How to Date your Marshall Amp

Marshall Amplification

marshall amplifier dating

Thanks for the link. Most obviously, all the Fender tubes were replaced with British ones. The year codes changed after this, so using other pieces of evidence to make sure you have pre speakers is important. Few speakers were then able to handle more than 15 watts, [ citation needed ] which meant that an amplifier approaching 50 watts had to use four speakers. With the introduction of the Powerstem technology, the Origin amps are able to reduced output power while retaining the same tonal characteristics of a full-powered amp. Not mine because I have one but I know lots of people looking for 'em. Around this time, Marshall released a few "special edition" amps in this range, including a "Slash Signature" model, a first for the company.

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Soon after the Rose-Morris deal had ended in late , Marshall repackaged two MV models, the and the at and 50 watts, respectively , along with the and non-master volume Super Lead in a new box with a new panel, and called it the " JCM " series named after his initials and the registration plate of his car. I have a stereo cab - one side has vintage the other 30? In the mid '60s the order was day-month-year, so a code showing 13DL would indicate a speaker made on the 13th of April, We don't usually think of Charlie Christian, T-Bone Walker or even Les Paul as a player , though they all had considerable parts in moving the instrument forward. The top cabinet has the top two loudspeakers angled slightly upwards, giving the Marshall stack a distinctive appearance.

The amps were trimmed in silver covering, and had a bright silver-coloured faceplate, along with a commemorative plaque. The Jubilee also featured a "semi-split channel" design, in which two different input gain levels could be set, running through the same tone stack and master volume control.

This allowed for a "classic Marshall" level of gain to be footswitched up to a modern, medium to high gain sound, slightly darker and higher in gain than the brasher JCM sound that typified s rock music. The gain by today's standards is medium. It can be heard on some of the Velvet Revolver material though.

The Jubilee amps also featured a "pull out" knob that activated a diode clipping circuit similar to boosting the amp's input with an overdrive pedal. After the Jubilee year, production of the 25xx series amplifiers continued for one more year with no internal changes , but reverted to a standard Marshall livery of black and gold.

These are sometimes referred to as the JCM Custom amplifiers. Marshall began to see more competition from American amplifier companies such as Mesa Boogie and Soldano. Marshall then updated the JCM range with additional models and new features such as "channel switching", which meant that players could switch between clean and distorted tones with the push of a foot-operated switch.

This feature debuted in the 50 watt and watt series and these amps contained more pre-amp gain than ever thanks to a new innovation; diode clipping. This meant a solid-state diode added additional distortion to the signal path, akin to adding a distortion pedal.

As such the split channel JCMs were the highest gain Marshalls yet built — "When they were first released, many players were shocked some were even put off by its bright, intense distortion — far more than any other amp of the day.

Marshall around this time began further experiments with solid-state amplifiers, which were increasingly improving in quality due to technological innovations but were still considered beginner level equipment.

Regardless, solid-state product lines with the Marshall name on them were and still are a wild if critically discounted success for the company, allowing entry level guitarists to play the same brand of amp as their heroes.

In the s, Marshall updated its product line again with the JCM series. Reviewed by Guitarist magazine in the UK and given the line, "Shredders, here is an amp you won't need to have modified", this move by Marshall was again an outgrowth of musicians' desires, featuring more distortion than ever and retaining popular aspects of the late JCM models.

However, despite such marketing claims they were not as hi-gain as advertised and lacked a full gain stage. Marshall rectified this with the SL-X series as used by the group Kiss [ citation needed ].

Still, if not for shredders, the JCM was well received by younger players associated with pop, rock, punk and grunge which was widespread by the early s.

The Dual Reverb was also notably used by Dave Navarro. The early JCM range featured the a split channel, dual reverb head descended from the , and the same in a 50 watt configuration , along with the usual range of combos along the same lines. Although the EL34 had at this time begun to return to prominence, a number of these were shipped with valves, a now uncommon valve similar in tone and build to a 6L6. Most of the JCMs and s built between — left the factory with the s. Around this time, Marshall released a few "special edition" amps in this range, including a "Slash Signature" model, a first for the company.

