Conference napalm::guitar

    I'm looking for a distortion/overdrive unit for use with
    Marshall 50 watt head.  Any suggestions or insight to offer?
    I have a Rocktron XDC now, but it's not exactly what I'm
    looking for.  I've heard Chandler Tubedriver is good.  Anyone care
    to comment?

    DOesen't the Marshall distort enough? I thought they were supposed
    to be the crunchiest amps around.
    
    I have an MXR distortion + (so does everybody else, right?). I've
    heard the RAT by ProCo and it was the most overwhelming distortion
    sound I've ever heard.
    
    -Dave
    

    I wouldn't recommed using a rockman with a marshall. From my
    experiences they seem to hate each other (Lotza noise, cracks, squeels,
    etc). I suggest using a graphic eq to boost the guitar signal and
    overdrive the amp preamp. Try out the Boss GE-7 for starters. The
    MXR 10 band is good also. Don't try the DOD one, it really blows.
    I think you'll like it. It doesn't grunge out as much as using a
    gain box with a marshall, plus you can eq out the muddyness if it
    does appear. check it out.
    
    -Bj

    I'm considering buying one of the new Marshall combo amps, and was
    wondering if anyone out there has had any experience with them.
    Specifically, how they stand up, whether they eat tubes, etc.  Also,
    I find that it's kind of tough to really judge the sound by pickin
    a few notes in a guitar store.  How do they sound 'out in the real
    world'?  How does the sound compare to the old stacks?
    	I noticed, but didn't try, some solid state models, but might
    consider one if they're decent (I'd love to be free of tubes, if
    I could get an acceptable sound).  Any comments on these?  Thanks
    in advance to all.
    

    
    Hi,
    
    
    Being a Marshall player for years now, let me offer some of my 
    opinions based on the different models I've played thru the years.
    
    First off, go with a tube Marshall if a Marshall is really what you
    want.  Marshall missed the boat on transistor amps!  If a transistor
    is the sound you're looking for, Gallien-Krueger or Randell amps
    handel the job quite well.
    
    Preference:
       
    HEADS:
    
    1) Marshall heads, 1969 - 1975.  Characterized by two channels,
    and no master volume control.  These ampssound great cranked (prob
    dur to the el34 tubes often used in this series), but are LOUD!
    You can't really use them in a club, but they are great in the studio.
    
    2) Marshall heads, 1975-1882. This is the period when Rose Morris
    took over distribution and Marshall offered the Master Volume Series
    (JMP) amps.  They sound really good!
    
    SPEAKER CABS:  
    
    The older 4x12 with the 25wt or 30wt Celstion speakers. They have
    a real edge to them.
    
    =======================================================================
    Dislikes:                                                              
    
    HEADS:
    
    Marshall heads 1982 - 1987.  This is when the Rose Morris contract
    ceased and Jim Marshall came out with his JCM 800 Series.  They
    are real harsh sounding amps and have little balls.  
    
    SPEAKER CABS:
    
    (JCM 800) 1982 cabs. They have 4 100wt celstions in them. At 400wts
    a cab, you can't overdrive them and they don't get the *sound*.
    
    the (JCM 800) 1960 cabs are ok.
    
    
    
    

    
    I've heard the new Jubilee series are good. I personally haven't
    heard one yet.  Someone in this file was checking them out a while
    back, so they might have some comments.  

   WJB, how about the Marshall "Artist" series?  These have solid state
   pre-amps and EL-34 power sections.  This amp sounded "good in the
   store" to me.
    
   /rick

    
    The Artist I tried, i didn't like the EQ they gave you to work with...
    like a TONE control...geeesh, give me a break!
    
    wjb

	I have had and used a couple of Marshalls,and really like the 
sound I got out of them. And would consider any of the 60's to early 70's 
series. They need regular maintenance and monitoring if they are to be
reliable,the maintenance is expensive even if you do it yourself..As
with any old amp they are somewhat unpredictable. 
	I have tried Jcm 800 series and the new Jubilee series and really
don't care for the tonality they project. An Older Marshall with EL 34's
has a softer sound than one with 6550's and overdrives easier and is more
responsive to playing. Plus people who use the new stuff have it modified.
	I think that the power supply/tube bias rise time is part of the 
problem with burning up power tubes. I've read somewhere that this can be 
corrected with certain modifications. My last 50 watt needed power tubes
every 4 months. :^(  To sound consistent to my ear.....
	As far as cabinets are concerned,I used a Fender 2 10 cab with
fender speakers(Utahs?)and a 4 12 cab(celestion 65 watters)and a 1 12" 75 watt 
Marshall cab with a Celestion and found that high efficency speakers or high 
wattage speakers didn't sound quite as good as low wattage Celestion's or the
older Ampeg 12" speakers. I think this has something to do with how the output 
transformer saturates. There is a 40,50 watt Marshall which has a solid state 
front end which isn't too bad.	I've never cared for solid state amps except 
for certain GK 250rl's (notice certain!) I know a guy replaces his power tubes
every 6 months in his 50 watt combo.
	I don't think the combo's compare tonality wise to a stack. It's hard
to compare two acoustically different cabinets also.(open back vs air tight 
enclosure)

							 

								Rick

    Thanks. everyone.  I guess I'll just have to keep look/listening
    & let my ears be my guide.  I may just go for speakers & tubes &
    keep my old pro-reverb (the tubes in that are at least 5-years old,
    so that may provide a *slight* improvement ;-) ).

    
    Marshall has announced yet *another* marketing ploy..."vintage"
    amp stacks.
    
    They will be making 50 and 100 watt half and full stacks with 1969-era
    cosmetics, i.e the gold trim, "checkerboard" grey grille cloth,
    etc.
    
    Here's the catch:  exactly 100 50 watt and 100 100 watt stacks will
    be available in the U.S.
    
    

    	And you *know* that 75 of each of them are spoken for...
    

    This reply is in regards to the question that was asked in the
    distortion box note about the range of new Marshall amps.  I 
    figured the discussion would be more applicable here.
    
    There is a difference between the amps offered by Marshall these days.
    I wouldn't say it was a *vast* difference, but in the same light
    they're not completely the same.  Marshall changes the amount of gain
    obtaibale and the eq circuitry from model to model.  Go to a few places
    and play them all to see which Marshall amp would suit you best. 
    
    My personal preference for rock is the old 59 series tube amps.  For
    heavy metal (or anything requiring increased high end response), the
    new channel switching tube models are best.  The hybrid amps are nice,
    but are tonaly a little different, giving a bit more midrange.  The
    jubilee series is nice for a wide range of distorted tones, as well as
    offering a super clean sound good for country. 
    
    Buck
    
    

    Does anyone have schematics/instructions/ideas on how to modify
    JCM 800 heads to sound like the older (1975-1982) heads? 
    
    Dennis

    I have the mod for a 6550 to EL34 converstion if that helps any.
    As far as the real schematics go, I'm not sure how much they differ
    as far as resistor values and flow path go (I do know they differ,
    its just how much).
    
    I also have a 100 to 50WT conversion mod
    a one for hum reduction 

    
    	I have three Marshall schematics in front of me, one for the
    JCM 800 model 4210, a 50W amp head, the others are for "1967" and
    a "1959T", circa 1970/Jimi Hendrix.
    
    	1st major difference; the JCM 4210 has Master Volume located
    at the control grids of the output tubes - a "1 meg log Tandem"
    pot. This lets the phase splitter tube distort before output
    attenuation - or "master volume" - happens.
    
    	2nd major difference; the JCM 800 has only one input for instrument
    while the older ones had 2 seperate inputs each having it's own volume
    control. The JCM 800 has a special "Boost channel" - a two triode
    amplification section with it's own tone controls and a cathode follower
    that - get this - drives a series/parallel combination of 1n4007
    diodes connected across the pre-volume pot!
    
        The topology of the tone controls is the same tried 'n true
    design of 1970.                       
    	
    	Conclusion: The JCM 800 series model 4210 obviously employes
    much of what Marshall has learned during the past 15 years or so
    as an amplifier builder. The circuitry is dedicated to implement
    signal switching between the "clean" and "disto" sounds, something
    the old Marshalls were not. To change it "back" to what it evolved
    from would involve ruining everything that Marshall figured it's
    customers would want in today's market; the master volume, the
    rythm/lead foorswitch, etc.       
    
    	If you want the "old" Marshall sound, crank the master all the
    way, use only the *clean* channel with it's pre-volume cranked all
    the way. Use a MXR "micro amp" as a clean signal boost from your 
    guitar to drive this further into the distortion, if necessary. By 
    the schematics, this most closely represents the signal path of the
    circa 1970 amps. 
    
    	(I believe that those diodes in the Boost channel circuit serve
    as the non-linear element generating the distortion, though I could
    be wrong. It *looks* like there could be a 100 volt signal swing at
    that point; the diodes would clamp-limit it to about 1.4 volts,
    making a square wave of 1.4 volt p-p amplitude. If this is true,
    the 4210's boost channel will never "sound" like a Old Marshall at 
    full crank. That sound cant be had with a couple of diodes - there's
    much more going on than a "clamp limit". See past notes on amplifiers)
    
    	Joe Jas                 
    

    Joe, I'm pretty sure Dennis has a 2203 (or is the 100WTer the 2204?)
    head.
    
    Ya know, pres/bass/mid/treb/preamp/master volume controls.
    
    No boost section in this baby.
    
    

    It's a model 2203 100w. I think Buck is right (he sent me mail)
    these babies can be modified by installing el34's and new filter
    caps.
    	Dennis

    there are EL34s, and then there are EL34s
    
    The American direct replacement for the EL34 is a 6CA7; this is what
    you'll get if you order an EL34 from Mesa Boogie and many other tube
    distributors.  To get a "European" EL34, you'll have to go to Groove
    Tubes or someone else who specifically stocks the European model.

    So what's the difference?  The euro EL34 distorts a bit quicker
    but is extremely delicate.  The 6CA7 is a bit cleaner and more rugged.
    Both will work with the 6500-EL34 mod and both will make your Marshall
    sound more like an old one.

    Try em both, but I recommend the 6CA7.  It sounds great and will
    give you less problems than the euro EL34.  I've also heard from a
    noted Marshall mod guru that 6CA7s are closer in construction than
    modern euro EL34s to the original British Mullard EL34s that were
    used in late sixties and early seventies Marshall amps.
    
    /rick

    
    	I have the schema for the 2203 amp also. It does not have the
    clipping diodes mentioned in my previous reply. It's master volume
    is not a "tandem" pot on the output tube control grids; it's before
    the phase splitter tube. Circuitry is nearly identicle to the "1959"
    model, with the exception of the master volume pot. Sorry if I've
    confused anyone!
    
    	Joe Jas
    

    Would it be possible to rewire the thing and move the master volume
    placement?  just curious, I think the MV sounds like sh*t when its
    before the phase splitter.
    
    BUck

    
    	Sure, but you'd have to come up with one of those "Tandem" pots
    which at least one noter is having "trouble" doing :') Other than
    that, N.P.!
    
    	Joe
    

    Does anyone know of any modifications that can be performed to the
    100W MOSFET Marshalls to give them a warmer, tube sound ?  And don't
    tell me to trade it in, I already tried that !!
                                                             
    
    
    				Jerry

    I like the newer Marshalls a LOT more since they went back to using
    EL34 output tubes.
    
    Buck who hates 6550s

    
    Marshall has introduced a new stomp box distortion unit called
    the Guv'nor.
    
    It has two neat features.  The first is a three band EQ, so you
    can  now trim the mids as well as the bass and treble.  The second
    is aneffects loop (???!!!).  You can patch any additional effects
    into the loop and when you kick in the distortion, the effect in
    the loop is also engaged.  Nice idea.
    
    The guy at Wurlitzer's said it uses the same type of MOSFET front
    end used in the Marshall MOSFET stacks.  Price was a little over
    $100.
    
    

    
    	I've always been curious about the meaning of "MOSFET front
    end" in terms of how it sounds. Sounds like a cliche' to me. I
    take it to describe a type of distortion element that's preferrable
    to, say, whatever a "RAT" or an "American Metal" - or even a Big
    Muff TT has.
    
    	It also seems that, in terms of sound, the "filter" part of
    the box is important. The big muff has a "tone" control similar
    to the one on your guitar. The RAT has a filter control that I dont
    know what it does - bandpass, bandnotch, high, lowpass? I do know
    that the filter part of the RAT is very important to it's popularity
    though.
    
    	I see the marshall box has even a more sophisticated filter,
    with three paramaters adjustable instead of just one. Would the
    big muff have been a more viable box if it had a better filter?
    Or is it's type of distortion so hopeless that no matter what filter
    you used, the sound would never be "acceptable"?
    
    	Dare we link subjective perception with observable reality?
    
    	Joe Jas

    Jerry,
    
    	Here is a way forward other than trade in. First, all the opinions
    stated thus far are right, ie. the best tube sound is a tube amp.
    I owned one of the first Marshalls produced in the UK. Jim made
    it for me himself, and it used KT66's as output valves, only 50
    watts, but the sound was probably what you would sell your soul
    for !! The "valve sound" prbably comes from a combination of harmonics
    within the "front end" (pre-amp), the output stage, the output
    transformer, and the speakers. Yep ! and all combinations thereof!
    Now, Fender/MusicMan have tried various hybrids with claims that
    solid state front end gives for tone versatility and lower noise,
    and the valve output retains "that sound". One or two manufactures
    have gone the other way with valve pre-amps and reliable, high output,
    clean MOSFET/Transistor output stages.
    Sorry about going on, but my advice is this:
    1. don't mess around by replacing the MOSFETS with a valve stage.
    
    2. Get yourself a Tube pedal, set the amp clean and use the pedal
    to get your overtones singing. ( The REAL TUBE tm. box uses a 
    12AX7, and is an example)
    
    No it won't be a BOOGIE, but it's your best, easiest, and cheapest
    solution in my opinion.
    
    Good Luck.
    
    /Dave
    
    
    

    
    Hey Scary (Jerry),
    
    I went in the studio last night and used thier stuff (I wuz lazy).
    Anyway, after trying a bunch of stuff, I ended up using a little
    marshall 12 watt amp (like the micro-stack combo).  Anyway, this little
    transistor amp was the balz!  Between that, my eq pedal, and my 550, I
    got THE Lynch sound!!  I swear, its so close you wouldn't believe it.
    I have the tape to prove it.
    
    Moral of the story:  Don't be so quick to disregard transistorized
                         Marshall's, cuz you can get them to sound as
                         good or better than the tube ones if ya try.
    
    Buck 
    
    

 
    
    I recently saw a listing for another (new??? who knows??) Marshall
    hybrid.  This one takes the 100 watt MOSFET head and replaces the
    power stage with tubes, but retains the transistor front end. 

    The price quoted was between that of the all MOSFET and the all-tube.
    
    

    What I've been doing lately to get rid of the MOSFET blues is using
    the Marshall as a pre-amp, coming out of the line-out and going
    into a Peavey practice amp. I also use a Washburn EQ pedal straight
    from my guitar.  By using the boost section of the Marshall and
    the clean section of the Peavey, I can really crank up the Marshall
    side without loosing my lease for disturbing the peace.  It has
    a real good, warm tone but it's very overdriven - great on solo's,
    muddy on chords.  I guess I'm making lemonade from lemons ...
    
    
    				Jerry
    

    The model 2203 100w Marshall head that I originally inquired about
    now has EL34 tubes instead of the 6550's. I did the mod over the
    weekend. It sounds nice and crunchy like a Marshall should.
    
    The reason that the the 6550 tubes were installed was because Unicord,
    who no longer distributes Marshalls, decided that the 6550 tubes,
    being a more rugged industrial tube, would easily make it through the
    one year warranty period.
    
    Thanks for your input.         
    
    I can't believe the difference!
    
    		Dennis

    
    Marshall has finally decided to go high-tech and has announced
    a rack system.  There are four pieces:
    
    1.  All tube preamp, with three switchable channels, two "rhythm"
    channels, one lead.  From the picture, it appears to be a single
    rack space!!
    
    2.  300W X 2 stereo MOSFET power amp (probably same as in the Bass
    600 head)
    
    3.  300 W mono MOSFET power amp (probably same as the Bass 300 head)
    
    4. 100W X 2 stereo *all tube* power amp.
    
    No prices quoted but I would guess pretty steep.
    

    
    	Well, Market niche's want to be filled, and if "rackmount"
    avaiability is enough to "make the sale" of your amplifier over
    a brand only available as a "combo"...
    
    	"Combo" - yecch - Beatlesy outdated old fashioned from '64 look!
    "eeeeewwww"
    
    	I'm sure this will be sort of a precedent, so all the "big names" 
    will start a "rack mount" product line now - if they havent already.
    
    	You can bet that the channel switching amp that *I'm* building is 
    19" rackmount...switch selectable preamp/amp function...switch selectable
    even/odd harmonic cancellation mode..."Turn till U like" single
    knob tone control via parametric dual notch filtering - oh yeah
    "single" parametric notch via knob pull switch...Hey! Gotta have
    *everything*, ya know?
    
    	But it's not MIDI programmable, so it's 10 years behind the
    "state of the art" or whatever -
    
     	Joe Jas 

    
    Re: .0
    
    Before anyone gets too excited, I misread the blurb on the tube amp,
    it's really 50 watts X 2 for 100 watts *total*.

    At least somebody else heard the message that two sounds is not
    enough....
    
    Still holding out for an MP-1
    
    dbii

    RE: EL34 upgrade
    
    Do I really need an O-Scope tpo accomplish this re-tube job ?
    
    I didn't really want all that trouble !  I just wanna plug in the
    new tubes and clip and solder a couple of wires...

    Whats the poop ?  Whats this stuff about bias ?  
    
    Sheesh !  I feel like I'm trying to re-jet my Honda !
    ;^)

      A friend of mine that runs String 'n Things in Gardner Ma turned
    me on to a great book called "THE TUBE AMP BOOK". It is put out
    by Groove Tubes. I've never seen it in any book stores or music
    stores. He got it from a salesman. It contains detailed intructions,
    descriptions and schematics on Fender, Marshall etc.
    
    1. There are two ways to do the mod:
    	a. The Marshall way.
    	b. The GT short cut way. (i opted for the latter cuz i couldn't
    				  get one of the resistors)
    2. Add another 470K ohm resistor to the 470k ohm resistor that is
       in line with your bias pot. (short cut method. it works!)
    
    3. Rebias the amp using a bias probe. (put out by GT i believe,
    			comes with complete easy to use instructions) 
                        
    Tools needed:
    	soldering iron
    	needle nose pliers
    	cutters
    	bias probe
    	DVM (one that measues DC milliamps.)
    
    Tools not needed:
    	Ocilloscope
    	zercon encrusted tweezers
    	papers
    	left handed scissors
    	TIG welder
    	
    Tell ya what...I'll bring in the procedure and post it here tomorra.
    
    Dennis
    
    

    	And if you can't find a bias probe and find a scope there's
    a procedure in note 309.32 on how to bias power tubes.
    
    						good luck
    							Rick
    

    
    Now there's a new reissue head...the JTM-45 (??) the old early sixties
    model with two 6L6s and a tube rectifier (hey, that sounds like
    my blond Bassman..) complete with the vintage cosmetics (plexiglass
    panel, etc.).  Now you too can sound like Eric Clapton playing
    "Hideaway"  8^)  8^)  8^)

    Don't know if anyone caught this, but in the back of the current
    GP there's a classified ad from someone selling an original vintage
    Marshall stack with "Plexi" head circa 1968.
    
    The price?   A cool $3000

    Ouch!  That's a bundle.
    
    Just as a point of interest...I did ask at my fav store about the price
    on that new re-issue head, but they haven't heard back from the
    Marshall distributor yet (isn't that always the way)?
    
    Greg 

    The other day I saw a Marshall mini amp for 299$ and decided
    to build on myself,the cabs and speakers are easy enough,but now
    Im wondering where to find a small head to go with the unit
    any ideas?
                            .............Jon

    Crate is making a "micro-stack", as is Marshall.  I believe there are a
    couple of other vendors doing this as well.  
    
    Perhaps you could gut a used Gorilla practice amp or something like
    that and put the internal componants into your own little home-brew
    cabinet (for the head).
    
    Greg

    
    The same head is in the little 12 watt combo which has one 10"
    for $150.  Just build a second cab.
    
    							Brian

    I've seen the Marshall Microstack at a local store for $291.  It
    is only 12 watts.  Didn't try it out though.
    
    Mike

    When I saw Anthrax play - Dan Spitz was in the middle of a blistering
    unacompanied solo and the lead singer came out with a 3 foot high 
    Marshall ministack, patted Dan on the head and went out.
    
    Pretty funny if you were there and saw the look of "awwww don't
    do this to me" on D.Spitz's face  !! 8^)

    I've seen them around here for about $275 (little head and 2 cabs
    w/10s).  Anyone know what the Peavy or Crate mini-stacks are going for?  
    
    I think they're cool, but probably not very useful.
    
    re: .4 - Tony
    
    Are you saying that Spitz was playing through the little stack, or it
    was just a joke?  (For those that don't know, Dan Spitz is very short
    and they often joke with him about this).
    
    Greg
                                                       

    While up in Mass, a friend who is just learning picked up a Micro
    Stack.  She paid ruffly $300 (including tax).  I was flabbergasted
    at the sound !  These little buggers ROCK !  A little lacking the
    ballz department, and could use a channel switch... but yeow ! What
    a sound.
    
    BTW - I think she'll be very happy with it...I wouldn't mind having
    one !

        Yep, I'm very happy with my "cute" little marshall stack!!  

        While I still can't get the rockin' sound out that Jeff did, I
     know it's in there somewhere.  My sounds are still more of the
     "interesting" variety.  There is more than enough volume for in
     the house.  The ability is there to go from a real clean sound 
     to real crunchy with lots in between.    

        I love practicing with it!  

        Vicki

    Can't get that sound ?  it's really technical, but see if you can
    follow me...
    
    Take all the knobs and crank up to 11.
    
    Got it ?
    
    ;^)

    Guitar World's "1989-90 Guitar Buyers Guide" has some details on
    the 9000 rack system.
    
    9001 3-mode tube preamp $695
    9005 50wpc tube stereo power amp $850
    9010 100wpc tube stereo power amp $n/a
    9030 300wpc solid state mono power amp $750
    9060 300wpc solid state stereo power amp $1,150
    
    Mike

Calling UK guitarists... 

Since my last note (#1501) I have narrowed my choice of an amp down to 
either a Marshall combo, or a larger secondhand model (what's the output
of the combo ?)

But I'm still a bit lost and would like some help from UK noters.

I understand Marshalls are made in the UK (?). I assume that the best
prices are therefore in the UK. I am coming to London to follow
a course at the end of the month, and would like some addresses in
central London (West End or City) where there is a decent choice of amps
and where I'm likely to get a good deal (do dealers deduct VAT for 
exports for new or used equipment ?).

PS: are the shops open on Monday mornings/afternoons in London ?
(sounds silly but in Geneva, all the shops are closed on Monday mornings).

Thanks
  Rick

Rick,

    There is a conference specifically for UK musicians called (rather
imaginatively) MUSICIANS_UK. It is on node SUBURB::

You may get a better response to your question there (but I wouldn't
guarantee it ;-)

Cheers,

    Derek (who has a 7w VOX amp that looks like a handbag (or in
American 'purse' I believe) but sounds great !)

    <......the keyboard player asked me to turn up the other day!......>

    Hi Rick,
    
    	Marshalls are made in the UK ... to be precise in Milton Keynes.
    Whether this means that the best prices are in the UK is another
    matter!
    
    	There are plenty of dealers in London but I dont feel they offer
    a hudge range of choice of amps and do not seem to be very competetive
    price wise.
    	The place to head for is Shaftsbury Avenue and Denmark Street.
    This seems to be where most of the shops are (about 10 in all).

        Cash deals at these places can usually generate a discount ...
    especially if you wave a wad of crisp notes under their noses!
    The shops are open all day Monday to Saturday.
    
    The reason I know all of this is that I work in Enterprise House
    just around the corner and seem to spend every other lunch time 
    wandering around looking at all of the gear that I cant afford!
    
    	If you give me a call when you are over I will gladly show you
    the shops and help you check out the gear and the deals.
    
    		Cheers,
    
    			Nick.
    
    		Nick Clark - Enterprise House - 01-831-8282 (4426)
    						7-847-4426
    
    P.S. I got a good deal on my Marshall 9000 - I got it Trade!
    
    

    Thanks Nick,
    If I make up my mind on an amp I'll certainly give you a call when
    I'm in London (I'm following a course at Tottenham Ct Rd. Training
    Centre on Oct 31 - Nov 1st).
    
   
      Rick

    Ok guys, enuff talk about the steenkin' Kitty Hawk n Boogie amps!
    ;^)
    
    Anyone in here have comments to offer on their preference of the
    Marshall Channel_Switching_Reverb head over the Custom 25/50s?
    Obvious differences include:
    
    o CSR head offers bass n treb controls for the `clean' channel.  Plus,
      it offers reverb.
    
    o The Custom series (same as Jubilee series, only NOT in silver tolex)
      offers (supposidly) a higher gain preamp & a wider-range 4-band tone
      circuitry. 
    
    More people seem to be using the Custom series these days (Satriani,
    Alvin Lee, Slash, etc.), but the CSR head with a RAT pedal is *the*
    amp setup on the Boston hard rock/metal circuit!
    
    Comments, opinions?
    
    

    I used to have the 2205.  That was the 50W CSR head. I felt the
    lack of a midrange control on the clean channel was a *serious*
    drawback.   Also, when switching from lead to clean, the sound
    didn't clean up instantly - there was a brief interval where the
    clean channel still had lots of distortion on it.  I also agree
    with an earlier comment in this note that the distortion on the
    lead channel was very harsh . . .
    
    I've always liked Marshalls alot though . . no other amp really
    gets that same sound . . .

    Steve

    
    Yet another new Marshall amp series, the JCM 900.
    
    Two models, a head-only Hi-Gain Master Volume MKIII, and a combo,
    Hi-Gain Dual Reverb.
    
    Here's the official hype:
    
    Dual Reverb has 2 switchable channels, one patterned after the JTM-45,
    the other set up for "full metal thrash".  Great.  Each channel has
    separate reverb (three springs) level and master volumes.  Also unity
    gain effects loop.
    
    The Master Volume has a gain sensitvity control, two (switchable)
    master volumes (but apparently is a single channel amp, so what you
    really have is two volume presets), plus the effects loop and
    "ultimate speaker-slamming distortion".  My ears are bleeding just
    reading this.
    
    The accompanying photo shows two combos, lokks like it's available in
    single and dual 12" flavors.
    
    Remember, price is no object.
    
    							Brian

    I had a Fender many moons ago whilst at Bezerklee, it had reverb
    springs. Oh well, I'll keep my peepers peeled for this one, but
    I didn't like the reverb. How powerful and is it tube or transistor,
    da ya know brian?

    
    Re: .1
    
    Tubes, I'm sure.  No wattage given, probably 50.  Almost *all* guitar
    amps use spring reverbs.  The hype was that it was a three spring unit
    (the more springs, the smoother the verb).  
    
    

    But how does it sound when you kick it?
    
    Greg

    Or drop it on the floor? I dropped my 100W tube head once, mom thought
    I  had killed myself for sure.
    
    What a sound!

    I have a question...
    
    My Field Service guy has been working on my Marshall.  After
    complaining since I got it that it sounded flat (no freq. response),
    he tells me there is a bad Op Amp that drives the EQ section (makes
    sense) and that when I brought it too him it was making 32wts.
    
    He tells me it's not stock also.  He sez it's got a series of LED's
    and trim pots that are used (or can be if we knew how) for biasing
    the power tubes.
    
    I'd like to have the schamatic for this modification id if anyone
    has heard of it, or maybe an on-line explanation.  
    
    It's a Marshall 2205 50wt twin channel.  It's also for sale if anyone
    wants it.  Brand new (matched s4) Groove tubes, and filter caps.
                                                                    
    jc

    re: Will
    
    You're in Co. Springs, right?  I have a Hiwatt 100wt 1x12 combo with an
    EV speaker in reasonable condition that I want to sell.  Master volume,
    but no channel switching.  Send me mail for details...
    
    If you're looking for a 50wt, all tube, channel switching Marshall 1x12
    combo, that's a model 4210.  Same thing with 2x12s is a 4212.  I have a
    Marshall propoganda brochure here at my cube if you wanna come up and
    look at it.  (CXO3-2/F3)
    
    Comparing Hiwatts and Marshalls, the Hiwatts have more of a clean
    sound, but they can really scream if you crank them.
    
    Greg

    These are put out in black now and are called the Custom series. 
    The Jubilee name had light grey and was put out for a limited time.
    Same machine. 

    Well, Marshall unvieled some new products at the last NAMM show which
    should be showing up on the market real soon.
    
    The 2205/2210 (Channel switching Reverb) models and the "Custom" series
    will still be available (via special order), but will be replaced on
    the common market by newer versions of said amps.  Rumor has it that
    the Channel switching reverb model will have a new (and working!)
    effects loop in it, as well as dual master volumes for the gain mode
    (just like the KH Testarossa preamp!).  Not sure what they plan to mod
    out on the "Custom" series.
    
    I'm looking forward to hearing these babies!

    The new Marshalls have re-designed their distortion sound!
    
    Like that 2210 I borrowed from that kid several weeks ago...Killer
    tone and distortion!!!  Like those sounds heard on the new LA Guns
    album!!  I was totally impressed!  Squeels, chirps, feedback, and 
    grunge...it was all there.
    
