Marshall amps are good
Marshall through the ages
Of course, there is an excellent arguing about whether an amplifier can influence a musician's creativity to the extent that different things come out of him than would have been the case with another amp. But the fact is - and every musician can confirm this - that a good sound inspires!
With this in mind, it is certainly not an exaggeration to say that the history of rock music would have been completely different without Marshall's innovations. It makes no difference whether it was actually the Marshall amplifiers that have driven countless musicians to such top performances in the last 50 years or whether Jim Marshall's developments simply hit the ravages of time and with his amps something out of the musicians tickled out that was already there anyway.
As a result, the point of view does not change the facts. Whether in the blues-rock of the 60s with Jimi Hendrix or Eric Clapton, whether the hard rockers of the 70s like Deep Purple and Van Halen, the heavy metals of Motörhead and Iron Maiden in the 80s or current bands like the Red Hot Chili Peppers and System Of A Down - all of them also drew their inspiration from the sound of Marshall amplifiers. And so the following foray through the (riff) history of Marshall users reads like a who-is-who of music.
Marshall can also play bass - the JMP MK-1 Super Bass is demonstrated here in the video:
The most important, best-known and most memorable riffs are to be presented here, chronologically and by decades. The selection of these riffs makes no claim to completeness, but is merely a subjective collection of well-known songs that were played and / or composed on Marshall amplifiers and are therefore inextricably linked to the history of the company and the history of rock.
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Marshall in the sixties
At the beginning of the 1960s, the music world experienced a significant turnaround. Until then, all guitar-relevant music styles such as jazz, blues or rock & roll came from the USA, but the development has now shifted to England, where suddenly blues, rock and beat bands such as the Beatles, the Rolling Stones, The Who, Led Zeppelin or Cream shot out of the ground.
This trend can be seen as a logical consequence of the more and more global record industry at the time, which now also made it possible for the British to get to know their American role models and then to adapt and develop them further.
The influence of the young Jim Marshall, who began as a Fender copyist, but then steered the sound of the electric guitar in a new direction and set standards in terms of distorting sounds, which in principle are still valid today, cannot be denied have kept. And that at that time for a more affordable price than imports from overseas.
Like any technical development, the tube amps from Marshall also took a while to gain a foothold in guitarist circles. But already in the mid to late 60s, such prominent guitarists as Eric Clapton, Pete Townshend, Jimmy Page or Jimi Hendrix were among the admirers of the new brand and found their own personal expression, their own sound. The early Marshall amplifiers of the JTM and JMP series were not infrequently used by bassists at the time. One of the first: John Entwistle from The Who.
60s Marshall Sounds
- The Who: My Generation (1965)
- Jimi Hendrix Experience: Purple Haze (1967)
- Cream: Sunshine Of Your Love (1967)
- Led Zeppelin: Whole Lotta Love (1969)
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Marshall in the Seventies
While the decade before was still in the process of finding what could be implemented musically with the overdrive and distortion sounds gained, the distinctive sound of the Marshall amps has become an indispensable part of the music of the 1970s. After all, this decade marks the heyday of styles such as hard rock, heavy metal and later: punk, all of which would not have been possible in this form without the distortion and above all the infernal pressure of the Marshall amplifiers.
What the Americans noticed, by the way, think of ZZ Top, Allman Brothers Band, Lynyrd Skynyrd, Kiss and countless others. Hand in hand with the development shaped by Marshall goes the establishment of the power chord as a simple but effective basis for countless legendary guitar riffs, above all of course Deep Purples, Smoke On The Water, according to the motto: What do we care about them Third!
This decade also saw the invention of the master volume control, which became standard in Marshall's case with the Master Lead models of the JMP series and which today enables us to use distorted sounds at more tolerable volumes.
