inputs is that the upper input (input 1) provides more gain than the
lower one (input 2). Instrument pickups vary in signal strength and the
user may find one input offers a better match than the other, and this
may vary among instruments. As a rule, older instruments usually have
lower output strength and may sound punchier through the input with more
gain (input 1), while instruments with newer style pickups that may be
much hotter, may perform satisfactory with less gain (input 2), and improve
the headroom of the amplifier. Feel free to experiment and decide for
yourself which input sounds best with your instruments.
CHANNEL ONE
This channel has three controls, VOLUME, BASS, and TREBLE. This is the “triode” channel. This channel offers a two stage active tone
circuit employing a second pair of triode amplifiers. This circuitry is
popularly referred to as a “tone-boost” or “treble-boost”
circuit. The Bass and Treble controls are highly interactive and capable
of a wide variety of textures. Channel One may be preferred for that early
British sound that we have become so endeared to. If you play a Les Paul
Jr. with P-90’s or Strat/Jazz Master Style guitar through this channel,
you will recognize this familiar sound instantly.
CHANNEL TWO
This channel utilizes a “pentode” vacuum tube as the first
preamplifier stage and is followed with a six position rotary switch to
control the tone envelope. This preamplifier tube is capable of more gain
than channel one and is capable of being overdriven harder. The tone control
for this channel is passive. This may become the channel of choice for
a “heavier” sound, especially when overdriven and used in
conjunction with the MASTER volume control option. The multi-position
rotary tone switch varies the dimension or width of the tone envelope.
The minimum position (counter clockwise) will procedure a thinner sound
that will become thicker and thicker with each clockwise click of the
switch. This switch has a total of six tonal textures.
ABOUT THE
POWER AMPLIFIER SECTION
MATCHLESS amplifiers
are cathode biased and operate mostly in a “class A” mode.
This means that current flows continuously through the output tubes whether
a signal is present or not. Most amplifier designs employ the more popular
“AB” or “AB1” biasing technique, which although
capable of producing more power for a given tube configuration and transformer
size, produces crossover distortion and more odd order harmonics. This
is why MATCHLESS amplifiers are described as having a smooth tone that
won’t fatigue ears even at a high volume.
The MATCHLESS design also does away with controlled or corrective negative
feedback, allowing the amplifier to run “open loop” or wide
band. This is why your amplifiers sound full and rich at low or high volume
levels.
These are what we call “features of design” and very much
a part of the distinctive MATCHLESS tone.
There are three controls that enable the user to adjust the parameters
of the power amplifier section. The controls are the IMPEDANCE switch,
the CUT control and the MASTER VOLUME control. The impedance switch is
used to correctly match the speaker load to the amplifier, as mentioned
earlier. This control (located at the rear of the amplifier) should be
set and left in the proper position before the amplifier is turned on.
MASTER VOLUME
The MASTER volume control function is activated by push-pull switches
attached to it. When the switch is activated (pulled out), the master
volume control circuit is active. In the bypass mode, the master volume
control is completely out of the signal path (pushed in). The MASTER volume
control adjusts the overall gain of the output amplifier and functions
with channel one and channel two. Normally this control would be set at
its maximum (fully clockwise) position or bypassed (switch pushed in).
This allows the power amplifier to run at full gain. This would be the
normal configuration for a cleaner sound.
For a dirtier sound, the MASTER volume control enables the preamplifiers
to be overdriven without having the amplifier at full volume. Pull out
the switch attached to the MASTER volume control to activate the circuit,
then turn the control fully counter-clockwise. No sound will come from
the amplifier at this point. Now turn the volume control of the channel
you are using fully clockwise or nearly so. Turn the Master volume control
clockwise until sound is produced from the speakers. Experiment with the
settings of both the channel volume control and the MASTER volume control
until the desired results are achieved. Remember, if the channel volume
control (on either channel) is “cranked” up, and the MASTER
volume is turned down, an over-driven sound is produced. Experiment with
both controls simultaneously to understand more fully how their interaction
affects overdrive characteristics.
CUT
The CUT control varies the bandwidth, or high frequency response of the
power amplifier. This is characterized by fewer heights or less top end.
The CUT control is used to soften or take the edge off a harsh instrument
or tone setting. The effect is subtle before the halfway point on the
control and increases the amount of cut from midpoint to full. The CUT
control is most effective when the Master volume is bypassed or set for
maximum gain.