    Buck, once a Marshall fiend, ALWAYS a Marshall fiend!

	How many $$$? for that combo?

    More ad from Marshall Law admagazine:
    
     the 900 series use a pentode/triode switch choose from 50 or 100
    Watts, all 4 tubes work all the time
    
     the 900 Master Lead Volume has essentially the same power section as
    the Lead Master Volumes, which came out in 1976. A new preamp with 
    another volume control ( gain saturation or something like that ) has
    benn rigged inti it. It has Effects loop with output level controls.
    
    
    	There are LED's to indicate tube failures!
    
    The clean channel is supposeed to be REALLY clean  and they claim there
    is less noise than older models.
    
    A mail-order company whose catalog came recently show the 50W MLV 
    at 599.
    
    Also they are modifying the Custom series ( BooHiss ), don't know how.
    
    

    There's a big ad (blurb) in these suckers in the April issue of 
    Guitar World (pages 8 & 9).  
    
    Looks like there are TWO different head models...one with the dual
    reverb controls (hence called the 50W Hi Gain Dual Reverb) and one
    without reverb (simply called the 50W Hi Gain Master Volume MKIII).
    
    Someone in here mentioned a switchable 50/100 watt feature?  There
    looks like there is no switch on the front panel for such a function
    (it was there on the Jubille/Custom heads with the same function).
    
    Anyhoot, I'm looking forward to hearing them, but after recent
    meanderings with the KH Testarossa, Metaltronix high gain heads, I
    wonder if these will be in the same gain-madness mode as the former two
    mentioned?  I would hope the Hi Gain Marshall offerings provide more
    "crunch" in the ultra-saturation mode than the other two mentioned.
    
    Also noteworth is with this series of heads, Marshall released a
    STEREO 4x12 cabinet!!  Hmmm, that would be nice for a dual head
    setup (like maybe a JCM 900 head and my KH Quattro?!?)!!
    
    B.

    
    	Hey! at last us Brits get something right eh?
    I've always loved my Marshall, I took it up to the Marshall factory in
    Milton Keyns here in the UK for an overhaul.  The set up is amazing,
    everyone works on the production including the directors (except Jim &
    the sales director who are permanently on the road selling &
    promoting).
    
    	The cabs, metalwork & all is made on site from raw sheet material &
    is all hand finished.  They have an experimental flow solder machine
    and ATE but they prefer to use humans as they reckon the quality is
    better that way, all the amp units are punished by the test techs on
    the bench before final assembly wher they are tested by a guy with a
    guitar (battered old strat).
    
    	Phil, the service guy introduced me to the young lady who built my
    amp back in 1977 & she proceeded to give me a guided tour of the
    factory.  I spoke to the test techs & floated through the "glue room"
    where they cover the raw cabs (what a high :-)).
    
    	Mean while Phil tore my poor amp to shreds, he ECO'd it to
    latest spec for that model replaced a load of capacitors & resistors
     & a noisey pot, put new tubes, new knobs, new mains & stand by switches, 
    found a dust cover for it & tested it out on a fancy load box that
    makes sure it can cope with a zillion percent overload & come back for
    more.  He gave me & my wife a Marshall Tee-Shirt & a bill for a measly
    34 UK pounds,  wished us many more happy trouble free gigs as he waved
    us goodbye from the factory door!
    
    	What service!!!!!   I don't know of any other company that would
    pay so much attention to a customer with a 1977 product he bought
    second hand anyway.
    
    	Phil showed me the proto's of all the stuff that was coming out & I
    was impressed, they are also bringing out a compact 1KW pa system that
    is supposed to cope with a complete band but is the size of a vocal PA.
    They are really listening to player & doing a lot of research into what
    their amps should be capable of doing.  I reckon you will see more
    Marshall products soon & the world will be converted! (MHO based on the
    evidence of my visit)  They are really set to do Boogie & KH serious
    damage.
    
    BTW	if anyone wants a job they are advertising for an analogue engineer
    but he/she must have exceptional guitar playing abilities as well.
    
    Cheers
    		Pete.

    
    	I was down to EU's Boston store and they quoted me
    	$1025 for the JTM 45 2-12" combo model #1962. The JTM 45
    	head was $700. They also had the reissued '60's 50 watt
    	model #1987, and the 100 watt #1959. I didn't get any
    	prices on those. 
    	   If you want to know what the JTM combo sounds like,
    	listen to the John Mayall and the BluesBreakers with
    	Eric Clapton album. The other reissue heads are much
    	fatter than the new ones. Jethro Tull, Allman Bros kind
    	of. The newer 2203,4,5 seem much brighter, probably geared
    	for the more metal oriented, processed sounds. 
    	   I'd love to have a JTM 45, but I just can't justify the
    	bucks.
    
    	Neal-stuck-in-the-'60's-guitar-player
    

      re .21 - interesting reading Pete. I'm sure a lot of us would
    like to have been in your position. It's no surprise that Marshall
    has been doing some heavy R & D to come up with some competitive
    gear. Hopefully the rack gear will be making some headway. I seriously
    would have considered a Marshall rack if the KH situation hadn't
    come up. 
      I never heard back from any U.K. noters on Kitty Hawk though. Were they
    really marketed much there or was it low key?

    						-BoOm-

    Thank you for that story, Pete, VERY interesting!  I'd love to take a
    tour like that someday.
    
    It's always nice to hear about a company that cares about it's
    customers like that.  I guess I'm a little surprised to hear about it
    from a large well known company like Marshall.
    
    Greg

    I need some help here guys........
    
    
    	Ok here's the problem..........I need a sound.....and I'd love some
    advice. Here's your chance to set up someone elses rig.
    
    	I have a Charvel Model 4K Loaded with EMG's
    		 Marshall JMP 50w Head
    		 A Celestian H100 loaded 2x12 Joes Cab
    		 A REX50 and an Ibanez Tube screamer.
    
    So far you don't see the problem ?  OK here goes..........
    
    Under Low volumes (2 - 2.5 on the volume knob) I get a good sound. But
    my band enjoy's a substantially louder volume. Around 4 or so my sound
    begins to break up......I get that chainsaw sound...
    
    	What I'm looking for is not quite so harsh a sound......something
    a little warmer. From reading it seems as though a lot of people 
    have worked very hard on their sounds with a variety of equipment (some
    at considerable volumes) and I'm just hoping someone could remember
    some settings...Primarily for the head and Tube screamer..that they 
    really loved.
    
    
    	I'm counting on you guys to help prevent the Northboro CHAIN SAW
    Sound Massacre.
    
            					Thanks
    						Brian
    
    		 

    If you don't mind a personal question, how are your tubes?
    I used to find with an old VOX amp that the great sound would
    occur at increasingly low volume until I replaced the output tubes.
    
    Richard.
    
    (I presume the REX50 et al outputs are set low)

    RE: .0
    
    yeah, which MODEL Marshall head do ya have?  Let us know, and we can go
    from there...
    
    B.

    It's the JMP50 Master Lead II......
    
    			Front Controls
    	
    	Presance  bass  mid  treble  master-vol  Vol    O High input
	    O      O     O     O          O       o     O Low Input
    
    The Power tubes are only about 3 months old......For shame on me
    because I never had them biased.
    
    
    I usually use the REX50 for Digital Delay Or Room Reverb. It's pretty
    noisy going in the front so I keep the output on the back at about
    70%  and the parameter output (programmed output) about 75%.
    
    Hope this can help...........
    Oh ya.....thanks for responding so fast.................Brian

    I think a tube screamer is useful, even with the 50-W master lead
    volume as described in the previous note. Particuarly with passive
    pickups. Maybe it's too much with a newer model ( the Customs, 9000,
    rack ) but I have a LMV and still want more of that sound.
    
    Even though your tubes are 3 months old, 1 might be bad

    Well, I'm not sure what SOUND you're looking for...for a rock n roll
    tone, i would go with the following:
    
    Pres  Bass  Mid  Terb  Master  Preamp   X - High Input 
     10    10   6-7  7-8   1-4       10
    
    I can see that since you're running your FX in front of the amp..you'll
    just have to deal with the noise.  I think part of the problem why
    you're sound is "breaking up" is that you're only running the output of
    your FX unit 70%...you're backing off the input power, which is
    probably killing your signal!  Personally, I'd have a full power signal
    going into the amp and back it off there (if at all).  Again, anything
    pre-gain like you have you're going to have noise problems.
    
    This is why the big players line out after their preamp stages into
    their fx.  An active fx look installed in your head maybe be the 
    best solution.
    

    For minimal distortion, turn the master all the way up and control the
    volume from preamp volume. Once you get it under control, you can
    balance the gain stages for minimal noise.
    
    You might want to try a voltmeter across your speaker to see if
    you're being robbed.
    						John.

    try removing the tube screamer from the whole , then isolate different
    components. I wouldn't mess with fx inside the head, no way.

I agree with someone else who said this...S-Can the Screamer.  You don't need 
it with a Marshall or any other amp thats got good on-board distortion.  And 
if you replaced your tubes but didn't get the bias checked, your tubes could 
already be fried.  Get a tech to scope it out for ya.

Seems to me that Marshalls sound best when you plug directly into them.  Who 
needs effects at that volume ???   ;)

jc (Who inserts his humble opinion)

    I second that...Guitar into Marshall works the best!  And crank it!
    Marshalls don't sound good on a respirator...they gotta breathe!
    
    I also believe if you never biased after a retubing, have it checked
    out.

    Thanks for the advice guys...........
    
    Thursday night I'll play with my setup and try your suggestions. I'll
    keep reading this note in case someone else has some idea's. But
    Thanks for the speedy replies.
    
    						Brian

      If nothing helps so far, I'd like to take this one step further.
    What kind of tubes did you feed to the beast 3 months ago? Groove
    Tubes (soft 1)???? FYI, Groove tubes aren't really what their all
    cracked up to be and some other tubes out there are just as bad. I like
    their marketing technique though, "sell junk tubes with lower output
    to people and tell them they'll break up easier giving a more distorted
    signal!"  Yea...  yea... that's the ticket and while we're at it,
    we'll charge them the "same" price as *good* tubes too! I must admit
    that I would buy Groove Tubes, BUT I'd go for the "Hard 5" so they
    might last alittle longer. Mesa tubes are good too, you might even
    get real lucky at a TV supply house too! With tubes it's a crap
    shoot. I still find that some "new" tubes are microphonic right out of
    the box! What's a person to do???
    
    My feelings are that we shouldn't go down the "rat hole" with this,
    but rather I was just trying to add light to the subject from a 
    different direction. At $100.00+ for four Groove Tubes...  I like
    to search for other "good" alternatives.
    
    Fred (long_time_tube_amp_user)
                               

    I just put set of EL34's that were manufactured in Europe into my 
    JCM800 100w. Each tube box had SIEMANS (sp?) written on it. I paid $20.
    apiece for them (I'm sure the guy I got them from paid less). These
    tubes are great IMHO, the amp screams and has never sounded better.
    
    A little over a year ago I did the 6550 to EL34/6CA7 conversion. When
    I did it I used a matched set of EL34/6CA7 tubes, they were some other
    brand that were packaged and marketed like Groove tubes. The new tubes
    just have EL34 stamped on them.
    
    I run my controls like:
    
    PRES  BASS  MID  TREB  MAST                             PRE
    10    10    4    10    2.5(control)-10(out of control)  7
    
    I run the preamp at 7 because I have an on-board preamp that I built
    installed in my guitar and if I run the the Marshall preamp at 10,
    it sounds grainy.
    
    Dennis
    

    Well, I (finally) checked out a new Marshall 900 series Hi-Gain MV III
    (not to be confused with the Hi-Gain Dual reverb)
    
    It Roooooooooooooooolz!!!
    
    Blows away the M1000 soundwise!  It sounds like a 2210, only bigger,
    fatter, and with a wider tonal range!
    
    This amp is the best, and *I* would go to say it blows doors on the 
    KH line!  (But you'd expect that from moi)
    
    Buck

       fickle,fickle! Are you being objective, I know I'm not. I haven't
    played the 900 series yet, but a local store I'm in cahoots with
    just got the Hi-gain MVIII in in 50 and 100 watt flavors.  And when
    I do check it out I'm gonna compare it to the Kitty Hawk flagship
    amp, the M1. Just the same, I would compare the Marshall 9000
    rack-mounts up to the KH Quattro or Testarossa. 
       In any case, and in all fairness, I'm sure the new Marshall is
    a hot unit. C'mon, they've had to respond to all the hot-rodders
    and upstarts that have shown up in recent years (Soldano, Metaltronix,
    Bedrock, Rivera, even Kitty Hawk). 
       
    						-BoOm-
    
    					(giving Marshall a chance-
    					  - for a change! )

    I think the 9000 series preamp farts out!  It doesn't compare to the 
    Quattro at all IMHO!  The H-G MV III is really hot though...leave it
    to Marshall to do the Hot-rodded Marshall right!

    re .8
    
    What mail order catalog were you looking at? Also,
    did they have a price for the 50wt. Hi Gain Dual 
    Reverb head? Thanks.
    
    Wurlitzer's in Boston claims to be moving the heads
    as fast as they can get them...
    
    -Tom

    re .12
    
    Tom, the magazine Toe got his info from is "Marshall Law", a
    publication of Unicord, Inc. (yeah, Marshall puts out it's own mag!)
    It wasn't a mail-order catalog, it's an _FYI on Marshalls & their users_
    rag mag.
    
    Buck

>It wasn't a mail-order catalog, it's an _FYI on Marshalls & their users_
>    rag mag.

I think that's being pretty polite about it.  Last time I saw one it was major
propaganda (yet entertaining).

gh

    I just got my new 1960 Classic 4x12 cab in last night.  The classic cab
    is outfitted with 25wt Celestions.  I demoed it against a 4x12 with
    70wt Celestions in it.  The Classic is MUCH brighter and breaks up MUCH
    quicker than the 70s.  The 70s had more bass response and clarity.  My
    next cab will either be a 35wt or 70wt loaded 4x12...the mix should be
    happening!
    

    Hi one and all,
    
    	I thought it was about time that I would enter a note regarding
    the new Marshall 9000 Series.
    
    	I bought the 9001 Pre-amp and the 9005 Power-amp last year (with
    the FS04 footswitch) and after many trials, tribulations, feedbacking
    and beeing called different names for playing too loud (who me?) -
    I have decided that it was worth every penny.
    
    	Anyone else got any comments?
    	Whats the availability like stateside? I was up at the Marshall
    factory last week (getting it fixed - but thats another story!) and 
    they said there was a 6 month waiting list!
    
    	If you've got it post it here,
    
    			Nick.

    I tried it out, but I thought it was too "Toni Iommi" sounding for my
    tastes!  Now, the Marshall 2500 (JCM 900) Series blew me away...whada
    tone!!  I had one of those heads on order...PLEASE I hope it's not a 
    6 month wait!!!
    
    Buck

    Fair comment.
    
    It took me ages to decide to buy it. I saw any number of demos and
    asked for advice before I made the decision. The problem always was 
    that the people doing the demos didn't know what they were talking
    about or what they were doing.
    
    On paper it had everything I wanted or could think of (stereo, 25W/50W
    switchability, effects loop, valve driven (including in the pre-amp),
    graphic eq, lead channel etc..) but it never seemed to 'deliver the goods'. 
    Then I saw a demo at a shop that had proper sound proof facilities. I was 
    devastated! 
    
    Not only did it have 'balls' but with the eq and various 'drive' and
    'voice' facilities you could get almost any colour of sound you wanted.
    (sorry...I'm begining to sound like a salesman!)
    
    All this said and done, Buck, the JCM 900 was just too much for me for
    what I needed. I play places that range from the size of hamster cages
    to the occasional pig pen (no reflection on our audiences).
    
    Rest assured about the wait...that was for the 9000 series and from
    what I heard at the last British Music Fair, about 80% of the gear goes
    to the states!
    
    		-cheers-
    			Nick.
    

    Well, I've got one of two half-stacks in...the first one is a 2205 50wt
    head running a 1960 Classic cab (Loaded with 4 25wt Celestions.  This
    combo sounds MINT!  All the brightness and clarity assoc. with a good
    Marshall.  The other half stack which is on order will be a 2500 series
    50wt head into a  70wt loaded cab.  This set up should be awesome ...
    come to SummerJAm in Marlboro to check it out!
    
    My Marshall head had a couple of bad caps in it when I got it, but it
    screams now with the new caps installed!  I just every good tube amp
    (even Kitties) need a lil help now and then.
    
    B.
    
    

    Just like the base note says, I'm starting to shop for a Marshall
    combo.  Here's the criteria:
    
    	2x12"
    	All tube
    	EL-34s (need only apply)
    	effects loop
    
    	I'm not sure whether I want to go 50W or 100W.  I may use it in
    	combination with my early 70's Twin, but then again I may retire
    	the Twin to "studio only" service.  Small to medium size bars/clubs
    	is where it'll be used most.
    
    	Talk to me you guys!!  Oh yeah, I'm certainly limited to the used
    	market -- my spending limit is $400 to $500.
    
    	What models should I be looking for?
    	Helpful hints to prevent ripoffs?
    	Other trivia/drivel...
    
    	joe.

    I just got my JCM900 head in this past week (had to wait for one on
    order )^;)...it rocks!
    
    Sounds really great, although the 50watters are not really loud 
    enough for my tastes...I'm cranking both my heads full blast and
    it's cool enuff.
    
    B.

	Just curious, Bill - are you wearing hearing protection when
	you do this?

	thanks
	ccb

    -1
    
    What?
    
    Seriously...no, no hearing protection used...it's really not that loud
    when you add drums n stuff in there!
    
    Buck, playing once again on "10", just like the OLD DAYS!

    Oh, I get it.  The louder the drums, the less chance of hearing damage
    
    :-) :-) :-)

    
    Hmmm, two fifty watt Marshall tube amps cranked to 10 aren't that loud? 
    As compared to what, jet aircraft?
    
    Have you noticed that birds no longer fly near your house?  Lots of
    "For Sale" signs in your neighboorhood?  8-)
   
    What are you driving them through, the 25wt 4-12 Celestians?  Maybe the
    speakers aren't very efficient, 'cuz that should be making one hell of
    a noise.  Are the cabinets on the ground, or at ear level?  Knowing how
    directional a Marshall cab is, it's possible that you are blowing you
    knee cabs off and don't know it.  If they are at ear level, Ouch!
    
    It could also be that the Marshall really gets all of its volume from
    0-6, and from there on up it's just more punch. 
    
    Better go back and read Joe Jas's notes on keeping the volume down. 8-)
    
    Kevin 

    I thought wjb was using a 50 and a 100 watter.  Play with my drummer
    and discover the true meaning of hearing loss...
    
    	joe.

    No Joe, 2 50's grace my presence these days!  I was jamming last night
    with hallowed-rocker-extrodinaire Brian Rost, and he only has a 20WT
    bass amp, so I had to tuen down the amp to "2"...;^(  It sounded ok,
    a tad thin I think, but we'll work on it.
    
    Brian, but a 400WT bass amp, will ya?
    :^) 

    
    Gee, Buck I *have* a 400 watt amp but didn't want to embarass you by
    drowning you out  8^)  8^)  8^)
    
    							Brian

    Mr. Calcagni (aka "hallowed rocker") has been so kind as to provide me
    with a veritable encyclopedia of info re: Marshall 50 and 100 watt amps
    (heads and combos).
    
    Would a 50 watt master volume 2x12 combo yield the same performance
    as a 50 watt head w/separate 2x12 cab?
    
    Actually, I've heard both Rick and Bill discuss their preference for
    4x10 cabs over 2x12s so I plan to try both.
    
    What about the 50 watt amp?  Is it gonna deliver the volume level I'll
    need in bars/clubs and with a *very* loud drummer (i.e. pretty high
    overall band volume)?  Should I go for 100 watts?
    
    	joe.

IMHO, 100w is TOO much ! (And I like it LOUD, remember ?)  ;)

50 watters on 10 is loud as hell, but bearable...And because
you can stand to be in the same room, sounds better.

FWIW,
jc

    nah, 100Watts sounds crisper, more detailed, more of the delicate
    rsonances of Bach, Sor and Tarrega sound to me on 100W.
    Just more current available. 
    I don't play loaud unless I have to. 
    Well, maybe :-)

>    Would a 50 watt master volume 2x12 combo yield the same performance
>    as a 50 watt head w/separate 2x12 cab?

I'm no Marshall expert, but generally speaking, you should get about the sa
me "performance" from both, however I'd think they'd probably sound a little 
different because the combo's usually have open backs and seperate cabinets
are more often sealed.

>    Actually, I've heard both Rick and Bill discuss their preference for
>    4x10 cabs over 2x12s so I plan to try both.

Add me to that list too. I'm now using a pair of Marshall 4x10s with my 
Kitty Hawk and they sound great!  I did an A-B comparison with my Ampeg 
4x12 awhile back and the 4x10s had almost as much bass response, a LOT more
midrange and just a little more high end.  Overall I thought they had a 
fuller sound then the 4x12.  But keep in mind that the Marshalls have 
Celestion 10s and the Ampeg has CTS 12s (which could sound like pretty
much anything, I'm told).

My opinion is that a 50 watt tube amp should be enough to cover the clubs 
you're talking about, even with a loud drummer.  You may want to opt for 
more speakers to fill out the sound though.  That's the one thing I notice 
about having more speakers is that it doesn't seem much louder, but the 
sound is more full.

Don't be drowning out poor Tony now, ya'hear?  The last tape I heard of you
guys he was pretty much lost in the mix...

Greg

    RE: Tony getting lost in the mix...
    
    	Yeah but the last tape you have of us was from SpringJam 88 wasn't
    	it?
    
    	We're like "way" different now.  In fact we've just about com-
    	pletely changed direction since last October.  We've been trying
    	to talk Tony into a new amp for awhile, but to no avail.  I think
    	he'll come around soon though -- the Music Man has been breaking 
    	down a lot lately and the Supro Thunderbolt is just too old :-)
    
    	joe.

    I have to put a plug in here for the "M" word...
    
    I participated in yesterday's From All Walks of Life....they had
    several area bands along the walkway playing to the masses.  The best
    guitar sounds I heard (you could tell, you could hear them cutting thru
    from a distance) were the Strat/Marshall 2x12 channel switching
    combination (saw about 5 cats using this combo).  The 2nd best guitar
    sound was a couple of cats playing strats thru Fender's The Twin amp. 
    Guitar sounds which sounded muddy and generally uninteresting were a
    les paul thru a Boogie, and an Ibanez Artist thru a Seymour Duncan
    respectively.
    
    a FWIW from this man's ears....
    B.

    
    re: -.1
    
    Amen

    
    I was foolin around at JB Lee's guitar shop (Greenville) with a 
    Marshall 30 Master Reverb while I was waitin for my lesson - nice sound!  
    I really liked the reverb a lot - makes my Kitty reverb sound like dukey.  
    IMO, this is a nice little practice amp at a great price.  You know, it 
    occurs to me that not too long ago, I wouldn't even think about playin'
    at a guitar shop for fear of embarassment.  33 and gettin' froggier 
    every day!
    
    -pat

    Is the Model 2204 (50W JCM 800) in fact a brighter sounding amp today
    than it was 15 years ago?
    
    	I'm going out to demo 2204's with 4x10s tonight.
    
    	joe. (confused with so many different marshalls I keep hearing
    		about)

    	I played around with a JCM900 100 watt amp through a Marshall 4x12
    last night and it is awesome.  It was definitely overkill for what I'm
    lookin' fer, but I'm just about 100% resigned to the the used market
    anyway.  The price difference between the 50w and 100w versions is only
    $75, but we're talking $750 (asking price) at Wurly's...
    
    	I couldn't get enough bass response outta this thing and wonder if
    that's gonna be a problem for me (with clean stuff especially).  I was
    hoping that a 50w head and a 4x10 bottom would do me so I could retire
    my twin, but now I'm thinking that the twin's clean sound just can't be
    beat.  Ain't no way I'd ever lug both around to a gig (would I?).
    
    	Who's got a 2204 Master Volume that I can try out through a 4x10
    cab??
    
    	Also, do the 2204's have effects loops or no?  They also don't have
    reverb correct?
    
    	Is there a 50w master volume head that comes with reverb and fx
    loop?
    
    	joe.

    Joe,
    
    2204's do not come with an fx loop...only the 2205s do, hence their
    product name...Channel switching reverb...they have reverb and a loop!
    The new 990s also have a loop
    
    B.

    Guess what I need to do is test drive a 50 watt 2205!!
    
    	j.

    My 100W mLV has had f/x installed.
    
    The old cabs have speakers with limited freq. response in the hi end;
    the Vinatge 30's and more so the old 25's.
    
    I get alot of bass response from my 3x12, but it's got 2 old EV's and
    uses solid wood, this thing vibrates alot more than Marshall cabs.
    
    I think my next head'll be a 25/50 W Custom. 

    Joe,
    
    I have two 50wt heads and am seriously considering having them boosted
    to 100wts!  50wts just ain't LOUD enuff for me!

    re .9
    
    I may just be flaunting my ignorance here, but it's always seemed
    to me that high end gets lost in a live situation; what sounds like
    a perfect tone in your living room or the music store, comes across
    bassy and/or muddy in a big room.  This is why I think Marshalls cut
    so well and sound so good live; they're overbalanced toward the high
    end.
    
    /rick

    -1
    
    Exactly!!!
    
    ALthough, for all the people who b!t*h about Kitties being too bassy,
    the ONE time I used my quattro (when it worked, ahem), the sound dude 
    said there was WAY too much presence in the sound!!
    
    One plug I guess...

    Buck , don't be a weak willy! Go for those 100W amps! They sound more
    natural , open and CRISPER than the 50's.
    You need , to go the SOund route, the crispyness. 
    Especially with effects. The crispiness can hold alot more distortion
    and you will be able to hear the notes at a higher distortion/effects
    rate. 
    
    The little amps sound good, too, been playing with my  <3 watt Memphis.
    But the sound is just muddier, but sometimes you hear it as warmer.
    
    IMPO

    
    
    
    	What do you guys think about the new re-issue Marshalls??  One of
    them is a combo called the bluesbreaker.. supposed to be a 2-12 45 watt
    reverb amp.  I haven't heard one yet, but the local store will be
    getting one... says they're going to sell for abou a grand!!!  Isn't
    that the same kind of highway robbery that Fender's doing with "The
    Twin" priced at $949.   Really, what makes these amps worth a grand??
    
    
    Steve

    re:.9 
    Joe, if you're tryin out amps, do youself a favor and give the Fender
    "the Twin" a try. You won't need to lug two amps with you if you wanna
    switch between the Fender and Marshall sound. I needed a real crunch
    sound and still wanted to keep a clean sound too. I tried "the Twin"
    and was sold on it right away. Normally I agonize over this kind of
    stuff - price vs performance. Just try it my man just so you'll know.
    
    (Sorry boys, I know this is a Marshall topic)
    
    "the sakman"

    -1
    
    Yeah, get that Fender puke outta my Marshall topic!!!
    ;^)
    
    Buck, who says the Twin does an ok Marshall sounds, but hey, for a 
    REAL Marshall sound, need I say more?

    re: Bluesbreaker
    
    What makes these amps worth a grand is that Clapton played one on the
    first "Bluesbreaker" album.  You'd pay several times that for an
    original one, IF you could even find one for sale.
    
    I played one of the re-issues, and IMO it was no big deal.  It was a
    lot tamer than any real 60's era Marshall I'd ever tried.  Maybe it
    was just that particular one.
    
    /rick

    I think we should start hearing frmo all the NEW and HAPPY Marshall
    4x10 speaker cab owners in this conference!!!  C'mon guys, speak up!
    
    B.

    Actually if you'll note, *I* was the author of 1103.0...
    
    I won't *even* touch the Marshall .vs. KH (.vs. whatever) debate.  They
    both have some killer sounds.  I'm using both right now!  (KH amp+
    Marshall cabs = great tone)
    
    Greg (also a new very HAPPY owner of Marshall 4x10 cabs)

    I just bought a Marshall 4x10 slant cab and got a chance to try it out
    (well sort of...) last night.  I wish I had bought the other (straight)
    cab too since I could have picked up both of them for about $350.
    
    Anyway, the reason I say 'sort of' is because I ran the 4x10 as an ext.
    speaker off my early '70's twin (which really wants to see a 4 ohm load
    as opposed to 8 ohms).  At any rate, it added a lot to the overall
    sound level I can get -- great when I kicked in the Rat for a bit of
    crunch.
    
    So, Joe's hot on the trail of a 50 watt master volume with el-34's...
    Having equipment with "Marshall" on it, just does something to one's
    confidence (and happiness) level.
    
    joe.

    I really like the Marshall 4 x 10 cab that I've got. It 
    sounds great with a Marshall amp, and sounds neat hooked
    up to my Fender Deluxe as well. My only regret is not
    buying the straight cab that went with it:-(.
    
    -Tom

I bought the a slant and a straight pair and love them.  They have a killer
midrange-that-won't-quit sound.

I did a side by side with the 2 4x10s and my Ampeg 4x12 and the 4x10s are a 
lot fuller sound.  They don't have quite the bottom that the 4x12 does, but
they're a lot hotter in the midrange and highs.

Greg

    Marshall = Bliss!

    Could one of you, ahem, Marshall experts enter a note that describes
    some/all of the following different amps???
    
    	50w and 100w plexiglas front amps
    
    	50w and 100w lead series (is there such a beast? are they distinct
    from the JCM 800 non-master volume amps?)
    