This was actually a re-release of the earlier Silver Jubilee amplifier, with identical internals, a standard Marshall look, and a Slash logo. This amp retained EL34s and was produced 3, units from to To commemorate this milestone, Marshall released the 30th Anniversary series of amplifiers, the EL34 powered LE with commemorative blue covering and gold faceplate, which was followed by the in blue tolex and still EL34 powered and then in the LM in standard Marshall livery but now powered like the JCMs of the time.

All versions of the had three channels; clean, crunch and lead. The clean channel featured a mid shift, which gave the option of a more "Fender-like" voicing, and the crunch channel featured three modes recreating all the classic Marshall crunch tones of the past three decades.

The lead channel featured a switchable gain boost and a mid-range contour switch, which gave it the tone and gain levels, which Marshall's engineers hoped would keep it competitive in the high-gain world in the early to mids. In fact some players felt the lead channel was perhaps the weaker link in the amplifier's arsenal, and it came in for revisions in the third year of production the LM standing for "Lead Mod".

This revision featured even higher gain. The Anniversary series found prominence with Joe Satriani in particular, who favoured the early EL34 powered versions and used only the clean channel live along with his signature Vox Satchurator distortion pedal which is based on his old modded Boss DS Satriani used these older Boss pedals almost exclusively for live work and on a number of studio albums including The Extremist until the early s.

Despite all this complication the amps had a pure signal path that did not share preamp tubes between channels unlike later Marshall designs like the TSL and JVM. Marshall currently produces a number of amplifiers, which are a mix of modern designs and vintage reissues. Most models attempt to include the "classic" Marshall "roar". As of [update] , Marshall produced a wide range of amps with the look and sound of the Marshall valve amp.

The longest running of such models is the JCM range, which is split into the two- and three-channel series, known as the Dual and Triple Super Leads. These amps are a continuation of the JCM and series, although the controversial diode clipping circuit used in the later and amps has been removed in favour of additional valve gain stages.

Marshall looked towards a new flagship to nail all the compromising of the earlier models, the JVM, made in a variety of models and ranges.

These amps have up to four channels, each with three-foot-switchable modes, dual master volumes, reverb controls for each channel, and a foot-switchable effects loop.

These features can be programmed into the standard foot-switch to be foot-switchable as "patches", so now the user can switch from, say, a clean channel with a chorus in the effects loop and reverb, to a medium-gain rhythm sound with no effects, to a high-gain lead sound with boosted output volume, with one click of the foot-switch per sound. Around the same time as the release of the JVM, Marshall also released an amp called the Vintage Modern, which is designed to be much simpler, with a single channel and designed to be controlled more by the player's style and guitar than by channel switching or multiple settings, reminiscent of the vintage "Plexi" and JCM range, but with modern conveniences such as foot-switchable dynamic ranges distortion levels , effects loop and reverb.

The Vintage Modern series consists of the watt head and watt head with matching combos and a matching cabinet loaded with G12C watt Greenbacks. In , Marshall reissued many of its earlier amplifiers, such as the Model SLP , which is designed to be a reissue of the lates era "Plexi" amplifier, but which are in reality reissues of the post Super Lead models in that they use printed circuit boards internally to reduce manufacturing cost.

The original design utilised hand-wired circuits on turret boards, which is now available for a premium in the "hand-wired" series. Other reissues are similarly PCB designed, even where the originals were hand-wired, except where explicitly noted i. Marshall's "Valvestate" amplifiers contained a hybrid of valve and solid-state technology. Currently named the "AVT series" although these are now out of production, being replaced with the "AVT tribute" for a short time , there are a number of different models, all of which are less expensive than their all-valve counterparts.