70s Marshall Sounds
- Free: Alright Now (1970)
- Deep Purple: Smoke On The Water (1972)
- ZZ Top: La Grange (1973)
- U.F.O .: Rock Bottom (1974)
- Lynyrd Skynyrd: Sweet Home Alabama (1974)
- Aerosmith: Walk This Way (1975)
- Thin Lizzy: The Boys Are Back In Town (1976)
- Ramones: Blitzkrieg Bop (1976)
- Van Halen: Ain’t Talkin ’out Bout Love (1978)
- Police: Roxanne (1978)
- AC / DC: Highway To Hell (1979)
- Kiss: I Was Made For Loving You (1979)
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Marshall in the eighties
Did Jim Marshall already suspect in 1962, when he started building guitar amplifiers, that 20 years later, at least as far as the big rock stages of this world are concerned, his amps would not only be used as amplifiers but also as furnishings? In the 1980s, the 4 × 12 ″ cabinets from Marshall in particular became the most popular stage furniture for countless guitarists, making Marshall a sought-after interior designer for rock'n'roll bands.
In the plug-in box system, entire rear walls of the stage were lined with black wooden boxes. But be careful, what looks like a lot does not necessarily have to be of great benefit. So more and more so-called dummies, i.e. pure boxes without speakers, left the Marshall assembly lines to help the guitar hero with their volume-suggesting, sometimes ostentatious self-portrayal.
80s Marshall Sounds
- Ozzy Osbourne: Crazy Train (1980)
- Motörhead: Ace Of Spades (1980)
- Black Sabbath: The Mob Rules (1981)
- Iron Maiden: Run To The Hills (1982)
- Metallica: The Four Horsemen (1983)
- Scorpions: Rock You Like A Hurricane (1984)
- Yngwie Malmsteen: Rising Force (1984)
- Slayer: Raining Blood (1986)
- Def Leppard: Armageddon It (1987)
- Whitesnake: Here I Go Again '87 (1987)
- Joe Satriani: Satch Boogie (1987)
- Guns N’Roses: Sweet Child o’Mine (1988)
- Pixies: Where Is My Mind (1988)
- Jeff Beck: Savoy (1989)
Do you have a vintage amplifier and want to know what it's worth? Click here for the Marshall Price Guide!
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Marshall in the Nineties
With the fading of the preference for virtuosity and long hair in guitar music, some of the well-known Marshall users fell into oblivion and fewer and fewer new so-called guitar heroes followed. Not that nobody wanted to play Marshall amps anymore, but the music for which the company with its amps stood for many years was no longer in demand, hard-rocking riffs and fast guitar solos were simply out of fashion.
In addition, there was the success of some other companies that managed to establish themselves alongside Marshall as outfitters for bands and musicians of the harder pace. Nevertheless, guitar riffs emerged at the end of the last millennium and at the beginning of this millennium, which shaped rock music and which would probably never have seen the light of day without Marshall amps. Or would sound different.
90 / 00s Marshall Sounds
- Red Hot Chili Peppers: Give It Away (1991)
- Rage Against The Machine: Killing In The Name (1992)
- Lenny Kravitz: Are You Gonna Go My Way (1993)
- Blur: Song 2 (1997)
- System Of A Down: B.Y.O.B. (2005)
If you want to find out more, we recommend our Amp Station FAQ on Marshall Amps or the large special issue!
Author: Marian Lot
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18 AND 20 WATT SERIES
In 1965 Marshall launched three small combos - the 1958 (2 × 10 ″), 1973 (2 × 12 ″) and 1974 (1 × 12 ″). Technically, these amplifiers tended to be based on the Watkins Dominator case amplifier, a British competitor product, and outwardly looked like a mini version of the Bluesbreaker combo. Two EL84s sat in the power amplifier, and the equipment shone with reverb and tremolo.
These combos were only built two years before they were replaced by the 20 Watt Series, which was built from 1967 to 1974. This series consisted of five tops including a PA head and six combos.
50-watt lead-and-bass amplifier, which was only built between 1973 and 1976, combined a 1987 lead with a 1986 bass channel and was only available through mail order. In the Paul Weller Signature Amp, the 2100 combo experienced a resurrection in 2008 in a spectacular Brit-Pop outfit.
A 100 watt 1 × 12 ″ combo, the only MarshallAmp with four inputs plus master volume. The amp developed by Steve Grindrod (-> Grindrod, Steve) was introduced in 1978 and was only built for a short time.