    	50w and 100w master volume amps (are the old ones any 'better' than
    the new ones?)
    
    	thanks,
    	joe.

    
    I had the chance to try out a friend's 50wt. Hi Gain Dual Reverb head
    last night.  Yikes, talk about massive gain and tone!  Buck, you should
    hear this beast with the black Swede's preamp kicked in!
    
    We had it wide open in 25wt mode going through a 2-12 cab and a 4-10
    cab.  That's a healthy 25 watts.  50 watt mode seemed to give more
    midrange. 
    
    The surprise of the night was the clean tone.  I was able to channel
    switch from a dangerous lead sound to a sweet clean sound without any
    fiddling around.  Neat.  
    
    If I had the $$, I'd own one.
    
    Kevin
    

    Tried the JCM 900 out last night with the new git.  You know, that 
    Saturation knob that goes to "20" really is for adjusting the amount
    of sensitivity of your pickups to the amps preamp...I'm convinced!
    I don't think it's supposed to work like a normal preamp stage.
    
    Anyways, the new git screams thru the JCM 900...tons of tone, and
    sustain for days!
    
    Buck, who feels the JCM 900 is like his (former) Testarossa, only
    better (more EQ there).

    
    So Jomama, wha'd you think?
    
    What am I talking about?  I got to jam this past weekend with fellow
    noter Joe Minville...I got to hear his new Tele (nice!), and he got 
    to hear my JCM 900 HI-Gain Master Volume Mk III head and the 25wt
    Celestions.  Well, Joe, how bout a testimonial on the 900?  Wha'd 
    ya think (comments)???
    
    B-man

    db_II was down last night comparing licks n stuff.  Yo db, what did 
    you like better after thinking about it a while..the JCM 800 or the
    JCM 900?

    
    I've recently heard some tunes by a band called Extreme.  IMHO, the
    songs are OK, the guitarist(s?) can wail, but the guitar sound is a
    killer.
    
    After 99 million bands with the same over-produced sound, this guy
    sounds like someone stuck a mike in front of a very loud Marshall and
    that's it.  No heavy effects. Just an in-your-face crunch.
    
    IMHO, refreshing!
    
    Kevin
           

Personally I liked the JCM 800 better, but both amps sounded really great!
Kinda like having a quattro and a testerossa to fool with, but with slightly
less felxability..

dbii

    RE: Kev
    
    Nuno, THE guitarist for Extreme, uses a 100wt Marshall 2210 and a 100wt
    Laney AOR for recording.  The Marshall is on the left in the mix and
    the Laney is on the right.  He also uses Sparingly a cry-baby wha and a
    Boss ME-5 floor pedal for FX.  Live, he uses solely the Marshall 2210
    for his tone.  He sans the wha pedal live, but keeps the ME-5.  Also,
    he uses a ProCo Rat pedal as a line boost on the 2210.  Check em out
    sometime.
    
    B.

	Extreme is a Boston-area outfit. They play around here often.

    	Sorry it's taken me so long to enter this, but you know work
    	and all gets in the way of having fun...
    
    
    	Buck's JCM900 and 4x12 set up showed no mercy a coupla weeks ago
    	down in my cellar (it could be heard loud and clear over Dan's
    	drumming, and that's saying something ;^).  This amp offers up
    	everything from ultra-clean to total grundge and I loved it.
    	It's great at giving that "biting lead" sound and Bill did a
    	great job of covering everything from funk to Hendrix (including
    	an emotional solo on 'Purple Haze that yielded *the* Jimi sound).
    
    	I would say that if you're shopping for a great lead amp, and
    	you're interested in getting a spectrum of sounds from classic
    	distortion (a la Cream/Hendrix) to frightening metal-edged mad-
    	ness, then you should definitely check this amp out before you
    	buy anything else.
    
    	joe.

    Yo, db_II
    
    I let one of my students do the "pepsi-challenge" last night...his
    choice?  The JCM 800!  i think he liked it better because the 2205
    is one BRIGHT sounding head, and he's into metal!  The 2250 (JCM 900)
    is a much mellower sound...more like a Boogie (eeek) ;^)
    
    Buck, who used to favor the 800, but has been diggin the 900 of late

The compressed boogie sound doesn't cut as well as the other to my ears...
I'm not surprised! The notes are more finely articulated coming out of the
JCM 800...what a nice amp. If I wasn't already invested in more amp technology
than I should be able to afford I'd run out and buy one...

dbii

    I was playin 'this one, that one' again last night...ya know...I was
    jamming thru the JCM 800 and it came to me: "This is the new Reb Beach
    sound!!!"  Yes, my JCM 800 sounds JUST like the guitar sound on the new
    Winger album (with my Ibanez it did)!  But I soon switched back to the
    JCM 900 and was still a bit more pleased with it.  I think I like that
    one better because the tone is a bit more "brown" than the 800 and the
    extra distortion available directly from the amp is really nice (read
    no boxes needed for leads!).  I'll still keep both though...wanna have
    two full stacks someday.
    
    FWIW, some guy stopped by my house from the other side of town...said
    he was sitting in his living room and my guitar sounded like it was
    coming from the kid across the street...he didn't realize until he went
    out on a 'hunt' that it was coming from 2 miles away!  ];^>
    
    I only had it on 6!
    ;^)
    
    Mr. Volumemeister

    Oh yeah... (I know, can't shut this guy up, right?)  ;^)
    
    I've come to the conclusion that the JCM 800, which has slightly
    less distortion, sounds better thru 25wt Celestions than 70wt
    Celestions...the speakers make up for the preamp.  Likewise and
    vice versa, the JCM 900 sounds 'too damn distorted and compressed
    for it's own good' with the 25watters, and much more defined and
    ballsy thru the 70wt Celestions.
    
    Info in case anyone cared...
    
    Buck, doing lots of Marshall sound testing of late

	Geez, Buck... send me a check for $900 and I'll care all the way
	to the Marshall dealer... ;-)

    2 miles away?  He probably wasn't a happy camper ;-)  What about your
    next door neighbors, do they still have their teeth?
    
    Mike

    >2 miles away?  He probably wasn't a happy camper ;-)  
    
    Oh contraire...he was a guitarist, hence why he went looking for who
    was jamming!  He was like "dude, lets jam!" ;^)
    
    >What about your next door neighbors
    
    I donno...I think they're deaf...I mean, they don't call the cops
    anymore like the used too.  Maybe they're just used to it?
    
    Buck, synonymous in my neighborhood with the word LOUD  ;^)

    I'd like to congratulate Alan Starr for his recent purchase of two
    1x12 Marshall Cabs....Welcome to the Marshall Cab Club Alan!!!
    
    Buck, whoz heard em and they're cool

>     I'd like to congratulate Alan Starr for his recent purchase of two
>     1x12 Marshall Cabs....Welcome to the Marshall Cab Club Alan!!!

Now Buck - they're only cabinets! Its not like they're amps or anything (I'm 
still kicking around that old KH Quattro and M3 head.....)

But they are really nice, with 70-watt Celestions in each! I like'm!!!!!!

alan

    
    	Just goes to show....
    
    
    
    
    
    	*Everything* sounds good using KH gear!
    
    	

    re: -1
    
    I'M ROOOOOLLLLLLLIIIINNNNNGGGG!!!!! ;-)

    Yeah, I set up for the gig last night and had both heads (KH and
    Marsahll) sitting on my cab.  A guy comes up and says, "..Kittyhawk,
    never heard of them ...".  Then I fired it up, he just smiled.  But in
    all honesty, my Marshall being a MOSFET makes a big difference too. 
    After hearing a guy wail on a Marshall tube rig this past weekend, that
    was what prompted me to go back to the Kitty.  I guess it's kinda like
    going to a car show and being impressed by a Datsun, then going
    home and waxing your Porsche !  8^)
    
    Scary !

       That's why I want someone to let Buck play through a M1 w/EL34's.
    He can add it to the JCM800/900 comparison.  Apples and oranges , right.
    Anyone makes it to Syracuse (NY) I'll be glad to let them go a few
    rounds with my Kitties. I'd let them compare it to my Marshall but
    I sold it when I was building the Kat Rack! I have enough KH's for
    a five axe jam! Anyone for a game of musical amps?
    
    							--/Boom/--

    re: Scary
    
    I heard a guy last night that was playing through a Marshall Mosfet 100
    like yours, using a Chandler Tube Driver stomp box and a DSP 256, into
    two 4x10s (the full mini-stack) and it sounded killer!  I was impressed
    (and surprised).
    
    ...funny thing was that I heard the same guy at a gig the week before
    playing through another guys Marshall tube head into a Sonic 4x12 and
    he sounded almost exactly the same.
    
    Greg              

    >...funny thing was that I heard the same guy at a gig the week before
    >playing through another guys Marshall tube head into a Sonic 4x12 and
    >he sounded almost exactly the same.
     ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
    
    Funny you should say that GH.  Greg happens to posses several LIVE
    tapes throughout my "career" (hahaha!), including me playing thru:
    
    o 30wt Hiwatt Half-stack
    o GK 250*L Series w/Hiwatt 4x12 w/Rane spkrs
    o GK switched to (2) Marshall 4x10 cab w/Celestions
    o 1963 Marshall 1959 Series 50wt head thru 4x10s
    o MP-1-Based MIDI rack setup
    o 12wt Marshall heads in parallel
    o 50wt Musicman RD-50 head
    o Combo 12wt Marshall head/50wt Musicman amp
    
    and has commented that my tone is basically the same, even with all
    those changes!!!
    
    Whadaya say GH?
    Buck, amp fiend

Well, I agree totally.

I've been jamming with Scary for a long time.  No matter what he plays thru,
his tone is very consistent.

I think it's because we all have a mental picture of what a "good" tone
is, and we strive for that when we tweek parameters (or knobs, for you
old fashioned types ;).

Scarys 100wt MOSFET head is LOUD !  VERY LOUD !

    
    	Yabut.  Scary is playing thru single coils now...  This *may*
    	be a first for Scarymon.

    re: Buck
    
    Yep, you got my comment exactly right.  You're sound is pretty
    consistant through all those tapes.  I think that most high quality
    amps are capible of producing a killer tone if tweaked right and/of run
    through the right effects.  So, like Coop says, you're going to end up
    tuning in a tone that's similar to the one you liked with your last
    rig, because you liked it there.  
    
    Funny, I just spent about an hour a couple of days ago trying to
    duplicate the sound I liked from my Kitty Hawk using my MP-1.  One of
    the first programs I wrote for my SGE when I got it was to duplicate
    the sound of my Hiwatt through a Power Soak (I still love that sound! 
    Screams like a chainsaw on speed...)  Interesting observation, huh?
    
    Greg

Yeah, some people still thing I'm using a GK.  ;)

                                          Sam Ash       Am. Mus. Supp.
    Hi-Gain Dual Reverb 
    -------------------
    4100 100wt head                                      $749
    4102 100wt 2x12 combo                                $889
    4500 50wt head                                       $675
    4501 50wt 1x12 combo                                 $735
    
    Hi-Gain Mark III
    ----------------
    2100 100wt head                      $599.95         $649
    2500 50wt head                                       $565
    2501 50wt 1x12 combo                                 $635
    
    4x12 Cabs
    ---------
    1960A mono/stereo, angled            $479.95         $519
      "     "    "   , straight            "               "

    Anyone whos anyone is playing a Marshall 900 these days!

    Long Live Classical Guitars!

    I saw a Marshall 900 100w head the other day...  But I couldn't find
    the MIDI port on it...So I left.  ;^)
    
    Actually, the stereo FX loop did look neet though...Bet it sounds
    pretty good for a MONO amp.
    
    They had the Marshall preamp there too....$249 brand new.
    
    jc

    re .87
    
    Anybody who's anybody knows that the 900 series is just a marketing
    ploy so that they can obsolete your equipment next year by introducing
    the MARSHALL 1000!
    
    :-)

      re .87
    
      That's what I've been most afraid of all my life. Now I know.
    I'm a nobody! Damn, and I betcha my local store would love to see
    me buy that JCM 900. But that's where I just got the GSP-21 so they
    sorta know better than to push a Marshall on a KH MIDI rack puke,
    especially one who wears Kitty Hawk T-shirts!

    							-BooM-

    Some of the best guitarists around are nobodys!  If that's a
    prerequisite than I wouldn't mind being a nobody.  Wouldn't like to be a
    nobody too?

    
    Be sure to include me in that list, Mike.
    
    ;^)
    
    J. 

    Well, now that I've had a lot of "experience" tweeking the GP-8 into my
    Marshall MOSFET, I'll put it up against *any* Marshall tube jobber. 
    Yep, finally got a tone I love, *with* my Marshall !
    
    Scary

    re: Boom
    
    I'm with ya man.
    
    Later,
    Nobody

    I just got the new Sam Ash catalog.  Marshall has a new walkman-sized
    amp that you clip on your belt called the MS2 (micro amp).  It is only
    $30!
    
    Mike

    
    Yeah, first there was the Afterburner for $29.95...
    
    Then Fender sold the same thing with a Fender logo on it....
    
    Then Dean Markley added a second speaker so it looked like a stack...
    
    Now Marshall comes along and adds a *tone control* (wow, like radical,
    dude)....
    
    I'm waiting for the Boogie version, with class A operation  8^)  8^)
    
    
    						Brian

    -1
    
    But dude, it's a MARSHALL!!!

    
    I wanna get a 4-12 with a belt clip...

    Just thought I'd go on record here...maybe I already did...
    BUT...
    
    I preamped my rig with a Micro stack head...Into the DSP128+,Hush, 
    and metaltronix/PC power amp and was BLOWN AWAY !
    
    Quite a little preamp in this thing and SOLID STATE too !
    
    All it needs is the verstility of the MP1...
    
    jc

    I used a 12wt head thru two big marshall cabs for MANY a gig...I
    was into it for quite a while!  I'm the type of guy who likes to
    turn knobs in between songs to get different sounds.  I liked that
    sounds a lot!

    I've considered making a home-made rack mounted preamp
    out of TWO micro heads...  The circuit cards in there are only
    4x7".  I was thinking that I could wire them up to an A/B box
    type doo-dad and wire the inputs and PS's together and have
    one KILLER little preamp with TWO sounds...
    
    Get what I mean ?  Wouldn't Marshall be PISSED !
    ;)
    jc

    How does the 9000 series amps compare to their tube heads?  Can you
    rack mount a JCM900 head?
    
    Mike

    I doubt it, the Marshall heads are really wide (to match 4x12
    cabinets).  
    
    I have a friend that has a rack mounted Mesa/Boogie Mark III head
    though.
    
    Greg

    Re: -1
    
    The electronics don't take up the whole housing do they?
    
    Mike

    
    	Cooper, go for it.  This has got to be easy for the guy who has
    the kahonas to take a rip saw to his Marshall cab!
    
    ;^)

    Naw, but they do spread them out.  You'd have to put a whole new
    chassis on it.
    
    gh

    Remember Jeff, don't be getting too close to my Marshalls...
    
    >;^(

    Donno, you've seen it, it's Alans.  It's in a std 19in rack and it
    looks like it was made to go in there.  Could be a custom job, I
    suppose, but I thought I remembered him (or Mosher) saying that it just
    dropped in there after you took the chassis out of the little cabinet
    the head is in.
    
    Personally I don't see the big advantage to rack mount something like
    that unless you're going to be touring with it (and want the security
    of a suspension rack system.
    
    I wouldn't bother rack mounting an amp head myself.
    
    Greg
                                                       

    I'd like to rack mount my Mosfet, it's almost a 19" job ... hmm, I got
    some time before the next gig - I just might do that !
    
    Scary ...

    	Mesa sell's a rackmount kit for it's combo's and heads,I
    remember seeing one used a couple months ago in the Wantadvertiser for
    $75.
    	Rackmounting equipment does help protect it,but it really
    doesn't help in the weight department. If I had my druthers I'd
    go the combo route next time and get a road case for traveling and
    protection. I ended up carrying two rack case's because the power
    amp weighed too much.
    
    							Rick
    

    
    Only thing of it is that I know they offer a little adoptor kit that
    converts 17" chassis so that it can be rackmounted to an 19" rack, but
    the problem is that my chassis is bigger than that, I believe it's
    either 19" or 20" by itself...  How do I rackmount this???

    Hey Greg !!!
    
    Vroooom !!!!!!!!!
    
    ;)
    
    jc (Who was watching "This old house" this morning saying "Hmmmm")

    
    
    				I'VE FOUND IT!!!
    
    
    
    I'm psyched!!!
    
    
    
    It took one RG550, one Marshall JCM 900 head and two 4x12 cabs, one CD
    player, and one TNT Intuition CD, a few hours, and, I FOUND RONNIE'S
    TONE!!!
    
    Funny, after listening and tweeking, all the controls on the Marshall
    are just below or just about "7".  Add one MIDIverb II in the FX loop,
    program 60, with mix about 25%, and you've got it!
    
    I'm tres' psyched...I knew it could be done!!!
    
    Really dudes, it'd Ronnie's guitar sound (honest!)
    
    

    
    Cool, dude.  Congrats.  Cool tone!  Howzit compare to tone on 
    10,000 lovers?

    Good job man.  That's an incredibly difficult tone to pin down.
    
    8^)

    J.,
    
    Well, it's definitely has more mid-range punch than on 10,000 lovers,
    and a tad more high high-end (I think).
    
    gh,
    
    Yeah, it took a while, but it's there.

    Some of us were talking about this offline yesterday.  It seems guys
    like LeTekro, EVH, Lynch, Satch, et al., use professionally modified
    Marshalls.  If this is the case, there are a lot of people out there 
    buying Marshalls for a sound that they probably won't get.
    
    The mods these guys have done also seem to decrease the reliability of
    the Marshalls.  One story says that EVH went through 3 of them just to
    do the intro to "Dancing in the Streets"!!!  Sure they can afford it,
    but would one of us want to take that chance?
    
    Mike
    

    -1
    
    Yeah, but a JCM 900 is basically Marshall offering on a beffed-up
    Marshall.
    
    Van Halen, he used to be ruthless on Marshalls...he's a bad example!
    
    I agree on reliability though, look at the M1000...it is THE modified
    Marshall, and it makes a better smoke machine than an amp!

    
    RE: .110 midrangier...
    
    Still an accomplishment...  Congrats...
    
    Reliability of Marshalls:
    
    This was one of the biggest reasons why I went to Boogie.  I found out
    that basically all the "great" sounding Marshalls were modified and
    very short lived.  I remember hearing horror stories from George Lynch
    as such as that all the great sounding amps(Marshalls) he ever came
    across were owned by other people.  This to me indicates that it was 
    probably heavily modified by a specialist.
    
    And I wouldn't say that Van Halen would be a bad example.  I used to
    love his "brown sound".  Then I found out that his Marshalls were 
    heavily rodded, too, and that practically only way to get even close
    to his sound was to buy a Marshall, and have someone rod it out.  I
    couldn't see a point in spending globs of money on a Marshall, then
    lessen it's life by roddin' it, also spending globs of more money...
    
    But of course, now I believe that the tone depends greatly on who's 
    playing thru that rig...
    
    J.
    

>    And I wouldn't say that Van Halen would be a bad example.  I used to
>    love his "brown sound". 
    
    I totally disagree!  He is the *epitome* of a bad example of what not
    to do to an amp.  Maybe in later years he had people modify his amps,
    but not in the earlier years.  He just hooked this variable level power
    device called a Variac in the power line, cranked it way up there and
    cooked them to death.  Yeah, he got a great tone, but by ABUSING his
    equipment, not by using intelligent modifications.
    
    I've heard some people claim that their hot-rod modifications don't
    shorten amp life, I might believe that.  However if you make a tube amp
    work harder, you're certainly going to shorten tube life (maybe
    transformer life depending on what's done).  
    
    FWIW I've heard some completely stock Marshalls that sounded excellent
    (and some that sounded bad too).  They don't *have* to be modified to
    sound good.  Of course there are lots of modified ones out there that
    sound killer too.
    
    Greg

    
    Greg:  
    
    I totally disagree, too.  By the time "Diver Down" was out, he was
    having his amps "done" professionally, and still cooked 2 or 3 of 
    them!  And like you said, he did have that killer sound.  
    
    RE: .112
    <Yeah, but JCM 900is basically Marshall offering on a beefed-up
    <Marshall.
    
    I think, if it wasn't for these guys having their Marshalls mod'd and
    blowing them up, and their followers seeking (this is just an example)
    Lynch/LeTekro/VH/blahblahblah tone, JCM 900's wouldn't exist right now.
    
    When Randall Smith was roddin' out the Fenders to build the first 
    Boogies, I'm sure Fender lovers were saying just about the same thing 
    about him, too.  "Randall Smith is the *epitome* of a bad example of 
    what not to do to an amp."  And I'm sure that when Randall started 
    matching 2 EL-34's and 2 6L6 in one amp, he probably smoked a few, 
    until he found the formula for "Simul-class".
    
    J.

    RE: Stock Marshalls..
    
    Hey Greg how about that Marshall 2203 100wt rig ?
    Thats thing CRUNCHED !
    
    (With some help from a LP Deluxe)
    
    $1000 and it's yours !
    
    

>    what not to do to an amp."  And I'm sure that when Randall started 
>    matching 2 EL-34's and 2 6L6 in one amp, he probably smoked a few, 
>    until he found the formula for "Simul-class".
    
    J., now that would be an insult to proper engineering! ;-)
    
    Mike

    It's actually kind of interesting the way Randall Smith engineered
    the Simul-Class design.  There was no precedent for figuring out how to
    design an output transformer that would allow him to mix class A and class
    AB power sections, so he went to the transformer manufacturer and said
    "give me a transformer in this range with x number of taps".  Then he
    put it on the bench and took measurements.  When he found the best pair
    of taps, he went back and said "okay give me a new transformer expanded
    over just this range with x number of taps".  The process was repeated
    over nine generations of prototypes until he boiled it down.
    
    The transformer mfg said he loved working with Randall on stuff like
    this; it reminded him of working with Leo Fender.
    
    /rick

    Boom is too scared to write in this topic...he knows better!
    
    :^)

    
    
    
    	C  H  A  L  L  E  N  G  E  !
    
    
    
    
    
    
    					- the irrepressible BOOM!

    Nahhh ... he ain't scared ...
    
    
    
    	.... just too proud !
    
    
    Scary (who sez, "gimme a Sears Silvertone amp and a pint of Daniels,
    and it'll sound like the ultimate rig too ...)

>    Scary (who sez, "gimme a Sears Silvertone amp and a pint of Daniels,
>    and it'll sound like the ultimate rig too ...)
    
    What, you gonna make your listeners drink the Jack before you play?
    Agagagaga!  8^)
    
    My old band had the motto "The more you drink, the better we sound". 
    It was true too, by the end of the night, we received some pretty high
    praise (and basically we were pretty sloppy).  ;^)
    
    re: Boom
    
    You mentioned having a Marshall 2554 in the KH topic.  I don't remember
    that model, which one is it?
    
    Greg

    I think that motto stands for every bar band.  Ever reall been "on" one
    night and get fair applause, come back in the next night and really
    sound like poodle poop and the place goes wild ?  Drunks, ya gotta love
    'em !
    
    Scary

    
    Marshall 2553 = 50wt Silver Jubilee Head
       "     2554 = 100wt  "       "     "

    ...and those silver puppies sound AWESOME !

    I had a chance to buy one of the 50wt 2x12 combos for a real good price
    about a year or so ago.  I still kind of kick myself for not doing it. 
    My rational was that I wanted a head rather then a combo because it
    would be heavy to carry around.
    
    Oh well, I still prefer seperate heads and cabinets...
    
    Greg

      In some ways I regret selling the Jubilee. I hated the Celestion
    Vintage speaker in it. I hooked it up to a G12-70M and it sounded
    mucho better. I think the Vintage series had to be in a 4X12 to sound
    good.
      BTW Buck - My 2554 was a Jubilee 25/50 watter with a single 12'
    G12-70M. And I had a matching Calzone Pro-Line read case in silver
    that matched the Jubilee pretty close. Looked great when the Marshall
    sat on top of it. I sold it for $450 altogether. So shoot me.
    
    							-BooM-

    Oh, the 2554 is the 50wt?  Oh, guess I got the numbers mixed up again!
    
    Bukc, who had the worst time remembering the 2203/2204 50/100 wt
    sequence for a while!

    In the immortal words of Steve Vai "this is my whammy bar, and it's
    gonna be LOUD!"
    
    :^)

    
    Oh yeah, Jay Tashian tells me that the JCM 900 series is not selling
    that well.   Hmmm, sary thought...I think they sound mint!

>    Oh yeah, Jay Tashian tells me that the JCM 900 series is not selling
>    that well.   Hmmm, sary thought...I think they sound mint!
    
    Relative to what?
    
    Marshall has now got so many models they may have confused everyone...
    MOSFET, Master Gain, JCM 800, Jubilee, JCM 900, JTM45 reissue, etc.
    
    Hey, maybe everyone is broke from buying too many rack-mount toys  8^) 
    8^)
    
    Seriously, if the recession kicks in, high ticket music toys are gonna
    be dogs on the market and we may see the market weed out a couple of
    vendors.
    
    						Brian

    Who is Jay Tashian (or is it Tasjian?)?

    I have a Model 2205 50 watt channel switching head with no users
    manual...
    
    On the back is a jack called Direct Input (or maybe output, I forget)
    that has a knob next to it.
    
    Can anyone tell me what this is for?  Is it for going direct into
    a board?
    
    Could I use it to feed a signal to the input of my Twin (just for
    kicks)?
    
    	joe.

    
    Joe also asked me, but I didn't know...
    
    When using the DIrect Output jack, do you need a speaker load off the
    head?
    
    B., who doesn't like to ASSuME!

    Joe, the catalouge I got calls it a direct line out with gain control.
    
    -sj

    RE: DI's...
    
    DI, as Buck said is *DI*rect Output.  The knob is for gain.
    I would think the standard marshall slogan should fit here:
    
    DO NOT run a Marshall without a load.  Buy some big ole 
    resistors and make a load, or run a cab.
    
    My experience with the DI on my Marshall 2205 hasn't been real 
    positive.  Real weak and tinny sounding... FWIW.
    
    jc

Marshall micro-stack:

Have been using one of these since the summer and wanted to comment on it.
I've seen a few people mention them favorably in here somewhere, and I 
love mine.

I got mine courtesy of Herr Buckmeister. It's perfect for what I use it
for. It's simple to use, got no extras, and sounds great. Also is very
easy to lug around.

I use the line out through a PA for playing live and, though there is
some loss in the tone quality, it's adequate. It gives me all the volume 
I need with the PA. I fiddle with the knobs (volume and gain) to get 
various levels of overdrive. It screams with the gain all the way up.

It's got a headphone input for practicing when the kids are in bed.
And to top it all off, it LOOKS cool too! 

Bob 

    I agree with Bob...
    
    I used to have two of these things, and I LOVED them.  In fact, I
    played MANY a gig in the Boston club scene with the 12wt head
    running two 4x10 cabs!!!  It was more than adequate, and sounded
    great!  I liked this better than my $3,000 ADA-based rack!!!
    Stuff that in your sock and smoke it.
    
    Buck, swearing that less is more, and that Marshall rooolz the world

    Sure, I bet Buck paid him to write that ;-)
    
    How much does a 4x10 weigh?  I've found an M1 head and I'm think of
    getting something small to go with it.
    
    Mike

    A Marshall 4x10 cab is 2'x2', and weighs in at 40lbs.
    
    Buy away...

    Alan Starr has a 4X12 cabinet for sale (2.8something) even as we speak.

    I've heard that several people have bought micro stacks, sold
    the head, and used the speakers along with a stereo rig. they 
    are incredibly portable, and have 10" speakers in em. If the
    speakers are too light-duty for your' rig, you can always upgrade
    to better drivers. 
    
    Mark

    re: .-1
    
    They can sell me the heads from those uStacks!  I love the way those
    things sound.  I was jammin with Coops just last weekend and was
    marveling about what a great sound it has.  
    
    Having about three of them with line outputs to a single power amp  and
    a switching system to get ya into whichever one you wanted would give
    you a great sounding flexable setup!  I wanna get one really bad...
    
    I noticed that in the newest Musicians Friend, they have a new
    "vintage" look Micro Stack now.  Looks like a dinky little 60s style
    Marshall head with the "tweedy" looking grill cloths.
    
    Greg
                                                                       

    -1
    
    No way, a vintage looking uStack?  I HAVE to have one!!!
    
    Greg, remember that flow chart I sent ya once re: the Micro stack-based
    rig I was using...3 12wt heads into 22x10 speakers?  Wild!
    
    Iwant Buck

>    No way, a vintage looking uStack?  I HAVE to have one!!!
    
    Yep, they had a picture of it...way cool!
    
>    Greg, remember that flow chart I sent ya once re: the Micro stack-based
>    rig I was using...3 12wt heads into 22x10 speakers?  Wild!
    
    Yeah, the baby Marshall rig from hell.  Sheesh!  I want one...
    
    Greg (Iwant2)

>                        -< A lazy-guitarists dream... >-
    
    I thought that was the capo ;-)
    
    Mike_who_doesn't_even_own_one

    I have the MF catalog too, that's quite a little setup!  Available in
    black, red, or white.  Lists for $479.
    
    Mike

    Yeah, dig that price...$50 extra for the "vintage" look....excuse me, I
    gotta find a bucket.
    
    OK, who's got the answer why the Micro head is the only solid state
    Marshall that anybody likes?  Also why doesn't everybody scarf up those
    little combos with 1-10", it's got the same head in it....
    