It is Marshall's current line of "hybrid" amplifier, featuring a 12AX7 preamp tube employed in the preamp to "warm up" the signal as well as solid-state components, with a solid-state power amp. These are considered and marketed as intermediate-level equipment to bridge the gap between the higher valve range and lower range MG series. In January , Marshall released their latest variant of the MG line of practice amplifiers. Replacing the MG3 line, the MG4 has been designed to offer the guitarist a whole host of features whilst keeping the control of the amplifier simple.

Marshall currently manufactures a professional, all-valve bass rig called the VBA There are also solid-state models called MB series [22] ranging from 15 watts to watts and extension cabinets.

The amplifiers can be controlled via Bluetooth from iOS and Android devices and can also be used to stream audio from a PC. A series of low-wattage, all tube heads and combos assembled in Vietnam hearkening back to the plexi era of the company.

The Origin series was introduced to address a demand for lower volume amps that many guitarists were calling for. To address this, Marshall announced the Origin5, a 5-watt amplifier that can run on either high 5-watt or low 0. With the introduction of the Powerstem technology, the Origin amps are able to reduced output power while retaining the same tonal characteristics of a full-powered amp. This is accomplished through the new attenuation system, Powerstem, by dynamically reducing the rail voltages throughout the amplifier.

Occasionally confusion has arisen due to Marshall's method of naming each amp model, especially during its first few decades, when it was distributed under Rose-Morris. Early Amplifier models were simply named after their catalogue number, so for example the blues breaker was item one thousand nine hundred and sixty two in the Rose-Morris catalogue. The top cabinet has the top two loudspeakers angled slightly upwards, giving the Marshall stack a distinctive appearance. When a single cabinet is used, the complete unit is called a half stack.

In the early-to-mids, Pete Townshend and John Entwistle of The Who were responsible for the creation and widespread use of stacked Marshall cabinets.

Townshend later remarked that Entwistle started using Marshall Stacks to hear himself over Keith Moon 's drums and Townshend himself also had to use them just to be heard over Entwistle.

In fact, the very first watt Marshall amps were created specifically for Entwistle and Townshend when they were looking to replace some equipment that had been stolen from them. They approached Jim Marshall asking, if it would be possible for him to make their new rigs more powerful than those they had lost, to which they were told that the cabinets would have to double in size.

They agreed and six rigs of this prototype were manufactured, of which two each were given to Townshend and Entwistle and one each to Ronnie Lane and Steve Marriott of The Small Faces. These new "double" cabinets each containing 8 speakers proved too heavy and awkward to be transported practically, so The Who returned to Marshall asking if they could be cut in half and stacked, and although the double cabinets were left intact, the existing single cabinet models each containing 4 speakers were modified for stacking, which has become the norm for years to follow.

This, in turn, also had a strong influence on the band's contemporaries at the time, with Cream , The Jimi Hendrix Experience and Led Zeppelin following suit. However, due to the cost of transport, The Who could not afford to take their full rigs with them for their earliest overseas tours, thus Cream and Hendrix were the first to be seen to use this setup on a wide scale, particularly in America.

Ironically, although The Who pioneered and directly contributed to the development of the "classic" Marshall sound and setup with their equipment being built and tweaked to their personal specifications, they would only use Marshalls for a couple of years before moving on to using Hiwatt equipment. Cream, and particularly Hendrix, would be widely credited with the invention of Marshall Stacks.

The search for volume was taken on its next logical step with the advent of "daisy chaining" two or more amplifiers together. As most amplifier channels have two inputs, the guitar signal being present on both sockets, the cunning musician hooked the spare input of one channel to an input on another amp.