Code number for the circuit of the '59 Fender Bassman, which the developers of the first Marshall used for orientation.
From 2005/06 Marshall chief designer, who among other things. was responsible for the JVM series, the Slash Amp AFD100 and the MG series.
After the two Valvestate series had good experiences with solid-state components, Marshall presented the AVT amps in 2000, which had a 12AX7 tube in the preamp and whose power amplifiers had a new, so-called dynamic clip Circuit presented that simulated a tube-like output stage behavior.
The Artist series appeared parallel to the JCM-800 series between 1984 and 1991, the amplifiers (3203 top, 4203 1 × 12 ″ combo) were 30 watts and equipped with solid-state pre-amp and tube power amplifier. Not to be confused with the -> Artisté series!
The Artisté series was produced from 1971 to 1978; it consisted of the tops 2048 (50 watts) and 2068 (100 watts), the combo 2040 (50 watts, 2 × 12 ″), a 2 × 12 ″ and a 4 × 12 ″ box (2049, or 2069 ). Both the tops and the combo of this Artisté series were equipped with a spring reverb.
Nickname of an album by John Mayall & The Bluesbreakers (Clapton reads a Beano comic on the cover photo), but also short for the unique, fat sound that Eric Clapton with a Gibson Les Paul and a Marshall Bluesbreaker combo on this one Album created.
Just as classic as the technology of the Marshall amps is their external appearance, characterized by the multitude of front upholstery fabrics of the speakers and the -> artificial leather with which the speakers, combos and tops are covered. White: the first substance used by Marshall, used from 1962 to 1965. Gray Bluesbreaker: from 1965 to 1968. Brown Bluesbreaker: from 1965 to 1968, very rarely used. Brown Basket Weave: mostly used in conjunction with purple artificial leather.
Salt and Pepper, also known as Gray Basket Weave, checkerboard from 1968 to 1973: from 1972 to 1975 as well as various reissues. Light Straw: used in club and country combos. Black: from the eighties until today. The first black fabric, which was used from around 1976, was rather dark gray and faded over time. Black and Silver Thread: 1975, rare.
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From 1966, Marshall came onto the German market in larger numbers. But there was a trumpet manufacturer here who owned the rights to the Marshall brand name and forbade the English to offer their products under this name. Without further ado, Jim renamed his Marshalls Big M in order to secure the rights to his name in Germany about a year later. But also: In the mid-1970s, the American Marshall sales department in the USA built their own boxes, which they also called Big M - cheaper aggregates that were equipped with Eminence speakers and were mainly offered in conjunction with the new transistor amps.
Was used from around 1964, first as the so-called "Transition" silver block logo, with dark red writing on a silver background, then later as a gold block logo on a gold background. From about 1966 the -> Script logo was used in different versions.
Nickname of a Marshall combo, first introduced in 1965 as the 1961 model as a 4 × 10 ″, and as a 1962 model as a 2 × 12 ″ combo. There were two series, Eric Clapton earned fame and honor with a 2 × 12 ″ combo of the second generation as the guitarist of Johny Mayall & the Bluesbreakers from 1966 onwards. But also: Marshall distortion pedal (from 1991).
That's what Jim Marshall called his bungalow.
An energetic fist sport! But also: loudspeaker housings, important for the sound, important for the look. The typical Marshall box has long been an icon of rock ‘n‘ roll, and still relevant! Today Marshall has eight 4 × 12 ″ (each with a beveled and straight design) and eight other boxes in its range. Here is an overview, first the 4 × 12 ″ boxes:
1960A / B - 300 watts, Celestion G12T-75, mono / stereo, 760 × 830 × 365 mm
1960AV / BV - 280 watts, Celestion G12 Vintage, mono / stereo, 760 × 830 × 365 mm
1960AX / BX - 100 watts, Celestion G12M25, mono, 760 × 830 × 365 mm
1960AHW / BHW - 120 watts, Celestion G12H-30, mono, 760 × 830 × 365 mm 1960TV - 100 watts, Celestion G12M-25, mono, 770 × 820 × 365 mm
425A / B - 100 watts, Celestion G12C, mono / stereo, the vintage modern box, 770 × 755 × 365 mm
1960DMA / B - 280 watts, Celestion G12V30, mono / stereo, Dave Mustaine signature boxes, 770 × 755 × 365 mm
M412A / B - 300 watts, 12AX75 speaker, mono, 770 × 755 × 365 mm, affordable price thanks to production in the Far East, from the JMD series.