    						Brian

    RE: Micro-strack speakers
    
    Your right.  They are wicked cool sounding.  I have four of them
    and use them for practice all the time.  I fried my first two
    by hooking them up to my 125wpc power amp.  That wasn't cool.
    I think my SGE owned a piece of that too.  Anyway, I replaced the
    10" 25wt celestions with 150 PAS 12" speakers.  WOW !
    
    RE: The heads...
    
    I drove my rack with a micro head (from line out) in place of
    my MP1.  Holy smoke.  I ripped the head apart and found a 
    circuit card thats about 4x6" square.
    
    Want a way-cool preamp in a one rack space ?  Get an empty rack box,
    get three micro heads, and a "1 in, two (or three) out" switching system,
    take two of these cards, wire up the power switch to just one
    switch for the whole thing, drill some holes for the knobs, and PRESTO
    - You'll have one KICK ass, multi channel 1 rack space preamp that I
    bet will eat my Quattro ALIVE !  Whoaa... I get shivers everytime I 
    think of this.  I wished I'd never sold my other head now...
    
    jc
    

    I heard someplace that the 9000 series preamps are based on the
    micro circuits...
    
    jc (Someday I'll do that little project)

    Yo Bri,
    
    The lil 1x10 combos rool just as much as the uStack heads do!!
    
    It's the transistor heads starting in the 30wt range that make us all
    retch!

    That little 1x10 combo with the same amp is a pretty good bargain too,
    as Marshall gear goes.
    
>    OK, who's got the answer why the Micro head is the only solid state
>    Marshall that anybody likes? 
    
    There's a guy in a band that practices in the place next to my band
    that uses the Mosfet 100wt stack and it sounds cool to me.  I've never
    played one myself, but I've heard many people say they sound like most
    any other solid state amp...not that great. (at best, at worst people
    said they sucked).  
    
    I don't know what's different about the Micro-stack circuit, but it
    sounds great.  Especially for something that they probably put together
    with the singular purpose of putting out a cheap practice amp with the
    Marshall name on it.
    
    Greg
                                                                         

    Somebody (okay Rob, formerly of the notorious Mr C's) told me that the
    Micro-stack preamp is the same circuit as used in the G'uvnor pedal.
    Anbody know?  Anybody tried both?
    
    /rick_who's_already_got_a_guvnor_mate

>    I heard someplace that the 9000 series preamps are based on the
>    micro circuits...
    
    You'd have to mean the 9004, the solid state one, not the 9001, the
    tube one.  I wonder if that's really true?  The 9004 is pretty
    inexpensive (list $269) and has two seperate channels.  If it's got the
    same circuit as the 3005/5005 then I WANT one!  
    
    Anyone know for sure?  Anyone tried out the 9004?
    
    Greg

      Hey, I tried the 9004! Me the KH maniac no less! I thought
    I'd posted this somewhere (1103 maybe). In essence I liked
    this preamp. I was real impressed by the overdrive. For the 
    price, it's probably the best on the market! I'd like to put 
    it head to head , make that preamp to preamp, with the
    ART Powerplant, the Rocktron Pro-GAP, the new one from BBE,
    and see just how good these solid state units have gotten.
    Of course it wouldn't be fair to put it up against my
    KH preamps, but hey they are in a different price range.
      I think Coop got a good deal on his QT. Anyone that can
    pick one of these up for $400 or less should be real happy with
    their purchase. But if you can't get one, check out a 9004.
    
    					-bOOm-

    I've been looking to try a 9004 myself, although I don't think it 
    would blow away a QT preamp in Hot Lead mode!!!  (c'mon Coop, get
    real!)  ;^)
    
    What I'm gonna be doing with my new setup is something like this:
    
    o JCM 900 head running two cabs, set up for ballsy crunch rhythm/quasi
      lead tone.
    
    o KH QT preamp (and something to be determined) running two cabs.  This
      will be for clean tones and for leads (QT in hot lead mode).
    
    So, in essence I've solved the crunch problem...kinda in an off-beat
    manner, but it'll be killer.
    
    2 Stack Buck

    There is a 9004 at Prosound....Even if they are a rip...
    
    Lets go tomorrow at Lunch Greg !
    
    jc (Always up for a trip to the guitar store!)

>
>    Somebody (okay Rob, formerly of the notorious Mr C's) told me that the
>    Micro-stack preamp is the same circuit as used in the G'uvnor pedal.
>    Anbody know?  Anybody tried both?


Rick,

	Yes I have heard the same thing, and also that the 9000 series and the 
new cheap ( app 150 pounds sterling) pre-amp....all were used to develop the 
G'uvnor stomp box.

I assume the schems follow a standard type of circuit for the Marshall sound 
with extra bells and whistles added according to the model.

So...the next question is....."anyone got a schematic for a micro-stack/9000?"

Dave
 

      I am giving notice that due to a recent acquisition, I may now
    participate in this topic without shame or malice toward others.
    I gots me a 4X10 Marchello speaks for $366 and a cover was included!
      I'm still a KH rack rat, M1 lover extraordinaire, but maybe someday
    when all the parts are gone..  Nawwww! Can't be!
    
    							-bOOm-

    Hey Boom...
    
    Did you get a straight or a slant 4x10?
    
    The straight ones are great...big enough to house racks n stuff nicely. 
    The slants are too small for much of anything, though...
    
    B.

    Boom, how does the M1 sound through it?
    
    Mike

       Yeah, I went with the straight cab that allows more space on
    top for my rack gear!!!!
       Also I want to put the metal grill on it, it'll be easier
    than on the slant cab. KH logo too!
       If I do decide to add another cab it'll probably be another
    straight one, they look great with the rack gear anyway.
       I haven't tried the M1 through it yet, but that's coming!
       (Apparently I don't believe in paragraphs).
    
    							-bOOm-
    

    Has anyone seen the new MS-2 practice amp?  It's a little, battery
    powered amp that will fit in the palm of your hand, and looks like  a
    Marshall half-stack!  It's really cute, has Vol, Bass, and Treb
    controls, as well as clean and dirty voicings...Marshall does it again!
    
    B

    I gotta have one.  I plugged into one at Prosound last week.
    It didn't sound bad !  ;)
    
    jc (Who sez maybe it'll be in my stocking on Xmas...)

    Yeah, the Marshall paperweight amp.  I love those things, what an
    incredible novelty!  $35-40 though.  I'm also hoping to get one for
    Christmas (but not exactly crossing my fingers).
    
    Greg

    Re: $35-40
    
    Even Dawn should go for that price.  ;-)
    
    "Let's see Greg, you can pick from a $800 JCM900 or a $35 MS2.  At
    least it says Marshall on it!"
    
    Mike

    EU's in Framingham has a used 100wt 1969 plexi-top in that has one hack
    of a MV job done on it...they put it in the back, and it looks like it
    was done with a hacksaw!!!  ;^(
    
    Poor poor head, it looked so cheesy!
    B

    	I sure wish Marshall or even Peavey for that matter sold their mini
    stack heads separately.  Either one of those would be exactly what I
    could use to go with my two EVM12L cabs right about now.
    
    		Has anyone ever seen these separately?
    
    	Dan
    

    -1
    
    Yes, you can order ANY Marshall head or cab separately, but you have to
    ORDER it from the distributor!  Any place like Wurlitzer's:
    
    a) Will not sell these items separately
    b) Will not order them for the store as separate items.
    
    What exactly are you looking for?
    B

    So who are some of the distributors?  What I'm thinking about is the
    head off the micro-stack that everyone's been raving about.
    
    	Dan
    

    Any Korg (aka Marshall/US) dealer can order it for ya.  I have the June
    1989 price list right here.  I'm sure things have changed, but here is
    a rundown:
    
    MODEL		DESCRIPTION				LIST PRICE
    
    TUBE MINI-STACK HEADS
    JCM3203		30WT Channel Switching, Reverb 		759.00
    JCM2553B		25/50 Custom Mini-Stack size		949.00
    
    SOLID-STATE HEADS
    JCM3210		100WT Channel Switching, Reverb		699.00
    
    
    They don't list the 12wt micro-stack heads as an available (sep.) item.
    Although, I know you can buy a used Micro stack (cabs and all) for 
    around $200.00
    
    B.

>    They don't list the 12wt micro-stack heads as an available (sep.) item.
>    Although, I know you can buy a used Micro stack (cabs and all) for 
>    around $200.00
    
     The micro head is the one I was hoping they'd sell separately.  I
    don't need or want the two 10" cabs and would prefer the price break
    from buying only the head.  I guess I'll have to do some calling
    around.
    
    	Dan
    

    see 2046.25
    
    Don't ask me how I managed to reply to the wrong note. It's Friday,
    and it's been a lonnnnng week. 
    
    Mark
    

    So, are you serious about buying the cabs if I got the stack?
    
    	Dan
    

    
    Hmmmm....  Microstack(white) I USED to have, came with Celestians.
    Sold the thang for $200 about 4 months ago, tho.  Just wasn't that
    great an amp for my use...
    
    J.

        BTW - I endorse Marshall speaker Cabs! 
    
    	
    
        Scary thought, huh? KH logos though!
    
    						-B(O)(O)M-

    Anyone ever run their big Marshall 4x12 cabs over the wrong rock, or
    ramp, and nuke the wheel(s) right off the bottom of the cab?!?
    
    I did, the other day!  I ripped two wheels off one of my cabs in a
    heartbeat! ;^(  I talked with this dude at Wurly's, and he said that
    it's a real common occurance, due to the fact that Marshall uses cheapo
    screws to hold the caster wells in the cabs.  He said that "everybody
    uses dry-wall screws in their cabs...works wonders, and they don't yank
    out".  Ok, sounds good to me...I need to replace these screws anyways,
    cuz the holes are all stripped now.  So, my question is, "WTF is a
    dry-wall screw?"  Where do I get them, do they require any special
    installation, etc.
    
    Thanks in advance for any info...
    Buck, not a handy-man by any stretch of the means!

    Buck, the world is held together with dry wall screws and duct tape! 
    Dry wall screws are pointy, threaded screws used to hang dry wall (aka,
    sheetrock) on walls.  You can buy they in any hardware store, in
    various lengths.  You need only a phillips head screw driver to put 'em
    in.  Well, you could use a screw gun, but that would be a tad excessive
    for a few screws.
    
    Kevin 

    Years ago, sheet rock was always installed with sheet-rock nails. 
    Nails tend to pull out requiring constant repairs on walls. Sheetrock
    screws are a great improvement over nails, and are usually installed
    with a screw-gun.
    
    Drywall screws are usually black. There is a similar type of screw
    sold as "deck screws" which are used for building decks, stairs,
    etc (exterior). These screws are made of galvenized steel to
    prevent rusting. The screw threads on deck screws are usually a
    little heavier (more course) than drywall screws.
    
    Drywall screws and deck screws are available in lengths ranging
    from 3/4" up to about 3.5". They can be purchased in small blister-
    packs, by the pound, or in 5 lb. boxes. 
     
    I use sheetrock and/or deck screws for everything. I usually use
    a variable-speed/reversable drill with a Phillips bit to drive em 
    in or out.
    
    When I framed up my studio, I used tons of deck screws, and doubled
    up on fire-stops. The resulting walls are as solid as a rock. You
    can pound on the walls, and there is no resonance there whatsoever.
    
    Mark
    

    Yeah, go for those dry-wall screws: they're incredibly tough with
    great holding power.  One small nit with a previous reply: I _don't_
    think you want to try using a hand screwdriver to put 'em in; just
    too much effort.  Borrow a power drill and by ($0.59) a Phillips
    bit for it.  One other thing: Practice with a scrap piece of wood,
    like plywood, before you attack the real thing.   They take a little
    getting used to.
    
    Or zip on over to my place and we'll run those puppies in with
    my screw gun... (Maynard, MA).
    
    John_who_just_played_a_gig_with_his_Princeton_and_realizes_18_watts_
    is_not_enough.  Santa, about that Boogie....

    Regarding the Marshall MS-2 (the paperweight amp)...  Someone asked a
    couple of weeks ago about them and having received one for Christmas,
    I'm now in a position to review it, so here goes.  
    
    We're talking a little one watt amp with something like a 2 inch
    speaker here, so keep this in mind. My first reaction upon firing the
    thing up was that the overdrive channel really sucked, but I later
    figured out what the issue was.  It didn't seem to have any gain at all
    and just sounded kind of cruddy.  Sounded really tinny with the tone
    control above about 1/3 or so.
    
    What I later figured out was that this thing works like one of the old
    non-master volume Marshalls.  Even on the OD setting, it cleans up real
    nicely when you roll off the volume on your guitar and to get the amp
    to really scream you have to crank it's volume!  It sounded *much*
    better when you had the amp volume above 3/4 and it would still clean
    up when you backed off at the guitar.  Kind of a cool feature. 
    
    The clean setting is fairly clean, but will also distort when turned
    up.
    
    Overall, it sounds like a dinky little amp with a two inch speaker, but
    I had a blast with it and was able to get some enjoyable sounds from
    it.  I think it was a great little Christmas present and am really
    happy with it.
    
    My favorite sounds were with the volume set about half way and the tone
    rolled all the way off using a combination of the neck and middle
    pickups on my mongrel Strat clone with EMG pickups and with the
    humbucker in the bridge with everything on the MS-2 turned all the way
    up.
    
    re: Dan looking for a Microstack head (a few back)
    
    FWIW, I saw two Microstack heads in a place called Midnight Music in
    Las Vegas when I was there visiting my parents for the holidays.  I
    didn't ask about the prices, but if you're still looking for one, they
    might be able to provide it.  One was std black and the other was
    silver and I didn't see any speakers in sight (except on the complete
    red one).
    
    Kind of an interesting little store, their logo is "Up until midnight,
    because musicians are".  I think that's cool, I wish more music stores
    would stay open hours that don't conflict with normal office hours. 
    Seems like it would be a good boon to that type of business.
    
    Greg

    Hello, possible Marshall experts! Does anyone know anything about the
    'Lead & Bass 20' amp? I'm being offered one with a 1 x 12 cab
    containing a new dual cone Mackenzie speaker (whatever that is!) for
    what seems like the reasonable price of 125 British pounds. Apparently,
    it is quite an old and not very common amp.
    
    If anyone knows anything about these beasts, I'd be grateful for the
    information.
    
    Thanks,
    
    Bob

    -1
    
    The lead/bass 20wt amps rool!  Not a ton of power, but a great r&r
    sound.  Rick C, care to further comment?
    
    B.

    Yeah, I've played with one of these.  Cute as a button, like a 100w
    head that was shrunk in the laundry.  As was mentioned recently, you
    have to crank the old heads; the cool think about these is that they
    crank at very comfortable volumes.  A perfect match with a 1x12, but
    I also think you'd be amazed at one of these will do through a 4x10
    or even a 4x12.
    
    The heads alone were going for $500+ a few years ago here in the States,
    IF you could even find one.  Probably considerably more now.  I let a
    mint one of these get away; oh well, as Fred A says "you can't buy
    everything".

    Thanks, people. Sounds like I could be on to a bargain here.
    
    Bob

    Here's one for the Marshall experts-
    
    I've been noticing some tan Marshall 4 x 12 cabinets in videos 
    lately. It's was the same color the old Fender amps came in and 
    the grill cloth was black. Does Marshall sell these or did someone
    do this themselves? It looked mint...
    
    Anyone know a source for tan tolex?
    
    -Tom

    -1
    
    Actually, depends on the production year of the cabs!!!
    
    Back when Marshalls were Marshalls (da plexi-era), Marshall offered
    their entire line of amps in the following color choices:
    
    White - Red - Light Brown - Dark Brown - Purple - Dark Blue - Orange
    
    When they got to the Rose-Morris era, those color choices went away
    pretty much.  You could custom order colors, which some rockers did,
    but Marshall eventually would issues color amps from time to time (like
    the 1985 anniversary model in classic white!). 
    
    Anyways, in like 1978ish, they issued a slew of amps in this light
    brown tolex.  The grill cloth was a contrasting dark brown.
    
    You see, you now can special order any marshall in the above color
    choices, but they ALL come with BLACK grill cloths.  Back in the old
    days, white Marshalls had white tolex AND grill cloth, with black
    piping...red marshalls had contrasting grey groll cloth, etc.
    
    So, this one you saw in the video must have been a new one.

    Buck,
    
    Great info. Wow, a purple Marshall stack...nah maybe orange..
    
    BTW, it was a Motley Crue and a Nelson video that had the tan
    cabs...
    
    -Tom

    Tom,
    
    Look closer...the Motley video (I'm thinking of "Girl, don't go away
    mad...") has the light brown cab with the dark brown grill...not black!
    That's one of those late 70s cabs!!
    
    I also believe the Nelson videos have WHITE Marshall cabs in them.  I
    know the "can't live without your love" video has three white cabs
    (new, with the black grill cloth) in there, not sure about "after the
    rain", but I would bet they were the same cabs as in the former vid.

    FYI -- Daddy's in Boston had a light tan slant 4x12 cab with the brown
    grill cloth for $325.00  Had 30wt celestions in it too.
    
    Go 4 it!

    Well I went and did it!  I bought a Marshall! 
    
    The amp with THE sound!
    
    A bran-spankin' new...
    
    MS-2 (Molecular Stack (tm)) ;-)
    
    Actually, I can thank Major MIDI Rack Puke for the idea.  He casually
    mentioned how great they are to play along with songs on the stereo in
    the living room.
    
    Thanks for the idea Coop, ;-)
    Mike 

    My pleasure.
    
    Great little tool for learnin' songs... And unlike and other Marshall
    I've seen, you can put it on 11 and not need a 5000wt stereo.  ;)
    Sucker screams on 11 doesn't it ??
    
    jc

    
       Geee - so your telling me my 45 watt KH M5 is overkill for
    living room practice? Actually I've been practicing through my
    MIDI rack in this order:
    
      guitar>KH Testarossa>GSP-21>H&K_RedBox>Tascam424>Headphones
    
       This works out fine. I put all the songs I want to practice or learn
    on a tape and go at it. I tried going direct from the GSP-21 to the 424
    but it sounded much better with the Red Box in the chain. I think I
    could be happy with this arrangement for laying down some tracks. 
       My band has a date for a 24 trk studio on Feb 24. We'll see how the
    guitar tracks go down in that environment.
    
    							-B()()M-

    -1
    
    How dare you put KH equipment references in the MARSHALL note?!?!
    ;^)
    
    Buck, who needs to get an MS-2 amp, and soon!

    Hi,
    
    I'd like to know the US prices for the following items plus I need 
    a equipment suggestion from you:
    
    How much are:
    
    MARSHALL 2203 100Watt to
    ->what cabinet should I buy with it?
    ->do they sell 240Volt versions in the states?
    
    How much are a MXR Flanger and a BOSS Equalizer?
    
    Thanks
    sascha_from_Munich

    
    
    Well, my Marshall JCM900 High-Gain, Dual-Reverb head, 50-watt head is
    on the way!  $659 delivered from Throughbred Music in Florida, the
    best price I found.
    
    Nice through the Marshall 4-10 cab!
    
    Kevin
    

    
      RE : Nice through a Marshall 4 X 10
    
      I know something else that sounds nice through a M-word 4 X 10.
    I can't say what it is because this is THE Marshall note. Anyway,
    I'm usually in another amp topic.....
    
    						-KHboom-

    -1
    
    congrats, Congrats, CONGRATS!!!
    
    Welcome to the 900 club, dude!  I'm sure you'll be as elated about this
    hed as I am.  Yow...love that insane gain!
    
    Buck

    A 2203 (used) would go for $300-$400.  I'm not sure new.
    Speakers are a matter of choice.  Those Vintage celestion
    30wt loaded 4x12's are hot stuff, and Greg's 4x10's sound
    mighty-fine thru my guitar rig.
    
    Congrats Kevin !  Lets have a review when you get it in !
    We all wanna know how it sounds !
    jc

    Thanks!
    Used would be fine..although I probably can't find a 220 Volt one used
    in the US..or do they have a switch?????
    
    sascha_also_used_so_why_new_amp
    

    C'mon Buck, go buy an MS-2!  It's only $30 and you can go without lunch
    for a few weeks ;-)
    
    Mike

    The JCM900 dual-reverb has a clean channel, right?
    
    

    Guten Tag, Sascha!
    
    >I'd like to know the US prices for the following items plus I need 
    >a equipment suggestion from you:
    >
    >How much are:
    >
    >MARSHALL 2203 100Watt
    
    New...around 500.00 (in USA).  You can get one used in the US for
    around $350-450 range.
    
    >what cabinet should I buy with it?
    
    What sound are you looking for?!?  I, personally, really like the 
    cabinets loaded with the vintage 25wt Celestion speakers.  These
    speakers are really bright, with tons of midrange, and are very warm
    sounding.  The higher wattage Celestions sound more "metallica",
    aka, more highs and low end response, with a lack of midrange.  Also,
    many people say the Marshall sound comes from the speaker coils
    overheating...this doesn't really happen in the higher wattage ones,
    so they don't sound as 'warm'.  NOTE:  Watch you don't blow up your
    voice coils, though!! (easy to do)
    
    The new Marshall cabs can be ordered as:
    
    JCM 1960A/B	  - Regular 70wt Celestions
    
    JCM 1960AV/BV - Vintage 30wt Celestions
    
    JCM 1960AC/BC - Vintage 25wt Celestions
    
    
    >do they sell 240Volt versions in the states?
    
    ALL Marshall amp tops manufactured since 1981 come with a variable
    voltage switch on the rear of the head!!!  It's a three way switch,
    switchable from 120v to 220v, to 240v, so you are all set there.  ANY
    head you buy will accomodate you country's voltage! 
    
    >How much are a MXR Flanger and a BOSS Equalizer?
    
    The MXR Flanger has been out-of-production for about 10 years now!  A
    used one goes for around $40.00 (US currancy).  The Boss GE-7
    Guitar-based graphic EQ pedal starts around $100. (more, depending on
    dealer) new in the states.  Ha...I remember when I bought mine for
    $60.00! 
    
    
    Tchuess!
    Buck

    

    The JCM 900 dual-reverb has a sep. clean channel, yes.

    
    Yup, a great clean channel.  It will honestly switch from wicked crunch
    to clean at the push of a switch.  The channels share tone controls,
    but I've used one on a couple of gigs and it's never bothered me.
    
    Kevin
    

    re: .321
    
    That really does sound like a good price, Kevin.  It's about $100 less
    then the lowest I've seen.  How much calling around did it take you to
    find that?
    
    Greg (also interested in one of those, but broke at the moment)

    Common tone circuits are okay as long as they are voiced correctly.
    From the 900's I've played, the voicing is RIGHT on the money.
    With the KH-word head that I had, the EQ voicing was way off in left
    field someplace... (IMHO)
    
    jc
    

    When I bought MY 900 head (mind you, it's a less-complicated design
    than the dual-reverb), I only paid $649 for mine from Mr. C.'s music
    in Marlboro.  That was for the High-gain MK III.

        The deal I worked was the delivered price of $659, and that's to Mass
        from Florida.  So, maybe $639 + $20 shipping, or somewhere around
        there.   The next best price was from Sam Ash @ $659 + shipping.
        Actually, I told Throughbred that Sam Ash was the price to beat,
        and they did.
    
        Nobody else I called was even close.
    
        Both places told me that Marshall prices went up as of 1/1/91.  It
        would have been around $609 from Throughbred before the price increase.
    
    
        Kevin
        

    RE: 1/1/91 price increase
    
    Ahhh, s'plains it!

>    When I bought MY 900 head (mind you, it's a less-complicated design
>    than the dual-reverb), I only paid $649 for mine from Mr. C.'s music
>    in Marlboro.  That was for the High-gain MK III.
    
    Only?  Dude, from the places I've talked to, the Hi-gain Mk IIIs are
    generally going for about $100 or so less then the Dual Reverb ones!
    
    Greg (who's been Marshall droolin' for far too long)

    
    
    I didn't price the High-gain Master Volume model, Buck, so I can't tell
    you what it goes for.  If you want to check it out, the # is...
    
     1-800-800-4654  (yep, area code is 800)
    
    To correct my previous typos, it's Thoroughbred Music.  I've never
    ordered anything from them before, but a friend of mine spoke well of
    them, so I went ahead.  The guy to talk to is John in the guitar
    section.
    
    Kevin
    
    

    
    	I really don't understand why Marshall did not put in separate
    	EQ sections for clean/dirty.  Except for that, it seems like such
    	a complete package.

    
    
    As I said, I've used a friend's JCM 900 on a couple of gigs and didn't
    mind the shared eq at all.  It's a great clean sound! and the lead
    crunch is wicked.
    
    Actually, I glad they kept it simple.  At Saturday night's gig, I put
    the treble, mid, bass, and presence controls on 10 and went at it. 
    This was a GBish gig, and the clean tone was wonderful.  And the lead
    sound?  Some of my solos are probably still sustaining back in that
    hall!
    
    Kevin
    
    
    

    Was it nec?
    
    i mean, I know when I was actively using my quattro, my clean channel
    EQ was not that different than my dirty channel EQ...also, now I find
    I'm happy with the tone settings for both clean and dirty sounds.  I
    just tweek my preamp knob for clean things, and it's cool by me.  FYI,
    the preamps in the 900 series are very sensitive to the guitars volume
    control, so when I back off on my guitar, it cleans up nicely!   

    ok ok, I'll take the package and by a dual-reverb too! ;-)

    -1
    
    Be sure you get those 25wt Celestions, too!
    ;^)

    RE: Pat
    
    Like I said a few replies back...  if the EQ is voiced correctly (like
    the Marshall seems to be), it'd be a waste of knobs.  EQ for your room
    and crank !  Keep in mind that Marshall has been in the amp business
    for a long time, and they seem to know what gutarists want in their
    EQ sections.  Four tone knobs makes for simple EQ set up.  Eight would
    be more complicated.
    
    Judging by the M3's I've seen (or owned) and your M1, I'd say KittyHawk
    needs to learn to voice their M3 EQ better, as the M3 *badly needed* to 
    have seperate EQ's ...Which of course the M1's do have...  I always found
    myself making tonal compromise with my M3.  On the M3 clean channel I
    wanted the BASS on 10 to get the right  sound, but switch over to
    the overdrive channel and the bass was thundering (definately a no-no
    if you've got the overdrive on 11.  
    
    When I played the JCM900 I just cranked all the knobs and let fly 
    (like Kevin said).  Sum-b�tch was a screamah !
    
    jc (Who wants one of everything)

    -1
    
    Ewwwwwwwwwwww
    
    On my friend Al Pitrelli's 50wt plexi...you crank it all to 10 and it
    sounds AMAZING...
    
    Sounds like crap to me on my 900...like too much of everything!  I
    run my EQ section pres-5, bass-3, mid-3 1/2, treb-6 ...sounds cool
    to moi.

    
    	I bow to the collective experience here.  However, spare me the
    	lecture Coop, I still think separate EQ is not a waste of knobs.
    	

    No lecture intended.  Just wanted to explain...  And your right,
    seperate EQ isn't a waste of knobs if the amp needs 'em...
    However, as has been pointed out here, JCM 900's don't need 'em.
    JCM800's (2205's) among others do.  
    
    jc

    
    	OK.  But I have heard some wicked (read: well EQ'd) sounds from
    	some folks rigs.  Namely Dandrea and Scarymon (M3's).
    	Simply set-ups, and killer tone!  It didn't sound like they 
    	needed separate EQ either.

    Pat is just a knobby kinda guy ;-)
    
    How's the reverb on that dual-reverb model?  do they still make those
    large sized heads?  It probably would look clumsy on a 4x10.
    
    Mike

    If you want a ALL OUT CRAZED MARSHALL HEAD for a 4x10, DEFINITELY go
    with the JCM 2553B...this is the 25/50 Custom head (the Jubilee series
    head, people) in Mini Stack size.  A totally awesome head, period!!
    
    yes, the new 900s only come in big sizes, but the "custom" series are
    just as good as the 900s

    I played a Jubilee once in Spartanburg.  It was silver and 
    it SCREAMED!  Bestest soundin' Marshall this side of a highly
    modified plexi-head I heard at The Channel one time...
    
    jc

    re: .344
    
    I know this is the Marshall topic, but since this discussion is here, I
    never felt like I needed a seperate EQ per channel with my KH M3.  The
    setting I used sounded very nice (to me) for both the clean and lead
    channels.  
    
    All this talk of Marshalls is making me drool...
    
    Greg

    -1
    
    Hey, wide that drool off your chin...it's getting all over your LK201!
    ;^)

    
    	Knobby?  
    
    	I don't know about that, but I sure am a cranky bastard today!
    	I sure would like to own a JCM900 myself, I was poking at the 
    	EQ config cause it didn't (doesn't) make sense to me.  
    
    	:-#

    hey Greg, I'll send you a picture of mine if I get one ;-)

    Oh...thank you SOOO much!
    
    ;^(

    I guess he'll be able to stare at mine pretty soon (it's in pieces).
    
    :(
    
    Err, thats the 2205, not the MS2...
    
    jc

    
    
    
    	So dudes, what's a good price on this stuff.. my local music store
    is starting to look like a vintage Marshall outlet.. and the owner is
    saying that the prices are wicked low.... I dunnow what they are.. they
    both start with jcm and include a head sitting on top of a 4x12..
    should I be pricing this stuff for you guys??
    
    
    Gree Vee King

    Gree Vee...
    
    YES...get a complete listing of heads and cabs...we need correct
    model numbers, and on the cabs, look on the back and get cab
    wattage ok?
    