By , Hendrix was daisy-chaining four stacks, incorporating both Marshall and Sound City amplifiers, as recommended to him by Townshend. Artists such as Slayer and Yngwie Malmsteen also use walls of Marshalls; both Kerry King and Jeff Hanneman of Slayer would often be seen playing in front of a total of 24 cabinets. Malmsteen toured with 30 heads and 28 cabinets, and in said he would use 60 full stacks on his next tour. Marshall is an important sponsor of sport in the local area. Marshall were one of the earliest shirt sponsors for Milton Keynes Dons , [27] they also sponsored Milton Keynes Athletic Club as well as Milton Keynes Lions basketball club, [28] before the latter relocated to London.

Any chance you'd want to trade? I've never been totally in love with that amp. What kind of stuff do you find yourself using it on? JIMI used them too. AJ, you want to launch that ? I could find a good home for it. Not mine because I have one but I know lots of people looking for 'em. AJ, how much do you push the amps when you record?

I find that my sounds really weak when used low, but when I crank it, it really opens up. Not all the way up, maybe on like 4 or something. Oh yeah, what model is yours and what type of output tube? Oranges just kick total ass. Dropping 6L6's into the Marshall will make it fatter but then it won't sound like a Marshall. I don't know if that's a good thing for you or not. Even though I've had this amp for a few days so far I've had the bass just about all the way up and the treble and presence usually aren't higher then 4 or 5.

Any higher then that and your right, it gets thin and bright. I know Orange but what's the deal with Matamp? Seeing as this is the Amp hang thread On Michael Wageners recomendation for a good 'all round' rock workhorse recording set up - I bought an Engle Savage Special Edition. I have a stereo cab - one side has vintage the other 30? I aim to get an open backed 2 x 12 as well with fender blue Elnico speakers in it to complete the scene - for clean combo sounds That will do me for a while alongside amps the bands bring themselves Just so happens the one coming in to overdub mid next week, claim to have a great Marshall - I will see how it shapes up with the Engle gear..

Also - a golden eared guitar chum who has been through all the Line6 stuff reckons that the Distortion Modeler is actually worth having.. I may pick one up.. I just have a Hot Cake pedal presently I don't know about that Line 6 distortion thing. He's playing a Les Paul through a Line 6 and it sounds like crap. Total cheese whiz angry bee sound, from the guy that played Funk 49 which is a great tone.

There's a difference between a guitar tone and a guitar sound. The players I like have tone. Collecting a few different distortion pedals is easy. Kids are always buying and selling them. Matamp built them, Orange labelled them. So, are there amps out there with the Matamp label on them? I'm always on the lookout for bargins and finding a cheap Orange would be great. Mostly because I like the color orange.

I'm going to paint my live room this week and guess what color I got? Originally posted by Jay Kahrs I don't know about that Line 6 distortion thing. I have a Tech 21 Sansamp GT2 agh, say that a few times! I also have the Comportion and XXL pedals which are like a regular stompbox. A real sleeper pedal is the DOD fuzz that they made a few years ago. I think it's called the "classic fuzz" or something.

Imsges: marshall amplifier dating

marshall amplifier dating

When a single cabinet is used, the complete unit is called a half stack. Marshall amps made it possible to get the sort of stadium-filling, high gain crunch we now associate with rock.

marshall amplifier dating

So now the big question is, how old is it? See the year codes below through

marshall amplifier dating

Marshall amplifier dating all this complication the amps had a pure signal path that did not share preamp tubes between channels unlike later Marshall designs like the TSL and JVM. I'm going to paint my live room this week and guess what color I got? The changes gave Marshall amplifiers a more aggressive voice, which does bones and booth hook up found favour with players such as Eric Claptonwho would sit in Jim's shop practicing. Other early customers included Pete Townshend marshall amplifier dating John Entwistle of The Whowhose search for extra volume marshall amplifier dating Marshall to design the classic watt valve amplifier. We can hardly express enough how grateful we are for the hard work that the good folks at Vintage Marshall Amps website, Michael Doyle and Nick Bowcott, all of whom have done an immense amount of work to increase the accuracy and availability of information on Marshall amps. Retrieved from " https: