Matchless HC-30

The Matchless HC-30 is a tube based guitar amp head that has two 1/4 inch inputs in the front for each of the two channels. It also has a speaker out in the back to send this head to a cabinet. On the first channel it has knobs for volume, bass, and treble and the second channel has knobs for volume and gain, and on the far right there are master knobs for cut and for master volume. There is also two switches for power and for standby.

UTILIZATION

The configuration of the Matchless HC-30 is very easy to follow and anyone who has experience with guitar amps will be able to use this with ease. It is extremely easy to get a great sound, and there is control over tone with a lot of parameters to shape it. I don't have a manual for the Matchless HC-30, but it is easy to use and you shouldn't need it if you don't have one.

SOUNDS

The sound quality of the Matchless HC-30 is simply awesome. I usually use this with a Fender Strat and always get great results for recording. It is great for both clean and overdriven tones, but probably excels more with clean sounds. This amp is used by professionals and top artists around the world, and definitely has the tone to back up the hype.

OVERALL OPINION

I've been using the Matchless HC-30 guitar amp head for about a year and have been very impressed with the results I get with this head. The tone is crunchy and full and is great for all types of music. The price of the Matchless HC-30 isn't cheap at all, but it is a hand made, high end guitar amp that is aimed at professionals, and is priced that way as well. If you can afford one of these, it is truly an awesome overall amp to use for all types of applications.

Amp lamps.

30 watts, switchable via a switch 15 at the rear. Very practical, very effective.

Two inputs "Hi" and "low". I use it instead of "Hi" input, but the other should be tried.

A phase reversal switch located at the rear.
Two speaker outputs in parallel.
A knob on the back to match the impedance according to configuration (4, 8, 16 ohms).
Personally I use it with a closed 2X12 cabinet mounted Electrovoice (for seriously kick-ass-to-foot) and a 2X12 cabinet with Celestion gold open or JBL for the aggressive biting (Celestion) or well-defined high-mids (JBL), according to the intended use.

Two channels:

Mine is the model with reverb.

A channel (clean sounds kind Hiwatt): gain, bass, treble. (Clear sound)

Channel two (clear sounds crunch, more distinctive Vox AC30, which is the model that was the basis for the design of this amp): gain, tone knob and notched 6 preset positions (some on the same principle as Orange of the OR series). This knob replaces the "cut" version without reverb. And. .. That's it!

A master section with a knob for metering the reverb and master volume knob by-passable through a push-pull.

A loop of effects, but with a single input / output (to therefore use with a stereo cable at one end, "Y" to the other mono)

30 watts more than enough for all uses, repeated studio scene. I never needed to push down (like a AC 30, it's mind-blowing).

UTILIZATION

Simple configuration
Immediately a good sound obtained by tinkering between the two channels.
Undeniably, it exudes quality.
Perfect finish.

SOUNDS

I use it only for light or sound a little crunchy.

The first channel is dedicated to clean tones.
The second is dedicated to the most wicked sounds, but if you push too much, it's not very nice.
If you go easy on, that's fine too.

The ability to bypass the master volume is very interesting. We have less control over the general level ('Hat live) but the sound is more fleshy and organic.

Supports all kinds of great pedals.

Reverb "spring", while really vintage is very usable, even dosed almost to background. It remains present, but the direct sound is not drowned in reverb. It's rare enough to be reported. This is so far the only amp that I know can do this. The reverb is excellently usable, except that there is no possibility of snap via a footswitch.
Damage.

on the other hand, you can change channels with a footswitch. Very helpful when needed.
English sound frankly, with the clean channel, an orientation that some claim in the Fender line, I'd rather Hiwatt: clear, but fleshy and less slamming Fender headroom and a crazy (ie we can push really hard without it saturates wickedly).

Two tone knobs (bass / treble) on a very interactive channel. The official website Matchless provides examples of settings for both channels are an excellent starting point for finding a good sound to the guitar used.

Note that this is the only amp with which I managed to have a good clear sound with a Les Paul or other Gibson. If you know what I mean, BB King fans will enjoy it.

OVERALL OPINION

I use it for six months. I do not get tired.

Without me farting in my search for the perfect sound for me, I've tried a lot of stuff for years. I mean situations scene / repeater / studio, not ten minutes in the store: All kinds of models of Marshall, Orange, Fender, Hiwatt in particular, vintage and new, with all kinds of speakers and guitars in different musical styles.
I love its reliability and the feeling that immediately something that sounds really good in front of you.

I currently use it mostly to surf music with a Jazzmaster, a strat and a Danelectro baritone. For clean sounds, but beautiful fleshy without being cold and crystalline, it is perfect for all styles. Besides it supports very well any kind of pedals, so as overdrive and distos.
Very expensive (over 3000 euros to nine) and rare secondhand. But we can find, I got mine brand new condition with flight case for 2100 euros.

This one has joined my JCM800 in the pantheon of classic unassailables. These two complement each other perfectly, the Matchless is dedicated to clean tones.
So yes, I do it again this choice.