    Thanks in advance,
    Buck

      Does anyone still sell the JCM 2553B 25/50 Custom Head? Know of any
    stores or catalogs? Marshall is not selling them this year (figures)
    and it sounds like something I'd be interested in.
    
    Ted

    -1
    
    Clarification...Marshall is only selling their 900 Series in stores,
    however, ALL Marshall amp models/spkr configuartions can be ordered
    from the factory!!!
    
    FYI...

    Anyone have an 800 number for Marshall?  I need to see who else around
    here sells them.  The store closest to me is a dealer, but doesn't
    carry the high-end stuff.
    
    Mike

    -1
    
    Nope.  Marshall/Korg are one of those "pesky" deealrships that won't
    TALK to you unless you are a registered dealer with them!!  So, you
    basically have to find a hip dealer to get any info out of them!!
    
    B. 

    Ummmmm....  Gee, I called directly to England and talked to
    someone there.  They were REALLY nice to me, and sent out
    my schematics and such pronto.  That gals accent really 
    got my blood goin' !   YEOW !
    
    jc

    RE:.361
    
    You were right I called Music Emporium and was quoted a price of 
    $770.00 for the 2553B. This is a bit more than I want to pay for
    an amp with no Channel Switching.
    
    Has anybody got any comments on the 3203 (30 watt) Amp? 
    
    Ted   

    RE: .365
    
    $770. for a 2553B?  Yow!  Considering the list is $949. (or at least it
    WAS...), seems expensive!
    
    A friend of mine has the 3203...I think it sounds MINT.  Although,
    he plays it thro a vintage 4x12 with 25wt Cel's.
    
    B.

    I get a lot of questions on YEAR/MODEL etc.  Here is a posting that I
    hope will help inform us all on the Marshall line, it's main amp head
    at the time, how the Serial numbers work, etc.  (Rick Calacagni...feel
    free to let me know if I've botched any of this info!!)
    
    Here's the rundown on production Marshall tops (pretty much):

YEAR:     69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91

SERIAL #: A  B  C  D  E  F  G  H  J  K  L  M  N  P  Q  R  S  T  U  V  W  X  Y

MAIN      JTM Super Lead       JMP Master Vol    JCM800      JCM800      JCM900
MODEL:    1959                 Mk II             M.V.        C.S.R.      2 model

DISTRIB:  Jim Marshall-------| Rose Morris-----| Jim Marshall----------->

    My  local  dealer  says  they're coming  out with a  new  amp with a
    tube  preamp and  MOSFET power  section.  I have a  feeling this may be 
    old  news  though.
    
    Mike

    Well, this weekend I did my first recording session with the JCM 900
    head/25wt cel cab.  Lemme tell ya, I plugged straight into the amp,
    turnit it up half way, and it went to tape NICE!  One of the best tones
    I got to tape yet...I'm psyched.

    The JCM 900 has a direct line out?  How convenient!

    I checked out a Marshall JMP 50wt Mk II Master Lead head last night and
    it had kind of an odd problem.  I'd appreciate any conjecture as to
    what might cause it.

    When I had the amp set up with the preamp volume all the way up and had
    rolled off the guitar volume almost all the way to get a mostly clean
    sound, it made this  wierd crackle/buzz kind of sound as the notes were
    trailing off.  If  you played a little phrase and then held a note it
    would be clean as it sustained and then you'd hear this little Bzzzzt
    sound.  
    
    Other then this, the amp sounded fine.  It didn't seem to occur when the
    preamp volume was turned down, or if the guitar volume was turned up
    (but you probably wouldn't be able to hear it through distortion).  I
    never heard it through the low sensativity input.
    
    We tried several different guitar cords, speaker cords, and a couple of
    different guitars and it seemed to be in the amp.  We popped the back
    and reseated the three preamp tubes and tapped on them lightly with it
    cranked and couldn't hear anything.  It was not nearly as pronounced
    after this, and it might have actually gone away, but I'm not totally
    sure.  Anyway, I'm a little concerned about buying this amp without
    knowing the repercussions of this problem.
    
    Could faulty filter caps cause this?  The owner said he'd never changed
    them (the amp is 1980 vintage).  He said retubed it about a year ago
    with Boogie tubes.  I don't know how much he's played it since then,
    but it might be due for a retube.
    
    Thanks in advance,
    Greg

    
    
    Well, I had a chance to run my new JCM 900 through its paces last
    night.  Ooooh, this is gonna be nice.  
    
    The head started up right out of the box with no extraneous noises,
    etc.  It runs almost cool to the touch, and considering the size of the
    head it probably should!  
    
    As stated here before, the lead channel has the kind of crunch that
    made Marshall famous.  I was also able to get a good sound with the
    master volume control set real low, and I view that as a big plus. 
  
    Depending on how far I cranked the preamp for the clean channel, the
    tone went from a super warm tube clean sound to a good crunch sound
    there, too.  Not as wild as the lead channel mind you, but a great
    chord and blues-lead sound.  
    
    I don't find the dual reverbs to be particularly useful, a common
    reverb control would have been OK with me.
    
    This amp does not require much knob turning to get a great tone, unlike
    some Boogies I've played.  Then again, I've never seen a set of tone
    controls with such a short range.  For example, the difference between
    putting the bass on 5 or 10 is noticeable, but not stunning. Ditto on
    the other tone controls.  Some of this is probably due to the
    mid-rangey sound of my 4-10 cab, though. 
    
    I will have to investigate moving the feet on the bottom of the head to
    fit the detents in the 4-10 cab.  With the feet in their current
    location, the head sits on top of the cab, but not by much. 
    
    So, if anyone is looking for me during the evening hours, I'll be in my
    basement making some outrageous sounds with the new toy. 
    
    This amp is a keeper!
    
    Kevin
    
    
    
        

    Welcome, Kev, to the Marshall Zen Temple of Rock Guitar!
    ;^)

>    some Boogies I've played.  Then again, I've never seen a set of tone
>    controls with such a short range.  For example, the difference between
>    putting the bass on 5 or 10 is noticeable, but not stunning. Ditto on
>    the other tone controls.  Some of this is probably due to the
>    mid-rangey sound of my 4-10 cab, though.
    
    Kev/Buck,
    
    This may be normal for Marshalls.  Tons of them that I've played had
    little difference with tone knob positions.  I think it's more the
    relationship between the bass/mid/hi/pres knobs...know what I mean?
    Like turning the HI all the wway up and all the way down doesn't effect
    the tone as much as one would think.
    
    Is it normal for the norm ??
    
    jc

    RE: jc
    
    I've owned a tons of Marshalls...whilesome had pretty useles tone
    controls, My 2500 series head has VERY sensitive tone controls!!!
    There is a BIG difference between "3" and "4", for instance!
    
    Hearing is believing!

   Can someone enlighten a non-Marshall historian?

   What's a "plexiglass" Marshall?  Did they really come in plexi cabs?
   Clear or colored?  Or was it just a built in sound deflector mounted on
   the front?

   Thanks,

   -- Sam

    does the 9004 have stereo outs?  Anyone in Colorado try one yet?
    
    Mike

    The only place I've ever seen one was at a music store in Las Vegas
    (which has been noted for years as having a very elitist attitude and
    treats their customers very poorly), I didn't try it out.
    
    The only store that carrys Marshall gear here in town doesn't stock
    that model in this store, only the (much more expensive) 9001 preamp.
    
    Greg

re: .37

"Plexiglass" Marshalls refers to those made between (approx) 1966-1969.
That may be too wide a time span. The control panel had a thin clear
veneer over it, making it look a bit like plexiglass. The important
thing about Marshalls of this period is that around 1968/9, Univox (the
U.S. distributor) began buying them w/o tubes. This way they were
buying "electronic parts", not a finished product. The bad part of it
is that they had Marshall set them up for 6550 output tubes, not EL34.

Fortunately for me, I bought mine in February 1968, just after Univox
picked up the distribution on Marshall. Mine was right off the boat.
I've seen many schematics for later units and see no reason why the 6550
units can't be changed back to EL34. So although plexiglass units may be 
collectable, they possess nothing that a later model cannot get
with minor modification.

Specifically, my unit is a model 1987T, "small-top", small gold script
logo, 50 watts, tremelo, selectable mains voltage and output impedence.

I've had 6CA7 output tubes in it for years. They sound good to my
ears, but I don't run the amp up into clipping. I'd like to replace them
with EL34 tubes soon.

PS. This amp never sounded so good until I began driving the input
with the preamp out from a little Fender Sidekick 25. I mentioned
this in the DiStOrTiOn/GaIn topic. Nobody paid any attention. But I'll
say it again, it sounds GREAT! Other preamps might do just as good
a job, I don't know. All I know is that this combination works really
well.

Also, on these Marshalls, ch 1 is BRIGHT and ch 2 is dark and bassy.
The amp sounds best when both channels are driven and mixed with 
Vol 1 and Vol 2 to achieve the proper bass/treble balance. I do this and
put a Boss chorus in line with ch 2. This way the high-end is preserved
in ch 1, and the chorusing sounds really big and open.

    A little nit/clarification... Buck will straighten me out if
    I'm incorrect...
    
    I don't beleive ANY Plexi-Marshall EVER had 6550's in it...although
    you are quite correct about the US Distributors selling Marshalls
    in the *mid-80's* with 6550's...
    
    The 6550's are a tough military tube (in comparison to the EL34).  
    The US Distributor started slapping in the 6550's to releive them of 
    amps coming back with bad tubes...People started to bitch and moan about
    wanting that "old Marshall" sound (i.e. The Plexi Sound),  so they
    switched back to EL34's after about 4 years.
    
    I *think* the only amps Marshall did this too is the venerable
    JCM 800 series, and perhaps the JMP series (Rose Morris right Buck?).
    
    The modification to change the 6550 tubes to EL34 tubes is pretty
    simple and the directions/schematics can be found in the "Tube Amp Book" 
    published by Groove Tubes.  It's a good book and also has schematics
    and mods for Fenders, and a whole host of other tube amps.  Cool book!
    
    jc (Straighten me out if I'm wrong)

    
    >  jc (Straighten me out if I'm wrong)
    
    	No way.  It's no fun when you're being open minded!
    
    	;^)

around 1980 I was doing repairs for a shop in western Mass and the
Marshalls that I worked on along with the schematics that applied to
them had 6550 outputs. They were all 100W and 200W units. They were
certainly made in the mid seventies and, yes, Marshall had long since
stopped putting on the plexiglass like veneer.

Although I'm not sure when Marshall dropped the plexi-stuff and when
Univox/Marshall began using 6550s I have always believed that both of these
events occured somewhere between 1969 and 1972 and that they did this to 
avoid paying higher import duties.

No, correct *ME* if I'm wrong.

--ron

    Coop
    
    I think Ron is right...the EL34s were phased in and out for US
    Distribution after 1969.  As with any Marshall, details are
    sketchy and items are different from unit to unit.
    
    Buck, who would like a nice 50 and 100wt plexi for kicks.  
    
    PS - Oh yeah, throw in a coule of Park's for good measure!  ;^0

    Okay,
    
    I stand corrected.  ;)
    
    Thanks for the info...
    
    jc

These amps don't hold up like Fenders. Their construction was mediocre:
the tolex was cheap, the logo flimsy, the metal caps on the knobs always
fell off, the striped grill cloth was very light-weight fabric, the feet
were hard plastic and broke off. I was constantly finding little pieces 
of the logo and knob caps in the corners of our truck. Oh, the power
cord was rather cheap too, nowhere to stowe it so it took a beating.
And the phone jacks for the speaker outs fell apart. Filter caps shorted 
out on night and smoked everyone out of a club in Pittsfield. Had it fixed.

Somehow I've managed to keep it intacked, though it is a bit tattered.

I read in a magazine last year that Marshall reissued this model following
the reissue of the JTM 45.  Anyone know anything about Marshall reissues?
Maybe I should look back in this topic, huh? ._.

Yeah, but I'd love one too.

Marshall is notorious for poor craftsmenship...  I think they realize it
too, cuz the JCM900 looked like it was built like a tank...

    Note:  Many plexi heads also came with 5881's.  NONE ever with 6550s,
    as these were installed by Merson (now Korg) because they could buy
    6550s cheap, and by shipping the heads without tubes, they rate as
    "incomplete" electronic devices, hench have a lower inport duty.
    
    Jay Tashjian
    

Power switches were crap.

But the handle is *REALLY* good. Best I've ever had.

    Well, all this talk about the 2250 lately got me all hot and bothered.
    I went to a GuitarLand in Denver Saturday, and talked them into selling
    me a brandie-new 2250.  If you want a Marshall, I reccomend you talk to 
    these folks as they are dealin' for sure (1/2 price).  They threw in 
    the footswitch, speaker cables, 30' switch cable and even a guit-cable,
    Marshall Grenade, Silk "JCM 900 - Overdrive Zone" tapestry, a zillion
    stickers etc..etc...  They were selling JCM900 50wt dual-verbs for 500
    and some change (don't know exactly...but CHEAP!).
    
    The 2550's nice.  It's an interesting configuration as well, it's got
    clean and dirty channels, nicely voiced EQ (MSCP served ;), and the
    clean channel can be made into a dirty-rhythm channel by pulling 
    a knob.  Kinda like a triple-channel amp...It's also got an effects 
    loop, and switches from 25wts to 50wts.  I guess the only way to get
    them new is to order them from Marshall...
    
    My wife is somewhat miffed about the whole thing as I went in to the
    store, played a couple JCM900's (50wt dual reverb thingies), glanced at
    the 2550 and left.  Drove about 5 miles and did a "Bat Turn" in the
    middle of the street, and went back and played the 2550.  It's the
    sweetest soundin' Marshall I ever played thru.  I had to have it.
    
    I guess the 2550 is the amp that was covered in silver tolex and 
    smaller (for the 4x10 cabs)...But this one is full size, and covered in
    black tolex.  Same features, I guess.  Whats the deal here ?  25th 
    Anniversary edition re-issue or what ?
    
    jc (Loves his new Marshall - played it on full blast all weekend...)
                                                                        

    BTW - Marshall introduced a new line of single-spaced  power amps.
    One is a 40wpc the other is 80wpc, strapable to 160 mono.
    
    They are non-tube, but has some "tube emulation" circuitry...
    I bet they are hot.
    
    jc

    Could someone speak English to me since I'm not fluent on Marshall
    numerics?  What's a 2250 and a 2550?
    
    BTW - I managed to get that "high overdrive zone" tapestry from my
    local dealer.  I'm bummed he doesn't carry the high end stuff though.
    Still trying to get a Marshall # so I can find out who in Phoenix sells
    the JCM900.  Bizarre Guitar sells the JCM800s, but I wanna hear a new
    one!
    
    Mike

    
    
    Re. .390
    
       > stickers etc..etc...  They were selling JCM900 50wt dual-verbs for 500
       > and some change (don't know exactly...but CHEAP!).
       
    Cheap is right!  I called all over the place and the best deal I could
    find was $639 (plus shipping). 
    
    Kevin
    
       

    Hmmmm......  2550 ?? 2250 ??? 
    
    
    What do I have ?  now I'm confused.
    
    I DO know a 2205 is a 50wt JCM800 channel switching reverb head...
    I think what I got is a 2550... and there is no such thing as a 2250...
    
    jc
    
    

>    I think what I got is a 2550... and there is no such thing as a 2250...
    
    Both numbers were in your reply.  So the 2550 is the JCM900 with the
    dual reverb?  Does this Denver place do mail order?
    
    Mike

    No, no...  The 2550 is the 25/50wt convertable head that I got
    with FX loop.  Where the hell is Buckley, he'll straighten this
    mess out...   ;)
    jc

    re: Coop
    
    I thought your's said "2550" on it.  
    
    You sure about that price (JCM900 dual reverb for 5 and change)?  I
    thought you told me around 600 for a single channel 900 Saturday
    evening.
    
    re: Mike
    
    Jeff's isn't a JCM900, it's a "25/50 Custom", which is a reissue of the
    Silver Jubilee series amps in standard (black) color tolex.
    
    A JCM900 dual reverb is a 4500 (50wt) or a 4100 (100wt).  A JCM900 Hi
    Gain Master Volume Mk III is a 2100 (100wt) or a 2500 (50wt).
    
    Greg
                                                                 

    RE: MailOrder...
    
    Oh, I dunno... Probably.
    
    Call 'em up.  
    
    It's "Drum City and Guitar Land" on 44th street, Denver.
    
    

    Gh has the model #'2 right.
    
    FWIW, the 2550 is the model number of the silver jubilee (25/50wt), but
    they changed it to 2550B for the re-issue series (in std tolex colors).
    The 50/100wt version of the re-issue amp is 2555B.
    

I'm just laghing, the last five six replies sound like something out of "Airplane"

"Got the clearance, Clarence."

"Roger, Roger."

"Get the vector, Victor."

"Roger, Clarence."

"Huh?"  says Roger ........

    
    
    	Did you know that laghing was not allowed in any company notes
    files or on company property for that matter....

    It'll hurt your throat anyway ...
    
    
    Scary (just say "no" to laghing ... even if using protection)

    
    
    Sometimes it seems like Marshall throws darts at a board to determine
    their model names.  But, for the 900 series there is some sense to it.
    For example, the JCM 900 4500 (50watt, High-Gain, Dual-Reverb) series 
    is..     
    
    
    4           5        00                4           5        01     
    |           |        |                 |           |         |
  dual-reverb   50watt   head          dual-reverb    50watts   1-12" combo  
   model                               model
    
    
     4           5        02
     |           |         |
 dual-reverb    50watts   2-12" combo  
  model
    
    
  A similar numbering scheme applies for the 100watt version...
    
    
     4           1        02
     |           |         |
 dual-reverb   100watts   2-12" combo  
  model
    
    
    The JCM900 2500 (50watt, Switchable Master Volumes) series is..     
    
    
       2           5        00
       |           |        |
   Master-Volume  50watts  head only
     model
                           
    
    Kevin
    
    
    

    I got a question for you Marshall experts! This concerns the Sliver
    Jubilee 25/50 series...
    
    2550  - Sliver Jubilee (25/50W)      
    2550B - Silver Jubilee Reissue (25/50W)
    2553B - 25/50 Custom Head, Mini-stack   (Is this a Silver Jubilee?) 
    
    Are these the only 25/50 amps Marshall made (makes)? Are all the 25/50
    amps listed under the Silver Jubilee Name?
    
    Did they ever make a Silver Jubilee 25/50 for the Micro-Stack? 
    
    Last question!  Does this amp, considering it a dual amp have twice
    the tubes? (as in 2 amps).
    
    Appreciate any help,
    
    Ted
    
    
    
    

    >2550  - Sliver Jubilee (25/50W)      
    >2550B - Silver Jubilee Reissue (25/50W)
    >2553B - 25/50 Custom Head, Mini-stack   (Is this a Silver Jubilee?) 
    
    I think this is right...Although Buck is the expert.
    
    >Last question!  Does this amp, considering it a dual amp have twice
    >the tubes? (as in 2 amps).
    
    No, it's a switch from Pentode to Triode operation...Least thats
    what the (sparse) documentation says.  My 2550B has two EL34's
    and 3 12AX7's in it.  (It screams).
    
    The difference between 25wt mode and 50wt mode is pretty small.
    the 50wt mode is just a little "richer" than the 25wt mode...
    I wouldn't say that it was much louder...
    
    jc (New 2550B owner)
    

>    2550  - Sliver Jubilee (25/50W)      
>    2550B - Silver Jubilee Reissue (25/50W)
>    2553B - 25/50 Custom Head, Mini-stack   (Is this a Silver Jubilee?) 
 
    No, the 2553B is the regurlar "Custom reissue" amp in regular tolex
    colorations.  The "B" is the key to wether or not its a Silver Jubilee
    or not.
       
    >Are these the only 25/50 amps Marshall made (makes)? 
    
    No, the idea was continued on into the JCM 900 Series.  Although,
    Marshall found out too many people were switching from 25 to 50wt mode
    mid-use (you're supposed to power down the amp, reset the ohmage, etc),
    so in the 900s, the 25/50wt switch is in the back, next to the speaker
    ohm switch (where it should be...it's a good reminder).
    
    >Are all the 25/50 amps listed under the Silver Jubilee Name?
    
    Not really...see above.
    
    >Did they ever make a Silver Jubilee 25/50 for the Micro-Stack? 
    
    Yes!  It was the same 3005 model, only in silver tolex and with a
    silver faceplate.
    
    >Last question!  Does this amp, considering it a dual amp have twice
    >the tubes? (as in 2 amps).
    
    No, but aside from what Coop says, I thought it had more preamp tubes 
    than "3".  My understanding was that that series had "5" preamp tubes,
    one being for phase, obviously.
    
    Someone can correct me on this if I'm wrong

    as I undertand it...If I run my head at 50wts with one cabm, I set it
    to 16ohms, but if I run it at 25, I have to split it to 8 ohms.  Same
    goes for two cabs...8 ohms at 50wts, 4 ohms at 25.  And yes, Marshall
    "suggests" a power down between switching, I don't know if it's
    required or not.  Jay T...?
    

    My ovwners manual doesn't mention powering down when switching
    between power settings...  Only seems like common sense to 
    power it off before snapping in a new circuit patch.  Ouch!
    
    The manual (like I said, very sparse) sez nothing about changing
    the speaker impedence when changing the circuit path.  Doesn't
    make much sense, as the power output is changed, not the xformer
    load...
    
    jc (A little confused)
    
    PS - It's VERY stupid that Marshall put that 25/50wt switch
    next to the standby switch.  Yike!

      I think maybe you missed the Marshall 2554 1 X 12 combo.
    This was the Silver Jubilee model that I sold (stupidly)
    back when I was buying out the KH warehouse. Don't misunderstand
    what I'm saying, I don't regret buying the M1 or M5 combos at all.
    It's just that you get to a point where you realize how much you 
    loose (not always, but usually) when you sell your gear. 
      Hey I'm the idiot that paid $1100 for a KH M1 100 watt head!
    If only I'd waited a few months!!! 
      In all honesty - my Jubilee was a great sounding amp. I prefer 
    more than the single 12" speaker though, that only works for practice
    for me!
    						-B()()M-
    
      (finally justified to say something of value in this note)

       Thanks for the info.... 
    
       This cleared up some stuff for me. I had seen a Micro Sliver
    Jubilee 25/50 in the Want Ad and thought it might have been a
    mistake. I thought they only put 12 watts through those micro
    stacks (not that I'm interested in one).
    
    Also good to know that there aren't twice the tubes also. I'm still
    doing my homework on Marshal amps so I'll probably be asking more
    questions from time to time.
    
    Ted

    RE: Coop
    
    Well, this of it this way...when you yank two tubes from a 100wt head
    to make it a 50wt head (ala mod as listed in A.P.'s Tube Amp Book),
    does it not say to half the ohmage?  My JCM 900 also has a little 
    diagram on the back of the head supoprting this theory.

    re. 413
    
     That's Silver not Sliver.  ;^)

    RE: .414
    
    I hear ya...But why the owners manual not mention this ?
    Then again, why would they NOT warn you to NOT switch from 
    25 -->50wt mode with power applied...
    
    Scary documentation dude...
    
    cj

    Hey, *I* didn't write that ... *I* would have been precise ...  8^)
    
    Scary (document .. Vax Document ...)

    
    
    I've got the owners manual for my JCM900 in my hands...no mention of
    powering down before switching modes, and no mention of setting the 
    impedance based on the mode.  It *does* say to make sure that the
    impedance selector is matched to the speaker cabinet.  
    
    
    Kevin
    
    
    
    

    Can't you get a JCM900 or 800 in a smaller head to fit on the 4x10s?
    Those things are way to big ;-)
    
    Mike

    The JCM 900 Seires does NOt come in "Mini Stack" size, but several
    models are available for those Cabs.

My old 50w came with an 8x10 cabinet (model 1990?). It sounded great
when it was loaded, but has been empty ever since I got sick of it's
size. I biult some 2x10 and  a 4x10 boxes long ago and used them for
the small clubs we were playing. So I have this empty vintage cabinet
(old style striped grill cloth) that's been sitting around for years.
I don't know what to do with the thing. Sometimes I think I'll cut
the thing im half and use the slanted top half with the head. Then when
I think about actually cutting it up (grill cloth?) and envision the
mess that could result, I scrap the plan in a hurry. So it sits, and 
sits, year after year. Anyone got any ideas. Is there anyone out there
that would actually use an 8x10 cabinet? I don't know if I want to
separate the to parts (head-cab) but I feel stupid letting it just sit
there.

so confused.   :|

    Vintage 8x10 cab?
    
    Hell, I'LL take it!!
    
    Buck

    Yup, I'll buy it if it's in good shape.....
    
    Jay Tashjian
    

    Hmmm, what to do with an old Marshall 8x10 cab?  Here are a couple
    of suggestions:
    
    - A rack for your Kitty Hawk (insert model here) head or preamp.
      Those 8 speaker holes should provide enough cooling airflow,
      eh guys?
    
    - A Marshall hutch!  Coop, wasn't your wife after you to buy a hutch?
      Even I could get excited about a piece furniture if it had a Marshall
      logo.
    
    only joking  /rick

    
    
    Or, you could make a casket out of it.  It would come in handy if
    somebody's wife starts shooting after the next toy purchase.
    
    8-)
    
    Kevin 
    
    

    I have a friend...get this...
    
    He has a vintage Marshall 8x10 cab...spks intact, but blown, and a
    matching 100wt plexiglass head...BOTH in MINT condition...in storage,
    neither are ever used!!  I keep bugging him to sell these to me, but
    he's holding onto them for sentimental reasons.  FYI, he bought these 
    years ago to learn to play guitar, but has since given up the effort.
    WAAAAAAAAaaaaaaaaaaaaaaa!!  ;^)   

    A Marshall Hutch ???  ;)
    
    Oh she'd love that !  She's still pissed off that I named our 
    latest puppy "Marshall".  Judging by his paws, he'll be a Golden
    Retriever Stack From Hell...  Oh!  A NEW Rap song idea !   ;)
    
    FWIW, I bought her the hutch right after we recorded MIDI Rack Puke
    Rap.  ;)
                                                                 
    jc

Two things:

1.

Uhhh, thanks for the ideas on what to do with my 8x10 cab, guys. I 
especially liked the hutch idea and giving it away to Buck. But you
know I have to do something with it before my kid grows up and wants 
to load it. (Oh me, oh my. Gonna be my turn to listen to band practices
in my basement someday.)

2.

Seriously, I've been looking back in this topic. There's lots of
interesting stuff in here. I was wondering, though, if maybe some
of the less Marshall educated readers aren't confused by some of
the old '60s model numbers. So many of them sound like dates, 
i.e. 1962, 1969, 1970, 1987. I thought that I might put a note in
here pointing out that these are model numbers, not dates.

    I just gotta say...
    
    I love my new Marshall.  The overdrive is crisp and nasty, just the 
    way I like it...  
    
    No matter how much I love my rack set up, and it does a really
    good emulation of that tone, nothing but a Marshall sounds like
    that.
    
    BUT...
    
    IMHO, where the beast REALLY shines is on the clean channel when it's
    slightly overdriven.  The 2550 has two channels, input gain, lead-
    master volume and master volume.  With the input gain cranked, and the
    "rhythm" mode selected, the beast isn't exactly clean.  It's kinda "Bad
    Company" clean.  When I whack the strings hard it's a little more "in
    your face" than when I stroke lightly.  This is a MUST for playing the
    blues and/or classic rock type stuff (IMHO).  This is a draw back I
    never really overcame with the Mp1; it's just too compressed for that
    "slightly dirtyand dynamic" sound.  On top of  this wonderful feature, 
    I can pull the input gain knob and overdrive it (at a slightly lower 
    volume -adjustable- than the lead mode).  
    
    On the down side, I find it difficult to have my cake and eat it  to. 
    See the foot switch selects lead/rhythm mode (one button).  If I want
    clean on the rhythm mode, I have to push the knob in.  If I want dirty
    rhythm I have to make sure the knob is out.  Too bad it's not
    switchable; I HATE diddling with amp knobs...It basically means that I
    gotta be a little more on the ball, select my knob position before I
    start a song; this kinda intrudes on messin' with the audience between 
    songs...(But I think I can work this out ;).
    
    On another note, somewhere in hear Buck mentioned the virtues of 30wt
    "vintage" celestions (AKA "Green Backs" I think) in a 4x12 cab.
    God bless him - he's got my vote.
    
    Off to "1954.lately"
    

    
    
    In the classic Spinal Tap tradition....
    
    I noticed that the lead gain knob for my JCM900 head goes from 0-20.  A
    co-workers amp of the same type, but purchased 6 months earlier, goes
    only from 0-10.
    
    Naturally, mine has more gain....8-)
    
    Kevin
    

    I love the Spinal Tap poster ads for the JCM900 too!  "Goes to 20? 
    That's 9 more innit?"
    
    Mike

    I was reading a Rolling-stone mag today, and there is a picture
    of David Lee Roth with a wall of Marshalls behind him. There must
    be 50 stacks behind him, and in front of the stacks, there is a
    line of girls each holding a guitar. This will apparently appear
    in a coming DLR video. Check it out. 
    
    Mark
    

    That was in the "li'l bit of luxury"video which was his last single
    (well in the UK anyway).There was also a huge stack o' Marshalls behind
    him.I think they were 2x12......ain't too sure though,as the place was
    mobbed.
    
    
    
    
                                               Staynz

    oops....I am not fully awake yet....what i meant to say was,on the live
    show he did there was a huge stack of 2x12 behind the band..
    