Marshall uses the digits A and B to distinguish how a box is built, i.e. the two basic types. A stands for angled (= angled) and B for base or bottom (= base).
1912 - 1 × 12 ″, 150 watt, Celestion G12B150, mono, 510 × 465 × 290 mm
1922 - 2 × 12 ″, 150 watts, Celestion G12T75, mono / stereo, 675 × 515 × 260 mm
1936 - 2 × 12 ″, 150 watts, Celestion G12T75, mono / stereo, 740 × 600 × 305 mm
1936V - 2 × 12 ″, 140 watt, Celestion G12 Vintage, mono / stereo, 740 × 600 × 305 mm
JVMC212 - 2 × 12 ″, 150 watts, Celestion Vintage and Heritage, mono, 690 × 490 × 265 mm
C110 - 1 × 10 ″, 15 watts, Celestion G10F15, mono
2061 - 2 × 12 ″, 60 watts, Celestion G12H30, mono, 650 × 665 × 305 cm, from the Handwired series
1974CX - 1 × 12 ″, 20 watts, Celestion G12M-20, mono, 610 × 535 × 230 mm. This 1974CX is intended as a supplementary box for the 1974X combo from the Handwired series.
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Was Jim Marshall's right-hand man from 1962. He developed the first Marshall amps and headed Marshall's development department well into the 1970s, before he retired with a generous share compensation.
Description of the sound that Eddie van Halen achieved on the first Van Halen albums. For this he used an unmodified 100 watt JMP Super Lead from the 1960s. All volume and tone controls were set to 10 (i.e. fully up), he used an Ohmite Variac, which lowered the voltage supply of the amp from the 110 volts common in the USA to approx. 90 volts, the brutal final volume was tamed by a load resistor . Live he then used the Marshall amp with dummy load as a preamp for a long time, which was then amplified by H&H V800 Mosfet power amplifiers. Effects like the Echoplex were fed with the dummy load signal.
In 1966 and 1967 only 100 pieces of this 5 watt / 1 × 8 ″ full tube combo were built. It was only available to mail order customers and, with its red synthetic leather and white front fabric, didn't look like a Marshall amp at all.
English speaker manufacturer that has been working with Marshall since 1962. Founded in 1924, Celestion is the speaker company with the longest tradition still in business today.
A small series of small products, in the center a 5 watt all-tube amp with one channel and a class A circuit. The series consists of a top (C5H), 1 × 10 ″ combo (C5-01) and box (C110).
CLUB AND COUNTRY SERIES D
he stepchildren of the Marshall program, because you will find next to nothing about this series in company documents. As their name suggests, these amplifiers, which were introduced in 1978, were primarily intended to please country musicians, i.e. the Fender amps such as the Twin and Super Reverb, which are successful in this genre. This series contained three 100 watt combos: 4140 (2 × 12 ″), 4145 (4 × 10 ″) and 4150 (4 × 10 ″ Bass). The amps had KT77 end tubes and were covered with brown Tolex, the cowboy look was completed by the straw-colored front covering.The three amps only rode through the Marshall program for six years.
For the same company that also sold -> Park amps in England, Marshall built a few amp series under the company logo CMI - Cleartone Musical Instruments. Mainly PA equipment, but also three guitar amps were offered in 1976 and 1977.
The College of Music in the USA awarded Jim Marshall an honorary doctorate. Jim Marshall, who grew up under the simplest of external and difficult health conditions and whose father ran a snack bar, became Dr. Jim Marshall -> become OBE.
Assistant to Ken Bran (-> Bran, Ken), who at the age of 18 played a decisive role in the development of the first Marshall amps. He left the company again at the age of 21 to move to the big city of London.
