Matchless Avalon 30, Avalon 35 User Manual

MATCHLESS

MUSICAL INSTRUMENT AMPLIFIER

For All Avalon 30 and 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 a Hybrid method of point to point wiring, turret style, and printed
circuit board. The board in the Avalon series utilizes 3 oz. copper tracing.
The wiring is silver coated stranded copper in a Teflon jacket for extra resistance to heat
and
decay. We use chassis mount tube sockets that are rivet mounted to a rugged welded
steel chassis. Our hand wired paper bobbin 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, roadworthy, studio quality amplifier.

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 top-boost channel uses two 12AX7’s tubes in the first preamplifier.

All Avalon amplifiers incorporate a MASTER volume control feature. Only 30 Watt EL-84
based Avalon amplifiers will come standard with a HI-LO power setting switch enabling the
artist to take full advantage of the harmonic rich nature of an all vacuum tube design.

An effects loop is a standard option for the Avalon series. MATCHLESS Avalon amplifiers
may be ordered as single combo speaker as well as separate head and cabinet
configuration.

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

and 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 for 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 the amplifier, or multiple speakers with an
amp head or combo in conjunction with an additional 112 speaker cabinet, it is necessary to
calculate the proper impedance setting. This is easily accomplished using a simple “Ohm’s
Law” formula:

FORMULA: Load 1 x Load 2 EXAMPLE: 8 Ohms x 8 Ohms

_______________ ________________ = 4 ohms

Load 1 + Load 2 8 Ohms + 8 Ohms

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 at (310)-444-1922.

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. 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 cord 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 before shutting off the AC
power switch, 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!

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 stand­by mode or turn the amplifier off if you are not going to play for a while. Save your tubes!

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 may leave 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:
C-30 Chassis (USA) 3AG size 3 Amp rating
C-30 Chassis (Japan) 3AG size 3 Amp rating (Slo-Blo)
C-30 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.
In most cases the Rectifier Tube and or Power Tubes that have gone bad will be the cause
of your fuse blowing. Always have spare tubes and spare fuses on hand when using your
amplifier.

PREAMPLIFIER SECTION

Your MATCHLESS amplifier is a Single Channel Circuit utilizing two 12AX7’s one is for
input and the other is the cathode follower for tone.

INSTRUMENT INPUTS:

Your MATCHLESS Avalon amplifier has two inputs one High Input and One Low Input. The
purpose of having two inputs is that the upper input (input 1) provides more gain a brighter
top end. The lower input will reduce the volume slightly and warm up the top end, making
the signal less bright. 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.

Pre-Amp

This channel has three controls, VOLUME, BASS, and TREBLE. This is a “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.

POWER AMPLIFIER SECTION

MATCHLESS amplifiers are cathode self-biased and operate mostly in a dual 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 four controls that enable the user to adjust the parameters of the power amplifier
section. The controls are the HI-LO power switch, the CUT control and the MASTER
VOLUME control, and the IMPEDANCE switch. 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.

“HI-LO” POWER SWITCH:

This switch is located at the rear of the amplifier and determines the overall output power of
the amplifier. In the “HI” position all four output tubes are functioning and the amplifier is
producing maximum power. C-30 amplifiers are conservatively rated at thirty watts. In the

“LO” position, the two outer output tubes are turned off leaving only the two inner power
tubes running so power is reduced approximately 50%. Cathode bias levels will adjust for

each power setting. This function is very useful in recording studios or small clubs where
less power may be preferable. The low power setting also produces its own distinctive tone
and should be explored fully.

“MASTER VOLUME”

The MASTER volume control function is a Push-Pull Potentiometer activated by pulling
out and pushing in. When the Master Volume Control is pulled out, the master volume
control circuit is active and will work from 0-10 or full volume. When pushed in the

Master Volume Control is completely in bypass mode, allowing the signal of the power
section to operate at 100% of its capacity. The MASTER volume control adjusts the

overall volume output regardless of the Hi-Lo power setting and functions with the Pre­Amp. 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, while running the Pre-Amp
volume control at a lower setting.

For a dirtier sound, the MASTER volume control enables the preamplifiers to be overdriven
without having the amplifier at full volume. Pull out 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 pre-amp
volume control 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.

By using the Pre-Amp volume, Master volume and the Hi-Lo power setting switch, a wide
range of tonal spectra may be explored. Once again, let experimentation be the mother of
invention!

CUT:

The CUT control varies the high frequency response of the power amplifier. This is
characterized by fewer highs 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 at higher signal levels. Utilizing a
higher setting of the Cut control is ideal for a mellow and warmer and sound.

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 quartet
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
microphonic or the amplifier whistles with the controls at maximum (with nothing
plugged into the inputs) a replacement may be required.
When replacing output tubes, make sure they are a matched quartet. Adjusting the
Bias is not necessary.
Check to make sure that the filaments can be seen and the tubes are hot when the
amplifier is on, if they are cold to the touch and there is not a visible glow the tube is
defective. However, simply because the tube glows does not mean it is fully functioning.

***Use EXTREME CAUTION when checking if a tube is warm. Tubes will become very
hot and can cause a burn if care is not taken while inspecting. If in doubt please refer to
qualified technician to determine if your tubes are defective.

VACUUM TUBE REPLACEMENT

Never attempt to replace vacuum tubes while the amplifier is on or the amplifier is hot.
To replace the Pre Amplifier tubes simply pull the Front panel trim piece off of the amplifier.
Simply grab a hold of the front panels frame and gently pull forward. The front panel is
mounted by Velcro strips to allow easy access for tube replacement.
Preamplifier tubes usually have a twist-lock shield that must be removed before the tube
can be removed from the chassis.
Access to the Rectifier tube and the four Power tubes can be made by simply grabbing the
rear panel frame and gently pulling out. It is also held on by Velcro strips for easy access.

Output tubes employ a wire spring retainer. Simply unlock the wire retainer from the top of
the tube by pushing it off the tube.
The Rectifier tube is simply mounted into its tube socket base and can easily be replaced by
pulling upwards. When installing a new rectifier tube make certain that the notch in the tube
matches the base sockets notch.
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.

LOGO INDICATOR LAMP REPLACEMENT

Matchless employs 6.3V incandescent bayonet style lamps to illuminate the logo and the
front panel. All the lamps are of the same type for simplicity. A lamp type #44 is
recommended for all lamps, although a type # 47 may be substituted if a brighter look is
desired.
The lighting is recessed and covered by opaque plexiglass. The cover will need to be
removed to access the bulbs.

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 NOT equipped with a multiple primary winding enabling the
user to set the amplifier for various voltages and line frequencies available in foreign
countries. The Avalon series amplifiers are a dedicated and fixed voltage power
transformer. They can not be altered to use different AC voltages.
All Avalon amplifiers must be ordered in accordance to the regions correct AC Voltage.

OPTIONS:

Effects loops come standard on all Avalon series models.
The effects loop jacks are located on the rear panel of the amplifier.
The effects loop 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.
Switchcraft plugs are recommend since a Switchcraft Stereo jack is utilized.
(There have been known issues with some Monster Cable Stereo Y Cables.)

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.

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 Avalon 112
Combo uses an In House Modified Celestion G12H30 and is rated at 30 watts.