    
    
                                    Staynz(tryin' to stay awake)

    The stacks in the video looked like 4x12s on the bottom with 4x10s on
    top of them to me.  Definately a giant wall of 'em.
    
    Greg

    Guitar ceter is selling the 30watt Marshall 1 12" combo for 400$ brand
    spankin new. Musicians friend wants 689$ for the same amp. Sounds like 
    a good deal to me. Offer good until Sunday. Oops I forgot you have to
    add 40$ for shipping but Musicians friend adds 15$ so the savings
    is.....
    
    	       Musicians Friend    Guitar Center
    		 (689 + 15)     -   (400 + 40)   =  264 dollars. 
    
  Happy Buying
    
  Brian

    Oh ya.....
    
    The Marshall 4 x 10's are also 219$ each NEW.
    
    Brian

    Wow.  Thats cheap !
    jc

I'm curious: What's the smallest all tube Marshall they make?  Features, price,
etc.

Thanks,

Will

    Will, the guy who sets up sound out at Rack And Roll (his name is Jody)
    has a pair of 12 watt, all-tube Marshalls.  I think they are 12"
    combos.  Cute little pups.  I think they are called Studio 12's or
    something.
    
    jc

Have you heard them?  What do they sound like?

Will

    Do the 4x10s have the stereo mode switch that some of the new 4x12s
    have?
    
    Mike

    
    I dunno, I bought a new Marshall 4x12, and it has the stereo switch - it 
    smokes!

    No, 4x10s are mono, period!
    
    Stereo 4x12s are only available in the JCM 900 series cabs, fyi.

    WIll,
    
    I thought the lil marshall studio 12's sounded pretty good; a little
    thin perhaps...I guess thats to be expected from a little amp like
    that.  The ones I played thru at Rack N Roll were configured in stereo
    front-ended by a GP8.  Go on down on Tuesday night with your axe and
    try 'em out.
    
    jc

    re: Coop                                
    
    Studio 15's, not 12's.  The 12wt ones are the solid state one and the
    15wt ones are tube.  Who even *knows* what that bozo's Marshalls sound
    like, he set's 'em up clean and does everything with his GP-8.
    
>    Go on down on Tuesday night with your axe and try 'em out.           
    
    Only go down there if you're prepared to sit around until well after
    midnight to be allowed to jam...
    
    Greg (really down on "open mike nights")

    Hmmm, GP-8 into a Marshall huh ?  Sounds like a pretty smart guy !  8^)
    
    
    Scary...

>    Hmmm, GP-8 into a Marshall huh ?  Sounds like a pretty smart guy !  8^)
    
    Naw.  Now if it was a cord straight into a Marshall...
    
    ;^)

Thanks, guys, I'll look around.

Will

    True about open mic night...  Definately a clique down there.
    We weren't a part of it.  Bummer too.  Nice club, nice equipment
    (at least the PA was)...  
    
    jc

    I was in a music store yesterday, and had the chance to play through a
    JCM 900, can't remember what sex/nationality it was.  Now before I take
    another step, lemme qualify a few things:
    
    	o I was there to play a particular guitar (strat plus), not
    	  critique this amp.
    	o I'm not an insane-gain type guy.
    	o I'm not trying to ruffle any feathers (Buck, sit down.  8^)
    	o I didn't adjust any knobs, just hooked up and played.
    
    Whew ... hope that covered everything.  8^)
    
    Yes, it was quite loud.  The salesman (an *awesome* player) had it
    hooked into 2 4x12's with 25W Celestions.  And, he had it set to kill,
    as in, mega gain/crunch/death/destruction/annihilation.
    
    
    Sounded a LOT like Coop's MP-1, last time I heard it.  Not a slam to
    die hard Marshall oweners, not a compliment to satisfied MP-1 owners.
    Just a comment as I was heading toward the Fender Bassman re-issue ...
    
    
    Scary

    According to the new Musician's friend catalog, Marshall has yet
    another new line of amps out.  It is the 8xxx series or Valvestate
    Amps.  These are the amps I heard about from my dealer a couple months
    ago.  They have tube preamps and MOSFET power sections.
    
    The 8001 is a mini-stack with 2 - 1x8 cabs for a list of $450.  The 8010 
    is a 10wt combo with 1x8 that lists for $209.
    
    The 8100 is a head only 80wt amp: 2 channels, 3 band EQ + clean/crunch
    selector, boost channel has treble, mid, bass, plus gain, volume, and
    contour.  Master controls for volume, reverb, effects loop, line out,
    and footswitch.  List is $789.
    
    The 8008 is a 1 space rack power amp with the same tube emulation
    circuitry yielding 80wts/channel (160wts in mono).  List is $699.
    
    Mike

    I don't know if these are new or not, but my local dealer just got in
    some Marshall 4x10-sized cabs that have 2x12s in them.
    
    Mike

From: [email protected] (Rupert Williams)
Newsgroups: rec.music.makers
Subject: Marshall JCM 900 purchased!
Date: 29 Mar 91 04:58:11 GMT
 
 
 After many weeks pondering, and many hours testing, I finally coughed up
the money and bought one of the new Marshall 4501 900 Hi-Gain 50 watt combos.
This is how it happened :-
 
I originally went into the shop with the intention of buying the Marshall -
after reading many favourable reviews - so this was the one I tried first. I
must say that I was a little bit disappointed, wondering what all the fuss
was about, and yes it was expensive. Ok, anyway, then I tried out some of the
Crate amplifiers, and the one that particularly interested me was the one with
the valve ( sorry, tube! ) pre-amp/solid-state power section ( can't remember
the model, but it had a red control panel, and was 60 or 75 watts ). I was
getting some nice sounds, and thinking that I could also save about $400 by
buying it instead of the Marshall. Anyway, I tried several more - Laney ( was
also quite a nice sounds, and all valve ), Seymour-Duncan ( I just couldn't
get this amp to sound how I wanted?! ),  Hughes & Kettner ( valve pre-amp,
sounded quite good, but missing some character ), several Peavey ( lots of
knobs, but no, I don't know why?! ), Mesa Boogie ( nice, but the one with the
features I wanted costed a fortune, and, without trying to sound snobby, it
sounded too American - I was after *that* British rock sound! ).
 So, eventually I told the shop assistant I would take the Crate, and off he
went down to the store room to get one. Now, while he was away I started to
think - like you always tend to do when you're about to spend a largish sum
of money! I really wanted a Marshall, the sound, the history, the look, rock
and roll personified! I reasoned that if I bought anything else, I'd be sorry
in a couple of weeks and wish I'd bought what I really wanted. Anyway, I then
decided to give the Marshall another play test. I'd previously only been
playing at "bedroom volume level", so I decided to whack up the gain a little
bit more this time......and WOW, what an improvement! The amp really started
to sing, it was creamy, rich full of those overdriven valve harmonics, it was
alive! Once I'd got the valves working harder, the sound improved ten-fold,
now there was limitless sustain and warmth - *exactly* the sound I'd been
looking for! I immediately sent the shop assistant back to get me a Marshall,
I was hooked! I was surprised at the difference in sound compared to my first
testing, although I guess I shouldn't have been - valve amps always sound much
better when being pushed.
 The build quality is also good and sturdy, it's lovely and compact ( I would
have liked a stack, but my car's too small! ), it looks great, and it weighs
a ton! It has two channels, with adjustable reverb on both, plenty of "hook-up"
possibilities, and a switchable half power mode. Oh, and the clean sound is
just that, clean and warm! See what Steve Vai said in April's Guitar World
interview, and I quote ( without permission! ) :-
 
  GW - "What are you currently using for amplification?"
 
  SV - "That's always a perplexing problem. Marshall has just come out with
        a new series that has some real nice qualities about it. In the
        studio I'm currently using a Series 900 head through a Marshall
        power amp. That's the closest I've come to the perfect sound."
 
 ......right on! What's good enough for Steve Vai is good enough for me! Now
then, where can I learn to play like him??! :-)
 
 
                            Rups
 
  P.S.  Does anybody else have one of these? I'd be interested in hearing
        from you if you do.

    BTW - the new 2x12s also have switchable stereo/mono operation.
    
    Mike

    
    
    
    	I tried out a distortion pedal and plugged into one of those
    Marshall 50 watt combos, Mike, and I'd have to agree with you.. not so
    great at polite volume, but a beautiful sound when turned up just a
    hair.  The clean sound had a quality that I can't describe, but I'd
    know it if I heard it again.. really "glassy"...  Now, I'm a diehard
    Fender amp person, but I really enjoyed hearing this amp..  Congrats,
    soundsa like you've got yerself a good one!
    
    
    Gree Vee King

    Woah...what is it with all these people buying 45** amps?!?  Rumor has
    it our own Greg House is courting one!
    
    Buck, whos 2500 never gets played below "4"

    Re: -1
    
    No wonder his wife is jealous ;-)
    
    Mike

Can anybody offer any comments about the Lead 12 amp?

	Kevin McD turned me on to a listen to his 4500 head. I really
	enjoyed the way that it sounds - particularly that clean channel
	with the gain turned up. I wouldn't mind having the 4102 combo.

	Lead 12? What for?

    re: Greve-unit
    
    Read the thing Mike posted again, he didn't buy one himself, it was
    from some USENET person...  But an interesting review nontheless.
    
    re: Marshall 4x00 amps
    
    Yeah, I'm pretty serious about getting a 4500 now.  I decided several
    months ago that Marshall was the amp that made the sounds I wanted. 
    Since then I've been playing a lot of them to try and decide exactly
    what I wanted.  After playing a 4500 (Hi-gain Dual Reverb) last week
    I'd pretty much decided that the 900 series was the one that I wanted,
    but I couldn't decide whether I should go for the 2500 (Mk III Master
    Volume) or the 4500 (Dual Reverb) model.
    
    I'd presumed because they were the same series (JCM900) that they were
    pretty much the same amp (just minus a channel on the MV model).  Once
    I finally located one and played it yesterday I realized that these are
    very different amps!
    
    The MV ones scream better, they have more compression and gain then the
    DR ones do in their B (lead) channel (I've played two now and they both
    sounded the same).  However the MV head wouldn't make a clean sound
    that I liked at all.
    
    The DR amp has a wonderful sounding channel labeled "A", that will go
    from a lovely warm clean sound to the nice "raunch rock" crunch sound
    that I love.  It's exactly what I think of when I think of a good
    sounding old Marshall.  Then it has the B channel which is the modern
    voicing with more gain.  While it doesn't have quite as much gain
    (actually I think it has about the same amount of gain, it just doesn't
    seem to have the compression) as the MV, it comes close and we were
    able to get the same sound by putting a stomp box EQ in front of it to
    add a little signal boost.  (unfortunately this also added noise, the
    MV was very quiet even at very high gain levels).
    
    For an all out lead tone with nothing but a guitar, the MV can't be
    beat, but for versatility, the DR wins hands down in my book.
    
    Based on this side by side comparison I decided that the DR will serve
    my needs better then the MV, so now it's just a matter of finding one
    for what I want to pay (without a lot of hassle).  
    
    Yes, I think it's fairly expensive as amps go, but I don't mind paying
    a little more for this amp, because I believe it's going to suit my
    needs for a long time in the future.  I'm tired of buying things
    because they're good deals then finding that I can't live with it a few
    months down the line.
    
    Greg
                          

re:          <<< Note 1655.459 by GURU::tomg "Leo Fender - R.I.P." >>>


Can anybody offer any comments about the Lead 12 amp?


	I'm pretty sure these were going for $115 at Guitar Center
	last Friday...  looked kinda retro-vintage...tan & tweed, but
	clean...didn't audition one, though

	They also have the 5210 for $347 and the 5212 for $299, for
	"preferred" customers.  The 5005 is $114.50, the 3005 is $199
	and the 3005C is $229.  The 9004 preamp is 199.99.

    Re -.1
    
    Where is this place "GC"? Do they carry the 3203? If so does anybody 
    have a price? I'm starting to look around for the best deal!
    
    Ted

    
    
    GC is short for Guitar Center.  The addresses for the stores are in the
    dealer note, whichever one that is.  I don't know about the 3203.  Call
    'em and ask.
    
    Oh, yeah, good personal name, too!
    
    

Article 4384 of rec.music.makers:
From: [email protected] (Craig A. Vanderborg,407 Thurston,54044,)
Newsgroups: ny.forsale,misc.forsale,rec.music.makers,alt.rock-n-roll
Subject: FOR SALE:  Marshall Head $425 OBO
Date: 3 Apr 91 17:07:20 GMT


Greetings netfolks,

     I have an early 1970's Marshall MKII 50 watt head for sale.  It is an 
early non-master volume model.  I bought it about 18 months ago for use in an
alternative rock band I worked with.  Since the band broke up, it has proven
to be a bit much for my little apartment!  It has a very vintage-looking
exterior;  the electronics are in great shape since the amp was very recently
retubed (with 6550's) and rebiased.  It really sounds great, with tone galore
and quite a bit of tonal flexibility.
     I used the amp with a 4x12 Celestion cabinet, which is what I would 
recommend to any potential buyers.  One of the nice features about this amp
is its vintage;  many people (myself included) think that the pre-master
volume models have a better sound.  It of course has the usual bright and dark
channels, with presence, treble, mid, and bass tone controls.  In the great
Marshall tradition, this arrangement provides a wealth of exciting tonal
possibilities.  It is a basic amp with great tube tone for those who find
virtue in such things.

What I have into it:
      1.) Purchase price of $450, in the fall of 1989 in Boston, MA
      2.) $125 parts/labor for replacement of tubes & bias adjustment
     ----------------------------------------------------------------
                                                   TOTAL $575

I am asking US$425 OBO.  Make an offer.  Split shipping. If interested, EMAIL 
me or give me a call (I live in the Central NY area):

Craig Vanderborgh   (607) 255-4044 (WORK)
                    (607) 257-6979 (HOME)
_______________________________________________________________________________

Craig A. Vanderborgh     607-255-4044           [email protected]
Materials Science Dept   407 Thurston Hall      
Cornell University       Ithaca, NY 14853-4414 

>    the electronics are in great shape since the amp was very recently
>    retubed (with 6550's) and rebiased.
    
    AAAAAHHHHH!!  Why would someone put those nasty 6550s in a nice
    sounding amp like that??
    
    gh (who has a nice new 4500 WITH EL34s on order!)

    6550s?   Ick!

    You guys...  I'm tellin' ya...
    
    If you like metal, distortion, bright natural harmonics YOU MUST HAVE
    6550's !!  EL34's are slushy soundin'.  The other guitarist in the band
    I'm with has a JMP MkII 50wt lead with 6550's in it and it is
    comparable (if not better sounding) than my 2550 with EL34's.  It's
    louder, it distorts  faster (and more), and actually has a more
    "bright" sound than mine.  You gotta love the tight squeel from those 
    big military tubes...
    
    jc (Maybe I'll re-tube my 2550 with 6550's...)

    6550 == bleck, puuu, retch, pfft, accckkkk, get a hearing test....
    
    BTW: Finally did it.  I now have a JCM 900 DR half stack.  LOVE the
    tone....   Never thought I'd say it, but it absolutely smokes my 
    boogie MKIII half stack.  Now I've got to sell the boogie...
    
    steve (color me Marshall :))

    I have to cast a solid vote for EL34, although I've been running
    6CA7s for years and think they're jes fine. 6550s don't sound
    very musical to my ears when they start to clip. But to each his own.

    --rjb

    >                        -< EL34 yea, 6550 ney >-

    Hallelujah!
    
    >6550s don't sound very musical to my ears when they start to clip.
    
    My ears neither.
    
    B

    Quote from Groove Tubes "Tube Amp Book":
    
    "6550 power stages have a tighter, more distorted signal and produce 
     more gain and volume.  6550 power tubes are favored by heavy metal
     and hard rock guitarists for their high volume and rich harmonics. 
     
    "EL34 power stages are known for their warmth and natural compression
     Highly favored by Jazz and  Blues guitarists"
    
    jc (Who will have a chances to do a REAL A/B tonight, hopefully)

    It looks like everyone is jumping on the JCM 900 bandwagon like we 
    did with the Kitty Hawks 2 years ago.
    
    Man, some people will do anything to get 1000 replies ;-)
    
    Mike

    -1
    
    Cept this time, we be PAYING for it!

    Hey boom, KOOL p_n!

    
    	re: .474,5
    
        ...cept for B()()M! I'm true to my KH's, my wife, and my "33"s.
    
        ...and I DID pay for mine (at least the first three)
    
    	...I'll buy a JCM900 if my equipment all burns up. See the
    	   Jason Becker article in the recent Guitar World (May 91)
    	   for some interesting comments on 900's vs. older Marshalls.
    
    						-B()()M-

    Pondering a bit on the question of 6550 vs. EL34...
    
    Do you guys really play so loud that you're output stages go into
    hard clipping? I'm wondering because I never found too many clubs
    that let me turn my old 50 watter past 10 O'clock, and the old
    girl doesn't clip down there. If your not clipping in the output
    section, the type of output tubes that you have is pretty
    insignificant in as far as your overall sound goes. To clip at
    the power tube stage your master volumes (for those of you that
    have them) must be up all the way, I should think.

    

    I send my EL34s into clipping, but then again I run my master V on 
    7 3/4.  I don't like the sound of 6550s in clipping at all.  Too hard,
    brittle, and harsh sounding.  I used to have 3 heads with em...notice
    I don't have em anymore!
    

    I run my 2550 (50wt Jubilee) about the same as Buck (7-8ish).
    Sure it's loud.  We like it like that, eh Buck ??  ;)  Gotta
    heat up those voice coils ya know ?
    
    Actually, I think the EL34's clip a lot earlier than the 6550's
    and compress up a BUNCH (I'd venture that this is what Buck 
    likes!).  6550's require you to drive them harder, and they get a lot
    louder than EL34's.    I like how the 6550's squeel and holler like
    stuck pigs at volume...
    
    jc (Who can hardly get feedback from his 2550)
                                                  

    
    I've noticed that people selling JCM900's in the want ads are asking
    MORE than I paid for mine new.  Which tells me that they probably
    bought the amp locally and paid huge buckaroos for it as opposed to
    the deals that can be had through mail order.
    
    Daddy's in Nashua is talking about $800 for the model 4500 head!
    
    Kevin
    
                                                   

    
    Ya, I was at Daddys in peabody and they had the 4100 for $850..
    
    What mail order did you go through so I can get a good deal.....
    
                                                           Marko...
    

    Sounds like an opportunity to make a little extra loot there, Kevin!
    ;^)
    
    Greg (who's never seen a used JCM900)

    
    
       I got mine for $659, delivered, from Thoroughbred Music in 
       Florida.  I told them that Sam Ash had quoted $659 + shipping, so
       they came in around $639 figuring $20 to ship it.
    
       I would definitely suggest giving them a price to beat as opposed
       to just asking for their best price. 
    
       Kevin

    I don't know if the prices have gone up or what, but Thoroughbred
    wouldn't even come close to that price when I called them before
    ordering my 4500 (elsewhere).  The guy told me $695 was his best (and
    that they were gonna hit me for $20-$30 shipping).  Maybe it's because
    I didn't say "Sam Ash" before asking the price...  8^)  Or maybe it's
    because they didn't have one in stock to deal on.
    
    Anyway, I got mine from Musicians Friend for $675 (not including
    shipping) after some very minimal bargaining, which was a lot better
    then anything I could do locally and they had one all ready to ship me. 
    Probably not the absolute best price I could do, but it was good
    enough to make me happy and there was no HASSLE from the sales people
    and I didn't have to call half the known world to get it.
    
    Greg
                                                     

    So Greg, did it arrive yet?  I'd guess no since you're at work ;-)

    No, I haven't gotten it yet.  I'm taking this afternoon off (no, not
    because of that) and I'm hoping it'll come while I'm home!  I ordered
    it last Thursday afternoon and they told me it would be shipped the
    next day.  UPS normally tells you five working days, so that would be
    either today or tomorrow (depending on whether they count the day you
    ship it as a "working day" or not).
    
    Greg (with his fingers crossed)

Article 4574 of rec.music.makers:
From: [email protected] (Jack A. Zucker)
Newsgroups: rec.music.makers
Subject: The ultimate sound (not quite)
Date: 11 Apr 91 12:22:44 GMT
Reply-To: [email protected] (Jack A. Zucker)

Well, I just bought a JCM 900 dual reverb 100 watt 1x12 combo yesterday. It is
not the ultimate sound but it sounds damn good. It has a real nice reverby
clean sound similar to a fender twin amp. This sound was missing from the JCM
800 (IMHO). You can also get a vintage crunch in the clean channel which sounds
similar to an older fender turned up loud. (I could never quite get this with
my Mesa Boogie MKIII). The creamy smooth distortion is not quite what I was 
looking for. I was hoping for a Larry Carlton type of tone. This amp is
a little
more rude than that. (Probably a little more suited for Metal). However, the
"crank tone" is VERY acceptable. Also, the lead channel doesn't have quite as
much gain as the MKIII. I used to be able to get the smooth drawn out sustain
with the MKIII and my American Standard Strat but the Marshall doesn't quite
have the voltage to smooth that out. With humbucking pickups, it's quite a
different story. The Marshall shifts into overdrive and I get 8va feedback
on chords and sustained notes... (Very nice)

One thing I can't emphasize enough is that this amp seems to have character.
The MKIII I had didn't seem to have character in the clean channel, but this
amp has character in all modes.

The speaker in this amp was a celestian G-12 100 (If I'm remembering OK).
I tried the amp through a G-12 75 and the tone was not as striking.

Anyway, thanks for the advice.

BTW, I played through the new Ampeg solid state amps. They really have good
distortion and clean tones. They produce a very tube-like distortion. I found
the clean channel boomy when turned up loud however. If you play Metal,
I would recommend checking it out.

-jaz

| Jack A Zucker	                 {cwjcc,pyramid,decvax,uunet}[email protected] |
| Allen-Bradley Company, Inc.     or                       ICCGCC::ZUCKER    |
| 747 Alpha Drive                 
| Highland Hts., OH 44143         phone: (216) 646-4668   FAX: (216)
646-4484 | 

Article 4575 of rec.music.makers:
From: [email protected] (Dan Kozak)
Newsgroups: rec.music.makers
Subject: Re: The ultimate sound ...
Date: 11 Apr 91 16:50:21 GMT
Reply-To: [email protected] (Dan Kozak)

In article <[email protected]> [email protected] (William Spencer) writes:
>My biggest beef with the Marshall is uncontrollable brightness, although many
>seem to want that.

>Not familiar, but Marshall 800 preamps are again too bright and not a
>lot of gain.

I've never been much of a Marshall fan, either.  I've always loved the
sounds that Hendrix, Page, etc. got, but figured that their amps were
heavily modified to sound that way.  Then a friend of mine got an old
(late Sixties) 50W head and I realized what I didn't like were the
sound of _new_ Marshalls -- all bright and hard -- the "metal-ready"
tone. :-( The friend with the Marshall is a guitar/amp repairman and
he got a request from another friend to make his 100W JCM800 sound as
much like the '60s 50W as possible.  The first thing was to change the
power tubes.  American Marshalls from the mid-Seventies to the
mid-Eighties had 6550 outputs, whereas the British Marshalls have
always had EL34s.  A retubing and rebiasing helps the 6550 amps get
more of a "classic" tone, but it is not the whole story.  There is a
particular capacitor in the preamp/tone circuit that, if changed,
makes the whole circuit sound richer, like the old Marshalls, and
drops the frequency of the tone controls so that they actually do
things :-).  (I just tried calling the friend with the mod to get the
details, but he's out.  Email me if you care.)

>Too loud? Probably not as loud as these guys were. Can't switch 
>to other sounds? They couldn't either except for getting cleaner by turning 
>down.

Call me a purist, but I think most channel switching rigs sound
terrible.  To me a good amp should have a setting that's right in the
middle of clean/dirty where playing harder gives you the crunch and
lighter gives you the clean.  If you watch Hendrix, Page, Townshend
etc. you'll see alot of dynamics and use of the volume on the guitar
to bring out different sounds without touching the amp.  I thought it
interesting that Page continues to work this way (no channel
switching) even as recently as the _Outrider_ tour.  (his effects rig
was incredibly primitive too, a bunch of stomp boxes duct taped to a
board -- we watched the roadies load them up with 9V batteries, no
power supplies :-).

#dan

Clever:         [email protected]    | "Softly her tower crumbled in the 
Not-so-clever:  uunet!mimsy!dbk   |  sweet silent sun." - Nabokov

    RE -1

    First of all, I own an old '67 vintage 50 watt "plexiglass" Marshall.
    Yes, the bright channel is *VERY* bright. *BUT* the way to use those
    amps and all of the Marshalls with bright and normal channels is to
    strap the channels, i.e. feed your signal to both and adjust Vol 1 and 2
    for tonal balance. This is what most people (like Hendrix, for instance)
    were doing with these amps. It makes a huge difference.

    Regarding a change in the tone circuit capacitors: I am not aware (and
    I've worked on many mid '70s amps) of any change in the tone circuit
    whatsoever. I could be wrong, but I don't believe Marshall did anything
    but change the output section, and that was actually done for Unicord,
    the U.S. distributor. I believe that any Mk II Marshall can be converted
    to the equivalent of a late '60s model by changing the output stage back
    to EL34s. Granted, some of you don't care for that, I know, but the
    point is that I think that that is the only real difference.

    --rjb
    

    So are one of your Usenet fans going to send that person e-mail to find
    out what the preamp mod his friend recommended actually is?
    
    Greg (curious)

    Greg, 
    
    I think you just volunteered.
    
    If I know these USENET types, that dude has just received 7792
    mail messages, which he'll probably delete.  ;:)
    

    Greg,
    
    Please don't reply to this note until your Marshall arrives !  8^)
    
    
    Scary

    
    
                  Everyone is talking about 6550 and EL34 tubes.......
    
                  I've owned two MARSHALLs the current being a 2558 combo
    
                  The previous one being a 4410 100 watt combo.
    
                  BOTH of these suckers came from the factory with...
    
    
    
                                   6L6GCs  go figure eh?

    I don't claim to know nothin' 'bout these new fangled Marshalls.

    

    re: Jerry
    
    Pffttttt!  8^)
    
    re: .491
    
    When you strap the two channels, how do you do it?  Is it an internal
    mod to do it in your amp, do you use a Y-cord, a direct box with two
    outputs, or what?
    
    Greg (curious)

    I believe you can strap channels by connecting a short (~6" long)
    cord from the spare input jack on one channel to one of the inputs
    of the other channel. This trick has been used to daisy-chain amps
    for years. The reason this works is because the two inputs of a 
    given channel are connected in parralel. Works just like a y-jack.
    
    My Vintage Guitar calender features a photo of a Gibson Exployer
    leaning against a plexi-marshall. There, plain as day, is the short
    cord jumping the two channels together. 
    
    Mark 

    6L6's in a Marshall ??
    
    Really ?
    
    Never heard of such a thing.
    
    jc

    
    You can do the 6" cord thing, although I believe that there's some
    signal loss involved because (a) there are padding (attenuation)
    resistors behind the jacks that get switched when something
    is plugged into the jack, and (b) you change the load that the pickup
    sees. The latter may be insignificant. I've never bothered to
    investigate.

    The best way is to buffer the input signal by putting in a preamp
    of some sort, and "Y" the output. If you already have a preamp or a
    stomp box with some gain, just "Y" into both of the channels. This
    way you avoid using the "II" input as an output, which of course it
    isn't. It's just a convenient place to grab the signal.



    Traditional method of channel strapping

    bright/norm  +----------------------------------------------------
    inputs       | 
                 | 
    guitar ---> I|-----+--------------->1st stage bright channel
                 |     |
                 |  resistor network (pad)
                 |     |
            +->II|-----+
    jumper  |    |        
            |    |
            |    |
            +-> I|--+--+--------------->1st stage normal channel
                 |     |
                 |  resistor network (pad)
                 |     |
               II|-----+
                 | 
                 +-----------------------------------------------------
    
    
    bright/norm  +----------------------------------------------------
    inputs       | 
                 | 
    guitar -+-> I|-----+--------------->1st stage bright channel
            |    |     |
            |    |  resistor network (pad)
            |    |     |
     Y cord |  II|-----+
            |    |        
            |    |
            |    |
            +-> I|--+--+--------------->1st stage normal channel
                 |     |
                 |  resistor network (pad)
                 |     |
               II|-----+
                 | 
                 +-----------------------------------------------------
    
    
    

    Yessir, 50wt Jubilee re-issue - (2)EL34's and (3) 12AX7s. 
    
    I'm blown away.  (insert pic of me falling over)
    
    ;)

    Just thought I'd mention that the Marshall 3203 30 watt Hybrid Amp
    has been discontinued! This amp has the EL34's in the Power Section
    and a transister Pre-Amp, Channel Switching, Reverb, Effects In/Out.
    This amp was going for anywhere around $455 to $500 Mail Order depending 
    where you call. You should be able to strike a good deal if your willing 
    to call around. I got one coming in today or tomorrow for $299. I probably
    could have did a little better but was happy with this deal. Should make
    a good addition to my 4 X 10 Marshall Cab.
    
    I heard that Marshall has reversed the Hybrid Amp and it now has a tube 
    Pre-amp and a transister power section. Not sure of the number though.  
    
    Ted
    

>    I heard that Marshall has reversed the Hybrid Amp and it now has a tube 
    >    Pre-amp and a transister power section. Not sure of the number though. 
    
    Those are the 8xxx series Valvestate amps that just came out.
    
    Well a wise guitar teacher once said, "I don't try things I can't
    afford", but the student was paying attention ;-)  I introduced my 550
    to a JCM900 100wt dual reverb � stack last night.  I think I'm in lust ;-)
    
    The clean channel was REALLY nice!  I used my single coil and
    introduced a little gain into it, along with EQ, and heard a nice
    little Eric Johnson tone.  Compared to my KH M1, the chords sounded
    really crisp and clear.  I could hear all the notes standing out as the
    chord rang.  The overdrive channel speaks for itself.  I selected the
    bridge pickup and had to stand back while this wall of sound filled the
    room.  It is THE sound that I hear come from all the guitar players I 
    love to listen to.
    
    The store owner gave some interesting literature too.  In addition to
    the complete new catalog and the Guitar World's review, I have a
    brochure on the history of "Modded" Marshalls.  It is interesting how
    some of the reliable mods were included into the JCM900 design to give
    players the sounds they want.
    
    Mike

    What is a reasonable price for a JCM900 100 wt dual reverb + a 4x12
    slant?
    
    I noticed the catalog also has 2x12 cabs for go with the new heads. 
    This might be better for me.
    
    Mike

    
    Mike, why the 100watt version?  Did you try the 50watter?  
    I've found the 50 to be more than loud enough.  I'm also able to get
    power amp distortion without killing anyone.
    
    Kevin

    I haven't played a 100wt one, but I've played 2 different 50wt models
    and they were plenty loud enough for my tastes (loud enough to be
    uncomfortable anywhere near it).  Steve said he tried a 100wt version
    and thought it was too loud.
    
    Greg (who doesn't play stadiums)

    I also wanna put in a plug for the 50wtrs.  I crank it up to 7 1/2 
    and it sounds mint...just loud enough, and nice power amp clipping,
    too.                                      

    The store only had a 100 watter.  Out here in the desert, everything is
    really spread out so you need a BIG sound ;-)
    
    Sounds like a 50 watter and a 2x12 cab may be just what I want (notice
    I didn't say need ;-)).
    
    Now to see what this is going to cost.
    
    Mike

    I don't think the 100wt heads are THAT loud, but louder than ANY
    of us need...  I'd do a 50wt and a 4x12(s) like Greg did.  Hot setup
    me bets.  I run my 50wt thru a 4x12 and moves the earth.
    
    jc

    Well, I got home last night to find my new JCM900 Hi-Gain Dual Reverb
    head (4500) there waiting for me!  Played it all evening and was just
    as pleased as I expected to be with it!  For more of an "in use" test,
    I'll be airing it out at band practice tonight.
    
    Just a couple of observations based on my limited experience with it...
    
    Like people in here have said, it seems to really come to life after
    you get the master volumes up over about 6 or so.  I didn't encounter
    any dog-legs in the volume controls, they're pretty smooth all the way
    up (at least up to about 8 which was as loud as I ran it).  It sounds
    good with the master volumes lower then that, but really thickens up
    when you get it up to about 6.5-7.
    
    I was more pleased with the EQ section then I expected to be, was able
    to get everything from a smooth warm clean sound, to an "in your face"
    screaming distortion sound, to a thrash metal (no midrange) slamming
    sound.
    
    I was slightly less impressed with the "hi-gain" sound then I expected
    to be.  It doesn't have as much gain as many of the other devices I've
    used which were tauted as being "high gain".  It does however have a
    "hot rodded Marshall" type sound (at least to my ears), and a cool kind
    of rude edge to it (that's me for sure...), but it doesn't have that
    "all out over the top" kind of sound.  Now the MKIII Master Volume
    model (2500) that I played when I was looking around at these 
    definately DID have that sound.  As I mentioned before, these really
    are different amps.  
    
    I still like the "A" (traditional sound) channel on the DR a lot a LOT,
    it's definately a very COOL sound.  THIS channel is worth the price of
    the amp!
    
    One slight surprise was how much I liked the reverb in it.  When I was
    doing the demos of these, I generally turned the 'verb off since I
    wanted to hear how the AMP sounded (not the efx).  Now that I have the
    thing I played with the reverb and found it very pleasant sounding and
    very usable.  It's gets pretty overpowering (and I don't like that), so
    I generally kept the 'verb controls down around 3-4 or less.  It gets a
    little "sproingy" sounding above about 8-9, but below that it's nice.
    
    Slight nit, Musicians Friend sent me the head and the matching
    footswitch, but didn't include the stereo cable required to connect the
    two.  No biggie really, but slightly annoying.  I'm sure if I'd bought
    it in a store (face to face) I'd have a cable to connect 'em if I
    bought both those pieces.  Oh well...
    
    So anyway, I'm a HAPPY camper now!
    
    Greg

    Kudos Greg!  BTW - The 100wt version warms up nicely with the master on
    3 ;-)
    
    Since this is a tube amp, I wonder how much over 50 watts it really
    runs.  Seems to me I always hear 100 watts is a must for gigging,
    especially in large clubs.  Besides, the 100 watter can run in pentode
    or triode (to cut it down to 50 watts), and it also has the FAIL SAFE
    circuitry for tube failure during performances (automatically switches
    over to run on 2 good tubes).
    
    Anyone try the JCM900 combos or is that blasphemy for a Marshall 
    user? (i.e., head & cab only) ;-)
    
    Mike

>    Kudos Greg!  BTW - The 100wt version warms up nicely with the master on
>    3 ;-)

    I sincerely doubt you're hearing the same thing I am when I talk about
    it thickening up nicely.  What I'm talking about is a result of driving
    the power tubes hard and I don't think you'll be doing that at 3 on a
    100wt amp.  Unless you had it up LOUD (maybe 3/4 of the max volume),
    you might not hear whether there's a difference.  That's one thing
    that's usually hard to do in a music store when demoing something
    'cause it's LOUD!
    
    BTW There's a music store in Las Vegas that used to have a seperate amp
    room which had it's own door and it was wonderful for seeing what an
    amp would really sound like at a more normal playing volume, but last
    time I went there they'd turned it into a keyboard room  ;^(  I don't
    understand why more music stores don't offer something like this. 
    
    Don't get me wrong, my 50wt Marshall sounds *good* at lower volumes,
    but there's a special sound that kicks in when it really gets working
    that you have to hear to understand.
    
    I'm not disputing you that the 100wt one did it at 3, every amp's
    different, but it just seems kind of unlikely given what I've seen with
    the 50wt ones.  The sweet spot on my Kitty Hawk head was around 3.5-4. 
    Once you got it past that, the sound didn't really change, but below
    that it didn't sound that great, but it didn't get people screaming at
    you about being too loud.  I can't decide which is more
    annoying...having your amp not sound it's best or having people yellin
    at ya!  Like I say, on my Marshall, it seems to be about 6.5 or so.  I
    guess I'll just turn UP and drown out the complaints...  ;^)
    
>    Since this is a tube amp, I wonder how much over 50 watts it really
>    runs.  
    
    I don't know, but belive me it's plenty loud!
    
>    Seems to me I always hear 100 watts is a must for gigging,
>    especially in large clubs.  
    
    Umm...only if you enjoy playing over the mix (and having sound people
    HATE you).  These days almost everyone mikes amps and goes for lower
    stage volume.
    
>    Besides, the 100 watter can run in pentode or triode (to cut it down
>    to 50 watts), 
    
    Yeah, a nice feature, but if it's like the 50 wt one (which will half
    down to 25 wts), it'll sound different.  In full power mode, it's
    thicker and lusher sounding to my ear.
    
>    and it also has the FAIL SAFE circuitry for tube failure during
>    performances (automatically switches over to run on 2 good tubes).
    
    Now this is the big advantage of the 100wt version for a working
    musician in my book, but first off how often do you blow up power
    tubes?  I never have...  I can also afford to keep a spare pair in my
    gig bag just in case it does happen.  A matched pair of EL34s from
    Stewart-MacDonalds costs $23.88 (quantity of one).  To me that's a lot
    more cost effective then paying about $100 more for the 100wt version
    of my amp (and carrying spare tubes around ANYWAY).
    
    Naturally, this is all just my opinion.  For my purposes, the 50wt
    version is actually better, because I like to drive it hard for the
    sound.  The plus is that it costs less to boot!  8^)
    
    BTW, I played a 2x12 combo version of the MkIII MV amp (2502) when
    trying to decide what I wanted.  It's a screaming amp, and it's not
    nearly as heavy as I expected.  I played a 1x12 version of the DR amp
    once and wasn't terribly impressed.  Personally I like the sound you
    get with more speakers, even if you're not driving them hard.  It just
    seems like the 1x12 combos just don't sound the same to me.
    
    Greg (who now needs a 4x12, since this amp doesn't sit well on a 4x10)

    Another aspect of the "extra tubes" advantage of the 100w head;
    the prime culprit in tube deterioration is vibration, which you'll
    get for all 4 power tubes regardless of which mode you're in.  Thus
    over long enough period of time, you'll wear out twice as many tubes
    with a 100w vs a 50w.  Note that this also means it's not a good idea to
    stow your spare tubes inside the head somewhere.  Maybe not a biggie,
    but if you're counting...
    
    I have a late 60's Marshall 50 watter and it too "comes to life" at
    around 6 on the volume control; this seems to be the magic number for
    Marshalls in general (least the ones I've seen).
    
    Hey Mike H, how about sharing some of the Marshall Mod lore in here?
    
    /rick

>    Hey Mike H, how about sharing some of the Marshall Mod lore in here?
    
    I've been working on it.  It is a little lengthy, but has some
    interesting comments.  Be aware though, it has a lot of sales pitches
    in it since it was created to be an advertising brochure.
    
    Mike

>    I don't know, but belive me it's plenty loud!
    
    Okay you've convinced me.  My family will probably thank you too ;-)
    
>    Umm...only if you enjoy playing over the mix (and having sound people
>    HATE you).  These days almost everyone mikes amps and goes for lower
>    stage volume.
    
    ...except Eric Johnson ;-)  He plays LOUD!
    
    Mike

    Another thing on the dual reverb.  I mention before how the sound had
    so much clarity that you could hear all the notes ring in a chord.  
    I was embarassed to admit this before, but it also brought my
    sloppiness and bad habits to the forefront.  My KH M1 doesn't have this
    much clarity and was hiding my bad habits.
    
    This amp would be worth buying to straighten myself out ;-)
    
    Mike

>    Another thing on the dual reverb.  I mention before how the sound had
>    so much clarity that you could hear all the notes ring in a chord.  
    
    I probably mentioned this before, but I've also found this to be true. 
    The clarity of this amp is great.  I think one reason for this is
    because it doesn't seem to induce as much compression as many of the
    other amps I've owned.
    
>    I was embarassed to admit this before, but it also brought my
>    sloppiness and bad habits to the forefront.  
    
    I'm not embarassed to admit that at all!  My technique sucks and this
    amp has shown me many deficiencies in my playing, which I'm now working
    on correcting.  For many years I've depended on massive compression and
    gain to cover up my sloppy playing and this amp just doesn't do it.  I
    notice that especially with my lead style, I'm having to make a lot of
    adjustments (for the better IMO).  Part of that's because I'm having to
    work harder to get the sounds I want because it doesn't have as much
    gain as the last rig I used.  (now if I'd gotten the 2500 instead I
    wouldn't have this problem...but I have no regrets!)
    
    It's also forcing me to be more even with my playing, especially on the
    A (clean, rhythm, whatever you wanna call it) channel.  The lack of
    compression makes playing evenly much more important.
    
>    This amp would be worth buying to straighten myself out ;-)
    
    Definately worth buying, but  I didn't buy it to straighten my
    technique out, but I think that fixing things that the amp has brought
    out will help my playing a lot.
    
    Greg

    Thanks Greg!  Glad I'm not alone ;-)  I think it's almost time to put
    my M1 up for sale.
    
    Mike

    Even with the compression of the 2500, I found the exact same thing.
    No longer were my leads searing due to mega-compression.  I had to
    play this amp for a long time to get my lead playing clean, as the
    amp hid no secrets in my technique flaws!  ;^(
    
    Now I'm much happier...two cords...one into the amp, one for the 
    MV footswitch.  All that and the SOUND!

The Official Story of "Modded" Marshalls
----------------------------------------

Since the mid '60s, Marshall has been the premier amplifier for rock and
roll.  The Marshall sound stands above all others for its powerful,
shimmering tone quality and legendary presence.  Being "the" standard, many
have tried to imitate or "improve" it over the years.

Like Marshall amps, classic rock guitars have their own sound profiles or
"personalities" that can't be duplicated.  No matter how many humbucking
pickups you put in a Strat, it won't sound like a Les Paul.  It won't sound
like a Strat either.  It'll just sound like something else.  The same basic
rule applies to Marshalls.  If you try to "mod" or change a Marshall,
you'll lose the Marshall sound forever.

[insert photo of "modded" Marshall" P.C.B.]

Here's an unretouched photo of a modified Marshall model 2203 circuit board
recently returned to Marshall USA for repair.  The customer, a well-known
professional, was complaining about "funny noises" the amp was making and
its general unreliability.  Modifications on the circuitry were done by
several trendy L.A. "Hot Modders" who shall remain nameless.  The cost of
ths cartoon mod job: several hundred dollars and the destruction of a fine
vintage Marshall amplifier!

At Marshall, we've been aware of this Modding "phenomenon" for several
years now.  And, truth be told, we've seen virtually every one that's ever
been done.  In fact, we even understand the basic reasoning behind why some
players have gotten their Marshalls modded.

Guitarists are a restless breed.  They're always searching for more gain,
more tones, more presence, more "everything".  They need that extra "edge"
in all kinds of playing situations.  Which explains the popularity of
outboard effects, new pickup combinations and virtually the entire guitar
parts industry.  Everyone has a distinctive, high-powered guitar sound in
mind that they want to bring to life.

Welcome the Marshall JCM 900 Series
-----------------------------------

Some time back, company founder Jim Marshall presented his team of
engineers with a momentous challenge:  Design a new series of Marshall amps
that not only meet, but "exceed" the modern player's extreme needs for
monster gain, electric new tone colours and practical "backpanel" features
that make life easier and longer for player and amplifier.

Thousands of hours of exhausting research, testing, prototyping and playing
- Most Marshall engineers (and employees) play guitar and rely on "ears"
and experience as their main bench reference standard - have produced the
new 900 Series Hi Gain amplifiers: the supreme Marshall Mod you've been
chasing all your life.

The JCM 900 Hi Gain amps are all-tube designs.  They deliver more volume,
more tones, more reliability, more flexibility with effects routing -
basically more of everything you want a Marshall for.

[insert photo of JCM 900 P.C.B.]

This is a photo of the underside of a JCM 900 model 2100 Hi Gain Master
Volume head.  This is the factory standard Marshall amp that needs
absolutely no modifications.  All Marshall amplifiers are hand-wired at the
one and only Marshall factory in Milton Keynes, England under the watchful
eye of the Guv'Nor himself - Jim Marshall.

Hi Gain amps come in two basic formats, the Hi Gain Master Volume and Hi
Gain Dual Reverb, each of which is available in a variety of
configurations: 50 and 100 watt heads, 50 watt 1x12 and 2x12 combos, and,
with the Dual Reverb, 100 watt 1x12 and 2x12 combos.  There's also a
variety of speaker cabinets available to help you customize the ultimate
guitar setup.

The latest in our world-famous line of Master Volume models, the Hi Gain MV
cranks out massive gain with full-blooded tone in a sensible, straight
ahead design.  Its pulverizing distortion power is fueled by a new Gain
Sensitivity control that actually goes up to 20!

The Hi Gain Dual Reverb takes the concept of channel switching into a
higher dimension of pure sound creation.  It delivers just what you need to
create an amazing variety of fat clean sounds, crunch rhythm textures and
nuclear sustain that goes on forever - with just the touch of a footswitch!
And, unlike other "switchers", the Dual Reverb's two channels are
completely independent, not "cascaded" together.  So you get absolute clean
without any bleed from your distortion channel.  What's more, you
independently control the amount of Reverb on both channels.  That's why we
called it the Dual Reverb!

All JCM 900 amps have the same power amp sections and back panel features.
The 900 Series power sections represent a new, higher standard in tube
reliability and performance.  Using the classic EL34 tubes for their
inimitable sound quality, Marshall has developed the Failsafe(tm) output
protection circuit for all 900 Series 100 watt amplifiers.  In the event of
a tube failure, the amp continues to function at half power.  The circuit
also indicates which pair of tubes has malfunctioned.  50 watt amps are
equipped with a tube-fail indicator.  What does this protection mean in the
real world?  Total confidence.  When you're playing the most important gig
of your life, and the last, most crucial link to your audience is your
amplifier, you'll know your JCM 900 will be there for you.

A lot of players use effects as an important part of their sound.  Anything
from "retro" stomp boxes to high tech digital rack processors.  With this
in mind, we paid special attention to the effects loop section of the JCM
900s.  The sends and returns are fully buffered so the sound doesn't change
when effects are introduced into the signal path.  Send and return levels
are infinitely variable between -10 for pedal effects and +4 for rackmount
effects so you get optimum sound quality with any kind of device.

There are also direct and recording outputs on all 900 Series amps.  The
direct output can be used to slave any number of power amps for massive
stage rigs.  The recording output is EQd for playing directly into the
board when recording.  Both of these outputs function with the amplifier in
Standby mode so you can record directly from amp to tape with no speakers
connected.  As always, dual speaker outputs and a selectable speaker
impedance switch are standard on all JCM 900 amplifiers.

It all adds up.  Hi Gain, Big Tones, Solid Reliability, Total Flexibility.
JCM 900.  The Marshall Mod you've been searching for.

[editor's note: there's more containing quotes from various artists that
I'll enter later. - Mike]

Any of the Marshall 900-series owners done any recording with the direct outs
yet? Just wondering how they sound going straight into a board (either studio 
or live).

alan

    re .522
    
    Alan, where ya been?
    
    I've tried the line out and the recording compensated line 
    out into a Fostex X-26. It was OK for clean stuff, but I 
    thought it sounded buzzy (the dreaded McCullough chainsaw
    effect) for distorted guitars. Maybe someone else has had 
    better luck? I didn't notice much difference between the 
    two line outs, either.
    
    What I ended up doing was mixing the sound from a live room 
    mike (that was picking up the entire band) along with the line 
    out. The signal from the line out was also livened up by some 
    sort of Lexicon device (LXP-5?).
    
    -Tom

    I somehow lost the nut that holds speaker cab input jack in place on
    one of my Marshall Cabs.  I have tried replacement nuts, but it seems
    this Marshall thing is a vey odd size!!  Anyone know:
    
    a) where I can get one (music stores in my are are stupid)
    b) how to replace?
    
    One store I called said "you'll have to wire in a new jack"  Nice,
    I don't have a soldering iron!
    
    ;^(
    
    HELP!!!
    Buck, with onely one cab working

>    Alan, where ya been?

Oh, kicking around....ya know.....

> I've tried the line out and the recording compensated line out into a Fostex 
> X-26. It was OK for clean stuff, but I thought it sounded buzzy (the dreaded 
> McCullough chainsaw effect) for distorted guitars. 

Yeah, that's what I was sort of afraid of. I don't know if its my recording
techniques/equipment, but I seem to have a hell of a time getting a decent
recorded guitar tone going direct. I tried it back when I had my Boogie, and
also with more recent stuff, but all I seem to get is either a nice clean 
sound, or that chainsaw effect! Just wondering if the Marshall was any 
better....

Looks like I'll keep miking mine for recording.

alan

JCM 900 - The People Speak
--------------------------

"To Whom It May Concern:

I have been an active guitarist for 11 years, and have owned several brands
of amplifiers.  I never considered MARSHALL, due in part to the belief that
I could find something equivalent for less money.  But each new amplifier I
acquired seemed to be missing that certain something, call it "character" or
"authority" as your ad copy states.

Recently, I found myself (again) unhappy with my amp's tone.  After much
thought and some budget stretching, I decided to investigate your new JCM
900 line.  After all, the ads stated that these amps were capable of wide
tonal range without sacrificing gain.

After a brief trial session at the dealer, it became immediately apparent
why so many performers use MARSHALL gear.  In my humble opinion, the JCM
900 HIGH GAIN DUAL REVERB AMP IS THE FINEST PIECE OF EQUIPMENT A GUITARIST
CAN USE, BAR NONE.

From the beautiful clean channel, to the incredible "punch you in the chest
- get out of this room now" distortion channel, no amp I have ever owned
has even come close.

When it came time to plug in at the practice room (notorious for being VERY
loud), the MARSHALL cut through the mix like a razor.  The most amazing
thing was the complete lack of high volume hiss, squeal and feedback that
transistor amps are so infamous for.

It really makes me feel cheated to have spent so many years wasting my time
and money on other amps.  Just thought you'd like to know.

                               William S. Barnhart
                               Unknown guitarist for the "Sure Thing" band
                               Albany, GA"

JCM 900: The Pros Know
----------------------

"The channel switching on the 900 offers the option of switching from
Crunch to Torch with no more difficulty than driving a high performance
elevator."  -- Billy Gibbons - ZZ Top, JCM 900 Hi Gain Dual Reverb

"The new amps are a real cut above everything else.  I've tried every amp
out there, but this one's far superior.  I don't even use effects anymore."
-- Brad Whitford - Aerosmith, JCM 900 Hi Gain Dual Reverb

"My Marshall 900s are the foundation from which I build, because I can
always rely on them to spit out that classic thickness.  When I stand in
front of this thing, I can feel it rearranging my chromosomes." -- Ted
Nugent - Damn Yankees,, JCM 900 Hi Gain Master Volume

"But the new amp is the greatest thing since I don't know what.  All the
volume you could need and maybe more." -- Nigel Tufnel - Spinal Tap, JCM
900 Hi Gain "Something... I can't remember"

"I use a JCM 900 100 watt Hi Gain Dual Reverb.  It's the new one with gain
sensitivity that goes up to 20, as opposed to 10.  I always put it on 20."
-- Dave Navarro - Jane's Addiction, JCM 900 Hi Gain Dual Reverb

"I've been playing modified Marshalls.  That's why I'm so happy with the
900 Series.  I'm playing a 'stock' head now taht sounds better than
anything that was ever modified for me.  They're so consistent.  In fact, I
was even playing a JCM 900 1x12 combo the other day, and it sounded just
like my stack - the distortion and the gain were exactly the same!" --
Bruce Kulick, KISS, JCM 900 Hi Gain Master Volume

"JCM 900s are the last word in the 90s sound of Modified Marshalls.  I've
spent thousands of dollars getting old amps 'tweaked up', but the new ones
incorporate the sound, the reliability and the overall performance of the
90s.  Marshall has taken all the amps they've ever built and incorporated
them into the JCM 900.  This is definitely a player's amplifier." -- Blues
Saraceno - JCM 900 Hi Gain Dual Reverb & Hi Gain Master Volume

"All similarity to a stock Marshall ends when you switch to the lead
channel...  Turn it up - the knob goes to 20 - and stand back.  There it
is: that blistering distortion that was once synonymous with modified
Marshalls.  Shredders of the world, please note:  The JCM 900 saves you the
trouble and expense of having your amp hotrodded." -- Art Thompson - Guitar
Player Magazine Feb. 1991, JCM 900 Hi Gain Dual Reverb 1x12 Combo

"...the best new Marshall amp I've heard in years.  When cranked, this unit
is so hot it should come with warning stickers.  All you thrash monsters,
metal heads and blues breakers can ditch your outboard overdrive pedals -
you won't need them with this hot head.  I would say Marshall has
successfully reinvented itself." -- Brad Tolinski - Guitar World Magazine
Feb. 1991, JCM 900 Hi Gain Dual Reverb

"As an engineer and a musician, the 900's ability to sound musical night
after night no matter what the venue, clubs or arenas, truly puts them in a
class apart.  We've done 90 plus shows on this leg of the Damn Yankees tour
and haven't had the least problem, not even a microphonic tube!" -- Robert
'Nite Bob' Czaykowski - Live Engineer, Kiss (Europe 1988), Badlands (1989),
Damn Yankees (1990)

    
    Buck, this may seem lame, but you might be able to buy a speaker jack
    assembly (they're cheap) and use just the nut...  This of course ASSuMEs
    they are the same thread size as your Marshall's.  Probably find them 
    at Radio Shack.
    
    -pat

    "When I stand in front of this thing, I can feel it rearranging my
    chromosomes." -- Ted Nugent

    I just about busted a gut when I read this quote in that Marshall
    brochure...   8^D

    Greg

    RE: Blair_unit
    
    Dats da thang, the Marshall assembly is not a stock size (I tried that
    route).
    
    Buck, still ;^(

RE: rearranging chromasomes:

Man, does that sound about like Ted or what?

Will

    That nut maybe be a metric size since Marshalls are made in the UK. 
    Have you looked into that possibility?
    
    Byron

    Yo Buck, like Pat sez, with a modification:
    
    Buy the jack assembly from radio-trash.  Instead of using the nut,
    replace the whole assembly.  I betcha those wire are NOT soldered
    at all... I bet they are those bayonet mounted thingies....
    
    Even if they are soldered, don't sweat the $7.95 for a cheapo
    soldering iron...  You'll get tons of use from it eventually.
    
    jc

Yo Buck!

	I you want, I'll replace it for you. 

-T

    
    
    
  >  "I use a JCM 900 100 watt Hi Gain Dual Reverb.  It's the new one with
  >  gain sensitivity that goes up to 20, as opposed to 10.  I always put it on
  >  20."
  >  -- Dave Navarro - Jane's Addiction, JCM 900 Hi Gain Dual Reverb
    
    
  See, Tom Proulx, I told you the newer ones (mine) have more gain. 8-)
    
  Kevin
    
    
    

    Everyone I know who has a JCM 900 starts off with the gains maxed out,
    but after you learn to play the amp, you discover the amp has a nicer
    voicing without the total barrage of distortion.  
    
    Buck, who started off 20, 10...now plays 14, 8

    
    
    So far I haven't found that to be true for me, Buck.  Then again, your
    MV model is supposed to have more gain the Dual Reverb model, so that
    might make the difference. 
    
    Kevin
    

    Re: speaker nut
    
    Marshall probably uses metric sized hardware.  Try bring one (from your
    other cab) into your favorite hardware store and match it up.
    
    Mike

    Well I have a typical good news-bad news scenario.  The Marshall dealer
    where I tried the 100wt dual reverb half stack offered me $600 for my
    KH M1 combo on a trade-in for said half stack.  Then they wanted to
    charge me LIST (i.e., $2K) for it.  If I sell it myself they said
    they'd 'let it go' for $1.5K.  I'll try getting them in the mail order
    ball park on my next visit.  Kind of surprised me since they beat mail 
    order prices on a DSP256 XL.  It's gonna be a while before I can sell 
    the amp and mail order one.
    
    Mike

    
    For folks in the NE area, there is a JCM900 Dual Reverb 1-12 combo in
    the Want Ads magazine for $650/bo.
    
    That isn't a bad price....
    
    Kevin                 
    

    Mike,
    
    $1500's still too high on the half stack.  Seems like the mail order
    places are stiffening up their prices a little (probably because of the
    popularity of these amps), but I'd think you should be able to get that
    half stack for $1300 from a store without any problems.  
    
    NOBODY charges list for stuff, regardless of trade-in, I would have
    told 'em they were full of dung (to phrase it politely in here).  If
    they were willing to sell the thing for $1500 before negotiation and 2K
    then they were willing to give you $100 for your M1.
    
    Remember on the Kitty Hawk that those amps never gained much
    popularity, so regardless of what it originally listed for or
    originally sold for, as far as most people are concerned, it's a NONAME
    100wt tube amp.  Yeah, they're nice amps, but it's the name on the
    front of an amp that will generally determine whether it'll hold it's
    value or not. 
    
    Greg
                  

    RE: Mikey H
    
    Gh is right, even $1500 is too high for that half stack!!  I paid
    so-so for mine, WITH a custom cab (25wt Cels), and it was only $1300
    total!
    
    Also, there should be some metalhead who would buy your 100wt,
    high-gain amp for what its worth.  Just tell em this is the amp Reb
    Beach used...how much better sell can you have??

    ...and Steve J. paid about what Buck did for his DR based half stack.
    He could also have done better by shopping around (and not getting
    impatient, eh Steve?)
    
    Greg (with the "new one that has the gain sensativity that goes to 20
          instead of 10?")

Yeah, I think with the right patience, I could have paid around 1250-1300 total,
but I ended up giving 1300 + tax because I *really* liked the sound of that
particular half stack and blah, blah, blah, end of story....  I have no
patience, just ask the Houseman -- Or actually as you'll see if you read this
entire note I have a lot of patience.

If you can get them into the low 1300 dollar range (total), its probably a
pretty good deal.  I think with some real talking you should be able to pick one
up for 40% off list, which puts that DR half stack at around 1200 + tx.

One thing I noticed.  Mail order places were much less hassle to deal with than
music stores, which are like going to a car dealership and getting swooped on by
8 salesmen at once.  You basically call 'em up and say, "I'll pay x for it" and
they tell you whether they'll sell it for x and you're done.   Great example is
the thing with the music store I went through when purchasing my new amp:

    me:		I have a quote from another store that will sell it for 1300.
		Plus, I know I can get it cheaper through the mail.

    salesman:	We can't meet the mail order price.

    me:		Ok, since I want it now, I'll give you 1300 for it.

    salesman:	I'll have to verify that quote and get back to you.

		    (Later that same day)
		    
    salesman:	I was quoted 1365 for that amp.

    me:		You're not as good a negotiator as me.  I'll give you 1300 for
	        it.

    salesman:	Well, I'll have to talk with the manager and see what I can do.

		    (Later that same day)

    salesman:	We'll sell it for 1335 + tax.

    me:		I'll pay 1300 for it; including footswitch.

    salesman:	You want the footswitch too!?  I'll have to talk with the
	        manager again.

    me:		I'll go elsewhere.

    manager (running over with deeply concerned expression on his face):
		What's wrong?

    me:		Nothing's wrong.  I want to give you 1300 for that half stack
		over there, you guys apparently can't sell it for that so I'm
		leaving.

    manager:	Will you buy it today?

    me:		(as if that should matter!) Sure.

    manager:	Let me see what I can do.

		(15 minutes later after the manager has been punching a hand
		calculator and frowning the whole time)

    manager:	We'll sell it for 1335+tx including footswitch.

    me:		I'll give you 1300 for it including footswitch.

    manager:	(after much groaning and more punching of calculator keys) ok.

I'll never buy from that store again.  In fact, if my buddies over at Rice Music
(only place that doesn't play this game) don't have what I want, I'll mail order
it. (Rice doesn't carry Marshall equipment)...

steve

    Re: -1
    
    I'll be playing that game on my next trip.  Sam Ash's catalog lists a
    100 wt Master Volume + � stack for $1100.
    
    I called Musician's Friend out of curiousity and they quoted $869.88
    for the 4100, $799.88 for the 4500, and $649 for the angled 1960.
    That's as bad as the local dealer, but I'm sure they'll change if I
    mention Sam Ash.
    
    Mike

    I paid $675 for my 4500 from Musician Friend, with shipping and the
    footswitch it came to $718.  Not the best price around, but definately
    cheaper then I could do locally (and NO hassle).  It doens't take much
    to get them off that first quote, basically something like "Sheesh, I
    can get it at my local store for MUCH less then that" and they're down
    there...
    
    I fully intended to buy mine down at the place Steve got his and we
    informed them of that, but after the way they treated him, I said screw
    'em and mail ordered it.  They harrassed themselves out of a $700+ sale
    and I have absolutely no sympathy for them.
    
    Greg
                                               

    Re: footswitch
    
    It isn't included?  Is it just a simple channel switch (i.e., one
    switch)?
    
    PMI (in New Jersey (800) 992-2764) has a 2500 � stack in their catalog
    for $1,084.  I've never dealt with them before, but that published
    price is as good as Sam Ash's.
    
    Mike

    Mike, the switch is a double switch for the DR's (At least I'd hope it
    was).  The part number is FS002 (clever eh ?).  You need a stereo cord
    with it...Make it a long one.  ;)
    
    jc

    As Jeff said, it's a double footswitch that requires a stereo cord. 
    Uses one side for  the channel and one for the reverb (affects both
    channels).  
    
    I think I know you well enough to say that you'd not be happy with the
    (lack of) versatility in the 2100/2500, Mike.  It's an incredible
    scream machine, but that seems to be about it.
    
    Greg

    Yeah Greg you're right.  I've been pursuing 4100/4500s anyway for that
    reason.  I like other styles of music beside rock.
    
    PMI (previously mentioned) has the 4100 for $780 and the 4500 for $715
    as their starting price.
    
    Mike

    All this excitment over the 900 series makes me wanna comment
    on the "old stuff" that I have.  After playing with my 2205 (JCM800), 
    and the 2550 Jubilee, here's a few comments on them.  

    The 2205 has 6550 power tubes, (5) 12AX7's, and has the following 
    controls:

    Pres Vol Verb     Treb Mid Bass Gain Vol      Vol  Bass Treb
      (Master)              (Boost)                   (Normal)


    The 2550 (Jubilee) has EL34 power tubes, (3) 12AX7's and the 
    following controls:

      Pres  Treble  Mid  Bass  Lead-Master  Volume  Input-Sensitity

    The 2550 "Input Sensitivity" control is a "pull pot".  Pulling it out
    adds clipping (distortion) to the "rhythm" channel, pushing it in 
    makes it clean (sorta).  Rolling this control back from 10 doesn't
    effect volume, but does effect the clip (gain, distortion, whatever).

    So, even on the lead channel you can clean it up some.  You can push
    the knob "in" and roll it back to about "5" and you have ultra-clean-
    and-loud in rhythm mode, or you can crank it to 10 and get that famous
    Marshall clean-but-not-quite sound - excellent for leads on the strat!

    Switch over to lead mode, and you have the same thing: pretty dirty, to
    wicked dirty... where the clean side is very clean to moderately dirty.
    In the rhythm mode (with the knob pulled out), you get a crunch to
    heavy rhythm sound, that you can boost for leads by going to the lead
    channel (foot switchable).

    Overall, the 2550 is very veratile for a Marshall.  It's hot too. You
    really have to *play* this amp though.  As mentioned with the  900
    series, It's make your boo-boos stick out like a sore thumb.  
    
    This amp RULES with the stock strat-o-blaster, RG550 and with the
    Charvel.  The RG570 sounds a little  too thick for me, as does the
    LesPaul.  My one complaint about it (and it's very minor) is that it's
    a little too quiet (clean?) - It only feeds  back at very high volumes
    (the kind that will drive you out of the room). I'm used to the Mp1
    which goes into full ultra-drive at pretty low volumes with the feedback 
    - I like feedback.
    
    The 2205 is a different beast entirely.  It's a bit thinner sounding
    than the 2550, a LOT louder, and the high end distorts faster (making
    the feedback that I (we) all love so much.  What I really like about
    the 2205 is that there are three master volumes for it:  One for the
    "normal" channel, one for the "boost" channel, and one for the amp
    itself.  This allows you to get that ultra clean by running the
    "normal" channel volume low, and the master-master wide open, or you
    can overdrive the "normal" channel by cranking that volume, and running
    the master-master at a low (relatively) setting.  Maybe it's the 6550
    power stage but this amp is a LOT louder than the 2550...And it all
    comes in a rush when the masters are set around 2 (!)...Seems like
    3-10 is for fattening_it_up.  This amp is also a lot brighter than the
    2550.
    
    The really amazing part is the difference in volume.  The 2205 is WAY
    LOUD.  As loud (if not louder) than the JCM900 4100 head I tried.
    Thats not a typo - it's a 50wt amp thats loud like a 100wt amp.
    It seems even louder because of the "illusion" of the volume hitting
    in the 2-3 range on the knob.
    
    As for the distortion characteristics, I like 'em both.  They are both
    different too.  The 6550 amp (2205) has a much tighter and crisper
    punch-you-in-the-chest distortion.  The EL34 amp has a much mellower
    tone; it's not a rip your heart out distortion per se, but it sweet-and
    saucy.  The 2550 really excels with the single coils and active
    electronics, while the 2250 doesn't seem to care what runs thru it.
    The LesPaul and 570 scream thru the 2205.  I think the 2205 also allows
    you to tailor the distortion to what you like by overdriving preamp
    gain or power tube gain, or a mixture of both. 

    Both heads have effects loops, the 2205 has a DI and reverb.
    
    FWIW, all comparisons are IMHO (naturally) and the heads were run thru
    the same 4x12 (stuffed with 30wt celestions).
    
    Hope this sheds some new light on the value of the 800 series and 2550
    Jubilee series.  The are both HOT amps (as are the 900 series).
    
    jc
    

    BTW - IMHO, Marshalls just don't sound as good with FX in the way.
    Run 'em blind-dog dry.  They sound too good by themselves to have
    an effects box clutter 'em up.  Leave the FX in your rack.
    
    Now if you REALLY wanna cool sound, try this:
    
    
    
    Guit---->A/B/Both box--A)----------Marshall-->4x12
                         --B)----------RackFullOGoodies -->2x12
                                                        -->2x12
    
    You can switch back and forth, or drive both.  It's a nice combination.
    
    jc
      

    My final test will be to play a Takamine thru the 4100 half stack. 
    As I said before, I like many different styles.  I expect it to sound
    great though since the clean channel can be ultra clean.
    
    Mike

    Re: effects
    
    Some effects can compliment the sound.  The ones I've heard sounded
    great with just the necessary effects (i.e., chorus, delay, reverb).
    
    I'm tempted to forget all about rack stuff and just get a few pedals.
    
    Mike

    Nahhhh, if our using a  marhsall, leave it to the person behind 
    the desk to add effects to your sound.  Provide him/her with
    a nice fat signal, and let 'em at it !  That leaves less to
    worry about.

    Re: effects
    
    I think it depends on what style of music you're playing.  Besides, not
    everyone has a sound engineer with a rack full of effects.
    
    More prices, this is from Sam Ash:
    
    4100 - $719.95
    4500 - $659.95
    1960A  $509.95
    
    Mike

    
    Go on down to your local Marshall dealer and demo a Valvestate model
    and they'll validate a coupon you send to Marshall for a free
    leather strap.
    
    Saw the coupons but no amps at Daddy's Shrewsbury.  Well, maybe you can
    get the salesman to lie and said you demoed the amp and you can get the
    strap anyway 8^)  8^)
    
    							Brian

>>    More prices, this is from Sam Ash:
    
>>    4500 - $659.95
>>    1960A  $509.95

I doubt anyone will beat this by any significant amount.  Time to quit talking
and fussing over it and order them.

steve

>I doubt anyone will beat this by any significant amount.  Time to quit talking
>and fussing over it and order them.
    
    ...but I have to sell my current amp first :-(

    That didn't stop Steve (who still has a Mesa/Boogie MkIII half stack
    for sale).  ;^)
    
    Greg

    but it stopped you!  Steve must be single ;-)

>    but it stopped you!  Steve must be single ;-)
    
    Nope, he's been married a lot longer then I have...
    
    AND (FWIW) it didn't stop me either.  I ordered the thing before I got
    a dime for anything I had for sale!  (most of it didn't sell anyway)
    
    Greg

    Re: -1
    
    sure Greg, sure.
    
    BTW - Is JCM really Jim Marshall's initials?
    
    Mike

    
    JTM :== Jim & Terry (wifey) Marshall
    
    JCM :== Jim (something with a c) Marshall

    JCM :== Jim & Connie (girl friend) Marshall ?

    JCM = Jim Cittyhawk (poor speller ...) Marshall .. heh heh heh ...
    
    Scary 

    Just a quick JCM900 update:                        
    
    I tried the 4500 with a stomp box EQ and compressor last night and
    found that either one gave the ULTIMATE scream I'd missed in the amp.  
    
    The EQ did it with less noise (but my Washburn EQ stomp might be higher
    quality then my Nady compression stomp) and gave a little more of an
    "edge" to the sound.  I pulled all the midrange frequencies
    (400,800,1.6K) all the way up, gave a little cut on the lowest band
    (100) and left the rest flat.  This did not add appreciable noise to
    the system.
    
    The compressor added a lot of perceived gain, but gave a little
    smoother sound to it, not as wild a tone.  Even with the "sustain"
    level set at only 3/4 of the way, it did however add a lot of
    hiss (IMO).  If you just kicked it in for a solo and turned it back off
    you probably wouldn't notice anyway.  
    
    Maybe at some point I'll look into getting a better compressor, like
    the Boss one, but the EQ should do me fine for now.
    
    Greg

    It's Jim and Caroline Marshall.  His NEW wife.  I think he blew off
    Terry.
    
    Check out the new Valvestate Microstack !!  Wow!!
    
    jc (who tried a 2500 out today, but still likes his 2550)

    re -.1 
    
    Gee, I thought it was Jim, Coop, and Marshall (JCM).
    Oh well.
    
    -Tom

    I checked out the ValveState Microstack with Coop Saturday.  I didn't
    bother playing through it myself (mostly just interested in getting the
    free strap), just listened to someone else.  Personally I didn't like
    it that much, thought it sounded kind of harsh.  But then again maybe
    that was the guitar he was playing or the way he had the EQ set or
    something. I'd have to listen to them side by side, but my initial
    reaction was that I liked the old Microstacks better.  No biggie, I
    wasn't looking to buy one anyway.
    
    BTW, I noticed when we were at the store that Marshall is now offering
    a Microstack (not the ValveState model) with reverb.  Interesting!
    
    Greg (very close to Marshall nirvana)

    Of course he thought it was harsh...  I set the EQ !!
    
    
    :)

    Well, that would explain it...
    
    Another (potentially) lovely sounding amp ruined by Coops EQ settings!
    
    ;^) x 100,000

    I was just looking in the Musicians Friend catalog (not shopping, I
    picked it up to read the short interview with Nuno which I had been
    putting off for a long time since I had a quick break in what I was
    working on)...
    
    Anyway, I noticed that the Marshall 3005-C Microstack has some extra
    features which the regular 3005 doesn't.  This is the "classic" look
    one that we talked about awhile back (and I couldn't find the previous
    discussion).  I remember someone complaining before that the C model
    had a $50 higher list price so the extra features struck my interest. 
    
    It says it's got a footswitchable boost function and an effects loop. 
    The regular 3005 doesn't have either of these.
    
    Greg

re:  1103.1431 by HAVASU::HEISER 
    
>    You know, I didn't think about this at the time I tried it, but the
>    JCM900's have a real identifiable sound.  
    
    Yes and no IMO.  It *has* a tone of it's own, but the same amp will
    sound wildly different when different people play through it.  It think
    this is because of the responsiveness of the amp.  Steve and I found
    that the Marshalls we tried in stores sounded COMPLETELY different when
    we both played the same one because our playing styles are very
    different.
    
    I think this is a distinct advantage of using the Marshall.  It kind of
    explains how so many people can play them and get cool sounds, yet not
    sound alike!  I've noticed this with other Marshall models too, not
    just the 900s.
    
    Greg (really happy with his JCM900)

Here's one for the Marshall crowd:

Just got the Korg people that are listed in here as the US Marshall people to 
send me schematics for the JCM900's and the Silver Jubilee series and guess
what?

The JCM900 is not all tube.  The signal goes through at least 3 stages of, nope,
not transisters, but op-amp stages.

I don't think it matters, but I was surprised.

Will

    Will, all Marshalls since JCM800 go thru some op-amp stuff.  The 800's
    have some hybrid chip.  I was a might-suprised too.
    
    RE: Greg's comment about different players shining thru on the 900's.
    
    I think it's the same with all Marshalls tube stuff.  Also, you ought 
    to hear how the marshalls (at least mine) react to different guitars !
    The diff between my RG550 and my RG570 is AMAZING !  (Not so with my
    rack...)
    
    I keep my rack "on" just so I don't have to scamper over and re-dial if
    I use a different guitar...  Talk about F A T !
    
    jc
                                                   

    >The diff between my RG550 and my RG570 is AMAZING !  (Not so with my
    >rack...)
    
    Dats because your rack compresses the s*** out of everything that
    passes through it!!
    
    What's an Op-amp and why should it matter??

    An Op Amp (operational amplifier) is a small 8 pin chip with transistor
    amplifier stages inside it.
    
    Re: different sounds from different people
    
    That really proves it is all in the fingers.  We all have different
    finger mass.  That's why we wouldn't sound like Satch while playing
    thru his rig, or EVH while playing thru his rig.  But we can come close
    ;-)
    
    Mike

re:  Coop and the 800's and later

Cool.  It seems to be an interesting blend of old and new tech.  From what I've
heard, that is, in sound and comment, it works very well.  They sure have that
sound.

re: Buck and Op-amps

Op-amp is short for operational amplifier.  It's a little amplifier building
block, made out of transisters, all on an IC, used to build amplifiers with.
You can take an op-amp and two resisters and have an amplifier.  That's what
they do in the JCM900's to drive the effects loop and run the master volumes.
The sound shaping looks like it's done early in the preamp by tube circuits.
Then in and out of three opamp stages to run the effects loop, where 
all that's needed is a little current drive and mixing.  No sound shaping 
there.  Then it's into the power section for the last tube influence.  It 
looks like a nice design.  No tubes needed for the mixing sections, so it's 
more reliable there, and tubes where they really benifit the sound.

In this use of solid state, it shouldn't matter.  In other uses, like in the 
preamp and power amp stages, it would.  (Don't want to start that long 
discussion up again)

Will

    RE: op-amp's
    
    Oh, thanks.  Don'ty sopund like any big deal.  But what theheck, the
    900s still sound killer to moi.

    Well, I visited the Buckminister last eve and finally got to check out
    one of these notorious 900 jobs.  Yowza.  It's all true!  This is a great
    Marshall, dare I say probably the best Marshall ever produced?  It does
    all the great classic Marshall sounds, from early 70's crunch to 80's
    mod-mania.  One thing I noticed right away about this amp, it sounds great
    no matter where the controls are set; the controls themselves seem to have
    more effect than usual on a Marshall, and it's possible to alter things
    quite a bit.  But the tone is always creamy, even at warp gain; never thin
    or buzzy.  This, to me, is the essence of the "brown sound".

    Many here have commented that these new Marshalls let the individuality of
    the player shine through; I found this definitely to be the case.  The amp
    is touch-sensitive in the same way that the best vintage Marshalls are.
    Imo, that's something that a lot of otherwise good sounding amps
    (fr'instance rack pre-amps) totally miss out on.  It may be possible to
    emulate the tone of a great Marshall pretty close, but they don't
    play/feel/touch like the real thing.  The 900 does.

    One more comment; Buck's amp is the MV model, and I was expecting mad,
    squealing distortion from hell.  Not true!  Even at the most radical settings,
    it was well behaved, delivering a super EVH type modified squeal.  At lower
    settings, the sound was pure classic Marshall; all the great tones on all
    those records you grew up with.  Probably the only thing it didn't nail dead
    on was the more bluesy "Bluesbreakers" tone, but to be honest I would see no
    problem using this amp on a blues gig.

    Now that I've checked this one out, I'm even more interested in comparing
    it to the Dual-reverb model (hey Kevin, you out there?).  This one's gonna
    be a tough act to follow.

    /rick

    
    
    Yup, I'm here.  I've not heard the 900 MV version, but the Dual-Reverb
    *can* get that Bluesbreakers tone! From the "clean" channel, no less!
    
    Let me know when and I'll bring it down for a demo.....
    
    Kevin
    

    The last time I tried the DR � stack, I also gave it the roadie test. 
    My KH M1 combo is MUCH heavier than the head & � stack separately!  I 
    was really surprised (and glad ;-)).
    
    Anyone know the number of preamp tubes in the DR amps?  I know the 50wt
    and 100wt have 2 and 4 tubes in their respective power sections.
    
    Mike

>    The last time I tried the DR � stack, I also gave it the roadie test. 
    
    You dropped it?

>    Anyone know the number of preamp tubes in the DR amps?  I know the 50wt
>    and 100wt have 2 and 4 tubes in their respective power sections.
    
    There are three 12AX7 preamp tubes in a DR head.
    
    Greg

    maybe I should of dropped it.  Then I would've had to buy it ;-)

    
    
    I just saw a brand new JCM 900 High-Gain Dual Reverb 50watter at
    Daddy's in Nashua for
    
              $649!!!!!!!
    
    Kevin
    
    
                         

Is is true that Jimi Hendrix's middle name was Marshall?

Jim :-)

    I thought I heard that it was ;-)

    Dats what it sez on de tombstone.  BUT, how come there are Strats on
    the headstone and no Marshalls?!?

    I visited another local Marshall dealer yesterday and they had quite a
    stock of JCM900 amps.  

    What I tried:                    What was there, but I wasn't interested:
    DR 100wt 2x12 combo              DR 1x12 combo
    DR 50wt � stack                  DR 100wt � stack (already tried one)
                                     MV 100wt full stack

    I didn't bring my guitar so I ended up using a Yamaha Pacifica from the
    store.  I didn't like the way it was setup (it's no Ibanez ;-)) and the
    2x12 sounding like something was wrong with it.  It had an annoying
    buzz, but it was sold anyway.  I couldn't believe how much lighter it
    was than my M1, and it has an extra speaker.

    The 50wt � stack was more to my liking, but didn't sound as good to me
    as the 100wt � stack I tried.  I plan of going back with my guitar
    since I used it thru the 100wt � stack before.  The Price you ask? 
    Without even negotiating, they told me $1,295 for the � stack including
    the footswitch.  The place is a Keyboard shop that is just getting into 
    the guitar arena.  They seemed aggressive for business so I may be able to
    negotiate a better deal.

    Mike

>    The Price you ask?  Without even negotiating, they told me $1,295 for
>    the � stack including the footswitch.
    
    That's a good price!  If they'll negotiate a little, it'd be a killer
    price!
    
    Greg

    ...but I'd have to pay sales tax ;-(
    
    Everyone get their official Marshall calendar yet?  I was given one
    yesterday at my fav music store and I hung it in the office today.  It 
    is the official 1991 version with great pictures of amps, stacks,
    combos, etc., taken at various scenic spots around the world.
    
    This month has a JCM900 full stack taken in front of the KCR Clocktower
    in Hong Kong.  I just wish I had a color scanner so I could create GIF
    images of these for my workstation's root window.
    
    Mike

    Just HAD to put a note in...
    
    I heard my first JCM 900 Dual Reverb amp this weekend (have only
    heard the High Gain Mk III's prior), and I have to say, I am
    TOTALLY impressed!
    
    Mr. Jensen should be proud of his wonderful amp.  Every single aspect
    of this amp is reall nice.  Even the reverb is very nice sounding and
    useable.  Made me get major GTS!  ;^)

>   -< One of each JCM 900? >-
 
    Actually, in certain band type scenerios I could see that as being a
    *very* viable and useful option.  I would *seriously* consider it if I
    were in that sort of band!
    
    ...but I'm not and the DR is perfect for my tastes and what I'm doing
    right now.
    
    I played my JCM800 last night and both the tone and flexability of the
    JCM900 totally smoke it.  It's still a nice sounding amp, but it
    doesn't compare to the 900.  The contrast wasn't as drastic as between
    Steve's 900 and his Boogie .22, but there was still a sizeable
    difference.
    
    Greg

    The side-by-side comparison of the Boogie .22 and the JCM 900 was
    embarrassing...FOR BOOGIE!
    
    

    
    To continue from general discussion....
    
    When I first got my JCM900 I was running *all* of the tone controls
    wide open.  Since then, I've backed the presence and treble off to 6. 
    Bass and mids are still at 10 and it's far from muddy. 
    
    With my Swedes and the 4-10 cab, it really isn't *that* bright with all
    of the tone controls on 10, but I do like it better with my current
    settings.
    
    Kevin

    

    Other Marshalls I've played have sounded really good with all the tone
    controls on 10, but I don't like the 900 that way (or Coops 2550
    either).  My 2205 doesn't sound too bad with everything cranked, but
    the 900 just sounds wierd like that.  
    
    Currently I run around P=3,B=4,M=6,T=3-4 on my 4500 and like it like
    that.  This is playing mostly older rock material using an Ibanez RG560
    and a pair of Marshall 4x10 cabs.  If I were playing metal, I'd boost
    the presence and treble more.  Buck had a cool sound with Steve's 4500
    on P=5,B=4,M=5,T=8.  Very crisp and sharp with lots of harmonic
    overtones.
    
    I expect that the EQ settings I use will change somewhat when I change
    over the the 4x12 cab.  I figure the presence and treble will come up a
    little, the 4x10's are pretty bright.
    
    Greg
                                          

Whew !

I think the JCM800 is WAY TOO BRIGHT with the Treb/Pres over 5 !
And y'all think my 2550 on 10/10 is too bright ??

Y'all are strange...

:)

>I think the JCM800 is WAY TOO BRIGHT with the Treb/Pres over 5 !
    
    ...and it is.  I ran it around P=2,B=4,M=5,T=4 last night.  Sounded
    pretty good, but nothing like the 900.  And that volume control that
    has all the adjustment between 1 and 2 is the PITS!  What a drag, it
    gets *slightly* louder from 2 to 4 and from there up to 10 there's no
    difference at all.  MAJOR dog leg right at 2...  ;-(
    
    However the tone changes in a different kind of way when you turn ALL
    the tone controls up like that.  Hard to explain...
    
    Greg

    
    
    
    	So, does Buck have some automatic thing (program) that he uses to
    mark those even hundred notes??
    
    

    Just one of those times I wish I had my mod privs back!
    ];^>

      So I checked out the JCM900 DR quite extensively. I really like what
    comes out of these amps. Marshall really knows how to make the tubes
    work on the guitar signal. Of course they do - they are Marshall! 
    If I was ready to buy a new amp (and I'm far from it) this would be one
    of the few I'd consider. I really think Marshall realized that all the 
    users out there that were modding their Marshall's wanted just a little
    more sizzle and the 900's seem to have taked care of that quite well. 
      My only negative comment is that while it's hard to get a bad sound 
    out of a JCM900, the tone knobs don't have as much effect in the signal
    as some other amps do. But if you ARE looking for that Marshall tone
    then this is the place to be.
      And to top if  all off I  played through a VALVESTATE 100
    half-stack. It has some good sounds, but the JCM900 smokes it in lead
    mode. The VALVESTATE was a little too buzzy for my tastes in the
    overdrive channel. When playing clean it was really nice. Of course the
    VALVESTATE is cheaper than the JCM900 so you really have to decide
    which one fits your style and your budget. Chances are the VS amps are
    more reliable as well. They do sound better than some previous solid
    state Marshalls!
    
    							-KHaBOOM-

>My only negative comment is that while it's hard to get a bad sound 
>out of a JCM900, the tone knobs don't have as much effect in the signal

And it's a BIG improvement over the older marshalls on top of that !

jc

    Given all this good press, I decided to check out a JCM 900.
    
    But I got side-tracked and ended up checking out rack-mounted preamps.
    
    There were two Marshall "9000 series" preamps I check out.  Can I
    expect to get "that JCM 900 sound" from the preamp series?
    
    Now let me start by saying, that while I like to make fun of people
    who are devoted to Marshalls, in truth I regard myself as a very
    open-minded person and I really am considering getting a new amp
    to replace my Boogie.
    
    But frankly I was not very impressed with the preamps.

    
    Dave, did you try the solid state or tube preamp?  I haven't heard
    either, so I don't know if there is a big difference.  But, wouldn't
    this be like trying the Boogie preamp and deciding that you don't like
    the MKII?
    
    In terms of the JCM900 High-Gain Dual Reverb, try the real item and
    decide.
    
    Kevin
         

>    There were two Marshall "9000 series" preamps I check out.  Can I
>    expect to get "that JCM 900 sound" from the preamp series?
    
    There are two models of the "9000 series" preamps, the 9001 which is an
    all tube design and the 9004 which is solid state.  
    
    Temper this by the fact that I haven't tried
    either (sick of the preamp/poweramp setup that doesn't match and not
    interested in paying twice as much as the top of the line head for a
    seperate preamp/poweramp by Marshall).
    
    The 9004 is priced very economically.  Given this and the fact that
    it's solid state, I would not expect it to sound like a JCM900 all tube
    head.  Marshall claims that the 9001 is designed similarly to the
    JCM900 heads, but I've heard from several people that have tried them
    that they don't sound the same (and don't sound as good).  
    
    Milage may vary, I'm sure it makes a big difference what kind of power
    amp your running it through.  I am a firm believer that the tube power
    stage in the Marshall heads makes a significant difference in the
    sound.  If you ran the preamp through another vendors power amp (or
    worse yet a solid state power amp designed for sound reinforcement) I'd
    expect the results to be negative.
    
    On the other hand, I've played both models of the JCM900 heads (the
    MkIII master volume and the Dual Reverb) and have been universally
    impressed with them.  But tastes vary, so check 'em out!  I think you
    may well find an improvement over the seperate preamps.
    
    Greg

    The 9001 preamp and the JCM 900s are two totally different animals!
    

      As far as premps go, Marshall has NOTHING over my TR's - soundwise
    or flexibilitywise. I actually like quite a few things about the
    JCM900 DR though after putting it through its paces.
      I'd love to A/B/C these all-tube amps , all through a full stack
    with no limits on test volume as well:
    
    	A) Kitty Hawk M1
    	B) Marshall JCM900 (either DR, HG, or both!)
    	C) Yamaha T100 (yes, that's the Soldano/Yammie)
    
      Now - That would be an interesting test!!!!
    
    							-KHaBOOM- 

>      I'd love to A/B/C these all-tube amps , all through a full stack
>    with no limits on test volume as well:
    
    Now that *would* be great!!!
    
>    	B) Marshall JCM900 (either DR, HG, or both!)
    
    Definately both, they're different amps!
    
>    	C) Yamaha T100 (yes, that's the Soldano/Yammie)
    
    I'd like to hear one of these too!  Has anyone in here tried one yet?
    
    Greg

db,

I've played both the 9000 preamps...  I wasn't as impressed with the tube 
preamp, but was really impressed with ~$200 solid state preamp.  The tonal
verstility was beyond the limits of the tube preamp, and I liked the
distortion better, as well as the clean sounds.  I'd say the tube preamp
did have a better "crunch" mode though (ya know, that "not so distorted"
sound ??).

I played 'em both thru a MOSvalve.  I have to agree with Buck too - neither
of them sounded anything a JCM900 (or any "real marshall").  Definately a 
different of cat (no not Kitty)  :)

IMHO, there isn't much new stuff on the preamp market thats any good.

jc

    
    
    I tried the recording compensated output on the JCM900 last night.  I
    had to turn the mids and treble OFF to get a reasonable sound.  Bass
    was at 10 and presence around 6.
    
    The result is pretty good but sounds more processed than the sound of
    the Marshall through the speaker cabinet.  It was useful to be able to
    put the amp on standby and still be able to record direct. I had the
    amp cranked up midway and turned the input volumes on my tape deck
    down.
    
    As I said, not great but usable in a pinch.
    
    Kevin