In 1974 Jim Marshall introduced the Disco Unit, consisting of a pair of boxes (1995 model), a transistor output stage (1994 model slave) and a record player (1993 model). Only a few were built, then Marshall took care of the live music again.
Proven Marshall expert and author of the books 'The Sound of Rock' and 'The History of Marshall' EL34-KRISE Marshall and EL34 power tubes belong together as firmly as Marshall and Celestion-Speaker. No wonder the men around Jim Marshall got nervous when Tesla, the tube factory in what was then Czechoslovakia, pulled out of sails in the early 1990s. Tesla was one of the few remaining manufacturers of good EL34 tubes. The company's own EL34 supply in England was quickly used up, and there was nothing left but to switch to Russian 5881 tubes. These tubes are very similar to the 6L6, but 6L6 stands for Fender Sound. An absurdity for the numerous Marshall fans who had long forgotten that Marshall's story began with a JTM 45 with 5881 output tubes. In 1997, after an intensive collaboration with Marshall, the Russian manufacturer Svetlana was able to present a new EL34 that met the standards of the English.
FABULOUS FLEE REKKERS
The band in which Jim Marshall's son Terry played the saxophone - and together with the -> Sensational Flintstones the first endorsers of Marshall PA boxes, in the early 1960s.
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Jim Marshall began to work at the age of 13 1/2: first in a junkyard, in a building materials store, as a baker in a biscuit factory, then as a canning agent in a jam factory, as a shoe seller and in a meat canning factory. He later went to an engineering school and then (1946 to 1949) earned his living as a toolmaker at Heston Aircraft. By the way, Jim Marshall had been a member of an entertainment combo since 1942, first as a singer and step dancer, then he was asked to do the drums.
GOLD BLOCK LOGO
See -> Block Logo
English loudspeaker manufacturer with whom Marshall worked in the early 1960s and thus before the partnership with the company -> Celestion.
GO OVER BIG ...
... with Marshall! The company's first advertising slogan actually says it all: Bigger than Big!
The former Marshall chief developer worked in -> Milton Keynes from 1973 to 2000; previously he worked for Tom Jennings and his company Vox, to which he returned in 2000 as managing director and chief developer. Since 2009 he has been running his company Albion in partnership with the International Audio Group, which builds amps in its own factory in China, in which Grindrod also works on site.
Nickname Jim Marshalls, but also the name of a Marshall distortion unit. JCM Abbreviation for the name Jim Charles Marshall.
JCM 600 SERIES
The JCM 600 series replaced the less successful -> JTM series in 1997, came back in a typical Marshall black design and technically corresponded to the 60 watt JTM60 line. The 600 series consisted of the JCM600 Top, the combos JCM601 (1 × 12 ″) and JCM602 (2 × 12 ″) and the four additional boxes C12 (1 × 12 ″), C212 (2 × 12 ″), C410A (4 × 10 ″, beveled) and C410B (4 × 10 ″, straight). JMP Abbreviation for Jim Marshall Products JMP-1 First and so far only programmable 19 ″ tube preamp in Marshall history; was on the market from the late 1980s to 2006. JTM Abbreviation for the names "Jim & Terry Marshall". Terry is Jim's son, also a musician (saxophonist) and his business partner in the early Marshall years.
JTM 45 D
he amp that started it all, developed in 1962 by Ken Bran (-> Bran, Ken).
Series based on the JTM 30 and JTM 60 amplifiers launched between 1995 and 1998. They not only held a special position because of their appearance (vintage Brown Tolex), but also because of their brilliant vintage sounds. The amplifiers were built with two channels (clean, overdrive), had spring reverb and modern equipment with frequency-corrected DI-Out and a serial (JTM 30), or with a serial and parallel effects loop (JTM 60). The JTM30 amplifiers, which were available as 2 × 10 "and 1 × 12" combos, had 5881 power tubes, while the JTM-60 power amplifiers were powered by Marshall-style EL34s. In addition to the JTM600 top, there were three combos (1 × 12 ″, 1 × 15 ″ and 2 × 12 ″). The JTM series, which was not particularly successful, rounded off three additional boxes (1 × 12 ″, 2 × 12 ″, 4 × 10 ″). JVM Abbreviation for the names “Jim & Victoria Marshall. Victoria is Jim's daughter.