MAINTENANCE
Aside from routine
vacuum tube and indicator lamp replacement, your MATCHLESS should require
very little in the way of maintenance. Periodically examine the four output
tubes visible from the rear of the chassis. Any tendency of one or more
of these tubes glow reddish in the plate area is an indication of an imbalance
in the amplifier. This should be checked out by a technician or by substituting
a fresh set of matched output tubes. If over a period of time or hard
playing the amplifier sounds weak or dull, this may be an indication that
the output or preamp tubes are “tired” and probably need renewal.
If one or more of the preamp tubes become abnormally micro phonic or the
amplifier whistles with the controls at maximum (with nothing plugged
into the inputs) a replacement may be required. When replacing output
tubes remember that they are a matched set and should be replaced with
a matched set.
VACUUM TUBE REPLACEMENT
Never attempt to replace vacuum tubes while the amplifier is on or the
amplifier is hot. To replace tubes remove the back panel of the amplifier.
Preamplifier tubes usually have a twist-lock shield that must be removed
before the tube can be removed from the chassis. Output tubes and rectifier
tubes employ a base clamp. The base clamp is loosened by un-tightening
the screw on the side of the clamp. When replacing output tubes, always
check the amplifier out before replacing the back panel. Make sure that
the amplifier functions normally and that none of the tubes appear to
be overheating. This is usually indicated by an abnormally bright tube
or a reddish glow from the plate area. If all looks well, replace the
shields, caps, or re-tighten the clamps. Replace the rear panel and test
the amplifier again.
INDICATOR LAMP REPLACEMENT
Matchless employs incandescent bayonet style lamps to illuminate the logo,
stand-by indicator, and the front panel or dashboard. All the lamps are
of the same type for simplicity. A lamp type #47 is recommended for all
lamps, although a type #44 may be substituted if a brighter look is desired.
PANEL OR DASHBOARD LAMP REPLACEMENT
There are five lamps
used to illuminate the front panel of the amplifier. When one of these
lamps requires replacement, the entire chassis must be removed from the
cabinet. To do this, first remove the power cord from the amplifier. Then
remove the back panel by loosening the hold-down screws. Remove the two
wires that provide power to the logo. These are pull-off connectors. If
the amplifier is a combo, disconnect the speaker plug located next to
the fuse holder. Carefully remove the four screws on the top of the cabinet
while supporting the weight of the chassis with one hand. Slide the chassis
out to replace the bulbs. To re-install the chassis, simply reverse the
process.
LOGO LAMP REPLACEMENT
There are four lamps
used to illuminate the logo. If the logo appears unevenly lit one of these
lamps is probably out. The lamps are located in a reflector assembly known
as a light box. The light box is positioned just above the speaker(s)
and is removed by removing the securing screws and disconnecting the two
wires that supply power from the chassis. The wires are connected with
quick disconnect spades. Use a long screwdriver for easy access to the
screws. If the amplifier is configured as a head, the chassis must be
removed first.
STAND BY LAMP REPLACEMENT
To replace
the stand-by lamp, unscrew the colored reflector lens and replace the
lamp. Make sure that the power is off before replacing this lamp, otherwise
arcing may damage the socket.
INPUT JACKS
Never attempt to tighten input jacks with the chassis still inside its
cabinet. The input jack will spin as you turn clockwise, causing damage
to parts or wiring. The proper method is to disconnect the A.C. power,
remove the chassis and gently hold the input jack with one hand and tighten
with a correct fitting nut driver. (If you over tighten, you will run
the risk of damaging the shoulder fiber washers or the jack itself.) Input
jacks should be lifted from ground. An open input jack you will cause
a loud hum, and it must be replaced!
CAUTION!
Never place drinks
on top of the amplifier for obvious reasons. Liquids can cause the glass
envelopes of the hot vacuum tubes to crack possibly shorting out the amplifier.
Liquids can also cause damage to switches and potentiometers and generally
reduce the reliability of your amplifier as well as require an expensive
repair. If an accidental spill does occur, remove the amplifier from the
cabinet, remove the tubes, and thoroughly clean and dry the chassis before
attempting to use the amplifier. Be mindful not to restrict airflow to
the back of the amplifier.
Never replace the
protective fuse with one of a higher amperage rating. If an amplifier
starts blowing fuses, it may be warning of an impending problem with the
amp and should be looked over by a professional.
USE IN OTHER COUNTRIES
Your MATCHLESS amplifier
is equipped with a multiple primary winding enabling the user to set the
amplifier for various voltages and line frequencies available in foreign
countries. This is an internal connection change and should be done by
a qualified technician. MATCHLESS amplifiers can operate on voltages ranging
from 110-120 volts A.C. at 60 Hertz and 220-224 volts A.C. at 50 Hertz.
It also can be switched to 100 volts A.C. at 50 Hertz. As well as 220-240
volts A.C. at 50 Hertz. If you have any questions about this conversion,
please contact the factory.
OPTIONS
MATCHLESS offers an effects loop option for most amplifier models. An
effects loop enables the user to insert any desired effects device between
the channel preamplifier and the power amplifier. MATCHLESS amplifiers
provide two independent loops, one for channel one and one for channel
two. The effects loop jacks are located on the rear panel of the amplifier.
The upper jack is for the “Tone-Boost” channel, while the
lower jack is for the “Pentode” channel. Each jack is configured
in a Ring, Tip, Sleeve manner similar to a recording studio console insert
point. Each jack is of the normalizing type and contains the send and
return information on a single ¼“ stereo phone jack. The
Tip is used for the send signal and the Ring is used for the return signal.
The Sleeve is ground. The SEND signal is derived just after the channel
volume control and the RETURN signal is inserted at the phase inverter,
just before the Master volume control.
A Stereo “Y-cord”
is required for loop operation. When the loop is not being used, the signal
is “normalized” through the jack.
The effects loop option is intended for use with guitar type foot pedals
and semi-pro level rack type effects. It is not designed to drive effects
units requiring high level signals (+4), as encountered in a professional
recording studio.
ACCESSORIES
AND OPTIONS
ACCESSORIES
Your MATCHLESS amplifier comes supplied with an operation instruction
manual, an IEC power cable, a spare fuse, indicator lamp, and panel knob.
OPTIONS
An effects loop and balanced line outputs are available on most amplifier
models for an additional cost.
Getting
Started With Matchless Amplifiers
Tips
On Tone
MATCHLESS manufactures a variety of models, each with its own personality
and character. The choice of speaker cabinet type has as much to do with
tone as does an amplifier itself. Speaker cabinets with two twelve inch
speakers tend to emphasize midrange frequencies and tone texture may be
characterized as nasal. The PHOENIX 35 and ESD cabinets utilize two different
twelve inch speakers. One is rated at 30 watts while the other is rated
at 25 watts. This combination is very much part of the tone of our twin-twelve
design. The 25 watt speaker breaks up a little earlier than the 30 watt
speaker. This adds greater flexibility of tone especially when microphones
are used with the amp. The speakers can be differentiated by the size
of the magnet structure. When mic’ing a PHOENIX 35 or ESD speaker
cabinet you will discover how flexible this combination is. The twin-twelve
design offers a tone reminiscent of the fabulous sixties. Four-ten-inch
speaker enclosures have smooth, deep, bass, and silky heights with less
midrange. Country players are very fond of this combination. The overall
smoothness of this design is wonderful for power chord lovers, too! Single
speaker models produce a clean, rich tone and perform well in almost any
situation. These are a smart choice for recording and small club dates.
Matchless offers a 1x12, 2x12, 4x10, and 4x12 cabinet each with its own
distinctive character. The distinctive “Class A” design with
“no negative feedback”, employed in all Matchless amplifiers,
allows every instrument to be heard in a fresh new way. This design philosophy
offers an openness and richness of tone that clearly distinguishes MATCHLESS
instrument amplifiers from all others.
Matchless has put
together a collection of typical control settings that may be used as
a starting point with several popular guitar types and Matchless amplifiers.
Several selected guitar models and musical styles are chosen for illustration
and experimentation. These offerings are not to be considered the absolute
ultimate setting for your guitar or musical style, only a helpful starting
place. Locate a guitar type closest to your own and tonal characteristics
from the chart and set the controls as illustrated. Vary the control settings
as indicated by arrows and shading. In addition to suggested control settings,
experiment with Hi and Lo power settings as covered in the Operation Instructions
Manual.
Typical settings
are shown for each sample guitar type for channels one and two. Remember
that the “Tone Boost” tone controls on Matchless amplifiers
are highly interactive, so explore!
When using
the Master Volume control for a dirtier tone keep in mind that a master
volume control cannot duplicate faithfully the sound of a heavily overdriven
amplifier. A truly overdriven amplifier has the output amplifier, transformers,
and speakers contributing much to the overall distorted tone. This is
not the case with a master volume control which is primarily used to overdrive
the preamplifier. At best it should be considered a tone unique unto itself.
We feel that it is important to mention this fact as there are many who
believe a master volume control will produce the same effect as turning
the amp up to ten. It can’t.
Matchless Amplifiers
1933 Pontius Avenue
Los Angeles, California 90025
Phone: 310.444.1922
Fax: 310.444.1942
http://www.matchlessamplifiers.com
©2008 Matchless Amplifiers. All rights reserved.
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