The music store chain Kitchen commissioned Marshall in 1966 to build its own range of amps, which received the Kitchen-Marshall block logo. Mainly PA amplifiers and boxes were built, but also some guitar amplifiers.
Jim Marshall, born July 29, 1923, suffered from early childhood from bone tuberculosis, a chronic inflammation in the body that can also lead to the formation of pus in the bones, the destruction of bone substance and corresponding changes in the shape of the bones. As a result, he was in a cast from his ankles to his armpits for most of his childhood. Jim Marshall was only at school for three months in total, only to keep himself afloat with -> odd jobs from the age of 13 1/2 when he was healthy again.
Just as classic as the technology of the Marshall amps is their external appearance, characterized by the large number of -> upholstery fabrics and the artificial leather with which the speakers, combos and tops are covered. Black Levant: 1965 to 1974. Black on Green: used sporadically from 1966 onwards. Orange Levant: offered in the 1972 catalog. Purple Levant: in 1968 and 1972 catalogs, various reissues and the 2012 Haze version. Red Levant: in 1967, 1968 and 1972 catalogs Blue Levant: in 1967 catalog and the 30th Anniversary models. Dark Brown Elephant: for club-and-country combos White Elephant: 20th Anniversary models, Randy-RhoadsSignature and others. Black Elephant: The Marshall Standard from 1975.
The first JTM-45 tops had red Marshall writing on a metal plate, often called the Coffin or Badge logo. It has been replaced by the -> block logo. MAJOR A guitar top developed in 1967 on the basis of a hi-fi amplifier with an output power of 200 watts.
MARSHALL COUNTRY CLUB
Not a Marshall amplifier, but a golf club in Marshall, Michigan (USA). But: Marshall did build amplifiers called -> Club and Country.
Marshall had a really loud electric guitar built for Spinal-Tap guitarist Nigel Tufnel at Jackson / USA in 1992. All parts such as buttons, panels, logos, piping, sockets etc. came from the Marshall construction kit, the real highlight was the attachable replica of a 1960B box. A total of four Marshall Guitars were built.
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Model 2060 Mercury, rare 1 × 12 ″ combo that was only built in 1972/73. With transistor preamp and EL84-equipped output stage that generated five watts. Another special feature: the combo was only available in red and orange.
The city where the Marshall Factory is at home. Here are all addresses of the various Marshall factories, from 1962 to the present: 1962 - 1964 Jim Marshall & Son 76 Uxbridge Road Hanwell, W7 1963 - 1964 (only box production) Jim Marshall & Son 93 Uxbridge Road Hanwell, W7 1964 - 1966 20-30 Silderdale Road Hayes, Middlesex 1966 - 1968 Lyon Road, Bletchley Milton Keynes 1968 - 1984 First Avenue, Bletchley Milton Keynes 1984 to present Denbigh Road, Bletchley Milton Keynes Milton Keynes has about 200,000 inhabitants and besides Marshall has some other interesting ones Providing facts - such as B. the longest shopping center in the world, Europe's largest indoor ski area with real snow and the National Bowl, a popular place for large open-air concerts. The streetscape of Milton Keynes is characterized on the one hand by many concrete cows (!), But also by modern street architecture, because Milton Keynes was only created on the drawing board in the 1960s. The streets are arranged like a chessboard and connected by numerous roundabouts, the density of roundabouts is extraordinarily high, even by English standards.
Marshall introduced mini versions of its stacks from 1984 onwards. The speakers were scaled-down 4 × 10 ″ or 2 × 12 ″ formats, while the amplifiers were sometimes even converted to classic tube amps: the 2204S was the mini Marshall version of the 50 -Watt2204 from the JCM-800 series, the 3203 comes from the Artist series (solid-state preamp, tube power amplifier, and model 3210 Lead Mosfet 100 was built entirely in solid-state technology; a transistor amp .
John "Mitch" Mitchell (1947-2008) was perhaps Jim Marshall's most talented drummer. Later, from the end of 1966, he became world famous as a member of the band Jimi Hendrix Experience.
Ultra-powerful hybrid amp and speaker series for the metal group introduced in 2003.
Maybe the best-selling Marshall amps? That may be due to the size, because MS is not the abbreviation for microbe stack for nothing. Barely larger than a pack of cigarettes, the 1 watt MS-2 (half stack) introduced in 1990 sparked a hell of a noise that was topped by its full stack brother (in the range from 1995). The MS series is available in many different colors and is still represented in the Marshall catalog to this day.
In 1974 Marshall built amps and boxes for the Sound City music store under the name Narb - Ken Brans (-> Bran, Ken) surname spelled backwards. OBE Abbreviation for Order of the British Empire - a British Order of Merit, which Jim Marshall received from the Queen in 2004 and which put the man from a humble background in the officer's class. PARK For his friend and business partner Johnny Jones, Jim Marshall and his men built their own range of amplifiers and speakers called Park from 1965 onwards from leftover Marshall stocks. Johnny's company Cleartone Musical Instruments (CMI), which was Marshall's sales force for Northern England until 1965 and eliminated the game through Marshall's connection with Rose Morris, brought Park products, which are of course just as sought-after today as the originals, to the English market until 1982 Stores. Then Marshall phased out the Park series, only to revive the name about ten years later - with inexpensive transistor amps, made in the Far East: Park - Son of Marshall.
PEPPY AND THE NEW YORK TWISTERS
Band by Ken Bran (-> Bran, Ken), from which he left in the early 60s to work at Pan Am before he got a call from Jim Marshall who was urgently looking for a service technician.
Model 1930 Popular, rare Marshall all-tube combo only built in 1972 and 1973; with two channels, 1 × 12 ″ speakers and tremolo effect.
Piping, edging, e.g. B. the front covering of a box.
PB 100 Marshall Power Attenuator, whose power-reducing technology was borrowed from the 19 ″ stable companion SE100.
Little known, unsuccessful, far ahead of its time - the Power Builder was a Marshall amp with a lighter power amp section, which came onto the market in 1967 with the aim of providing 2 × active preamps with 50 watt tube power amplifiers 12 ″ boxes protrude. Up to ten speakers could be supplied with JMP MarshallSound by a single Power Builder. Only 50 of them were built.
A digital radio in the look of the Marshall amps. It's available in the fan shop at www.marshallamps.de
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QUEEN'S AWARD FOR EXPORT
In 1984 and 1992 Marshall received this award for extraordinary success in the export business.
Refers to the first JTM-50 amplifiers whose type designation (JTM) was printed in gold on the front panel on a black background. This logo is also called the Black Flag because it looks like a flag.
An essential part of most Marshall circuits is the assembly of tubes in the preamp and output stages, but also often in the rectifier function. The following tube types used (e) Marshall:
Preamp tube with the most gain.
Rectifier tube, replaced by diode rectification in most amps since the 1970s.
The first power amp tube that Marshall used when they were still influenced by the Fender Bassman. It was then used in the mid-90s during the -> EL34 crisis in the JTM-30 amps, but also for the most part in the JCM-900 series.
The British version of the American 6L6. They were used in JTM-45 production when 5881 were not available but e.g. B. also in the first 100-watt amps. 6L6 American tube used in some reissue models today.
The classic Marshall power amplifier tube. In use in almost every Marshall amp since 1966.
Known as the output tube for Vox amps such as AC30 and AC15, Marshall has this miniaturized EL34 z. B. used earlier with the -> 18-watt combos and the 20-watt top, but also z. B. JCM-2000 series amps. Here the DSL401 and the DSL201 played with the EL84.
Powerful end tube that was first used as a quartet in 1967 in the Marshall Major.
Replacement tube for the expensive KT88, which is hardly ever built. Marshall used them in the 2000 series and with no fewer than eight in the VPA 400 bass amp.
Heavy-duty version of an EL34, not exactly cheap and therefore only to be found in a few Marshalls.
Actually a tube typical of older Fender amps such as B. Deluxe Reverb. Marshall used this low-output power tube in Studio 15 “Little Fatty”, but also in the Haze and the new DSL15H and DSL15C.
One half of the tube is built as a triode, the second as a pentode. This rare tube was installed in the -> Popular and -> Spezialist as a driver tube for the reverb.
English distribution company with which Marshall worked from 1965 to 1981.
REVERB FUZZ UNIT
In 1968, Marshall brought this effect onto the market in the housing of the 20-watt P top part, using transistor technology with a Hammond reverb spiral. The device was also available without the fuzz effect, both of which were withdrawn from the range in the early 1970s.
From 1942 Jim Marshall worked as a drummer, but took lessons from the famous jazz drummer Max Abrams in 1946 and began giving lessons himself in 1949. He had up to 65 students per week and thus earned the money to set up his own box building business in 1960. In his playing days, Jim Marshall was considered the best singing drummer in England!
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Logo introduced around 1966, which has survived to this day in various sizes and designs (all white, gold on white).
The band in which Rod Freeman played guitar and sang - and together with the -> Fabulous Flee-Rekkers the first endorsers of Marshall PA boxes, in the early 1960s. Rod Freeman was a salesman at Jim Marshall's first store.
JTM 45 1962--1966
JTM 50 1966-1967
JTM 45/100 1965-1967
18 watts 1965-1967
20 watts 1967-1974
JMP Solid State 1973-1980
2000 1981 – 1989
JCM 800 1981-1985
Solid State 1981-1991
Mini Stacks 1984-1991
Integrated Bass System 1985-1995
25th Anniversary 1987 - 1990
Reissue from 1988
9000 1989 – 1997
JCM 900 1990-1999
MS from 1990
30th Anniversary 1992
Park: Son of Marshall 1993-1998
Dynamic Bass System 1994-2000
JTM 30 1995-1998
JTM 60 1995-1997
35th Anniversary 1997
JCM 600 1997-1999
JCM 2000 DSL from 1997
JCM 2000 TSL 2000 - 2012
VBA 400 from 1998
Valvestate I 1991-1993
Valvestate II 1993-1999
MG from 1998
Mode Four from 2003
JVM from 2006
MB from 2006
Vintage Modern from 2007
Class 5 from 2009
JMD: 1 from 2010
MA from 2012 50th Anniversary 2012
SILVER BLOCK LOGO See -> Block Logo
SOLID STATE SERIES
Marshall introduced transistor amplifiers as early as the 1970s, but the JMP Solid State Series was far from successful. In the decade between 1981 and 1991, a whole series of new solid-state amps were released, which the market accepted much better.Starting with the 12-watt micro-stack top 3005, up to the powerful 150-watt top 3315, the series comprised no less than four different amp tops, 17 combos (including five for keyboard amplification) and two 1 × 12 ″ / 75 watt boxes.
Model 2046 Specialist, rare 1 × 15 ″ combo that was only built in 1972/73. It was the first Marshall amp with a circuit board and had reverb and tremolo effects. Overheating problems that could not be resolved stopped production.
15 model 4001 Studio 15; This combo, nicknamed "Little Fatty", was the first to have Marshall 6V6 power tubes, an XLR output and a built-in power attenuator. The 18 watt / 1 × 12 ″ combo was built from 1986 to 1992.
English beat and pop band and one of the first formations to use Marshall equipment. And whose name has been and is permanently misspelled - even on the cover of the first Marshall catalog.
Successfully launched on the market in 1991, the Valvestate series represents the first hybrid series Marshalls with an ECC83 in the preamp and an output stage design that was borrowed from hi-fi technology. The first Valvestate series was built from 1991 to 1993, the second from 1993 to 1999.
In his cream phase, guitarist Eric Clapton created the so-called woman tone together with a Marshall amplifier and humbucker guitars (Gibson Les Paul, SG, ES-335). The recipe: Turn both tone knobs back completely and set the toggle switch in the middle. Now turn back the volume control of the bridge pickup by about a third and bring the amplifier into a strong distortion. This creates a central, almost synthetic sound - the famous Woman Tone.
Author: Heinz Rebellius
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