These Plexi faceplates are gold-colored and smooth, not to be confused with the gold brushed metal used from 1969 onwards. 11 talking about this. Marshall Code 25 (Editor’s Choice). In his words he needed a sonic "weapon," a mandate that led Marshall and his team on a quest to build an unprecedented 100-watt amp. Pronto los usuarios, incluidos Pete Townshend y John Entwistle de The Who, que buscaban volumen extra, llevaron a Marshall a diseñar el amplificador de 100 vatios clásico. Los productos iniciales eran amplificadores de 45 vatios, muy similares en diseño y sonido a los que entonces fabricaba Fender. Unicord pensó que estos apenas podrían empujar la señal nominal, así que para los modelos de los Estados Unidos, Unicord los cambió por los tubos industriales 6550. En 2004, Marshall comenzó a vender amplificadores cableados a mano, basados en modelos hechos en 1960, incluyendo el combo 18 W, cabezal y cajas 20 W, y el Super Lead 100 W. Todos estos intentan ser la mejor recreación actual posible de los modelos originales. The front faceplate on these early models still read “JTM-45," but on the back a new white panel read "Super 100 Amplifier," giving rise to the popular name "JTM-45 100." Introduction Marshall have been celebrated and used by many famous artists and bands, for example: Jimi Hendrix, Slash, Oasis, Gorillaz, Justin Timberlake, Lana Del Ray, Muse and Slaves. The venerable Marshall JCM800 which was introduced in the 1980’s is considered one of the most prodigal guitar amps ever to hit the market and became an instant hit with some of the biggest names like Zakk Wylde, Slash, Randy Rhoads. Note that some models produced from 1979-81 had serial numbers stamped on the front panel (to the left of the power switch). They had a tilted top (Jim's idea) and an open back for the top pair. The new JTM 50 used EL34 power tubes (instead of KT66s, which were harder to come by at the time), yielding a higher output and requiring a bigger output transformer. We can’t talk about Marshall history without mentioning the Marshall Major (aka The Pig), a 200-watt version of the Superlead introduced in 1967 for players like Ritchie Blackmore who needed exceptional volume. Eventually the store changed its name to “J & T Marshall” and opened a second location across the street. Other amps blew up when pushed that hard, but the new Marshalls seemed to enjoy operating at the limit. These days, original specimens go for five figures all day long. When the last true Plexi heads were made in 1969, a template and a reputation had already been well established. Marshall Amps – The Complete History. These were changes made by both Ken and a recently hired young intern, Dudley Craven. The first Super Lead heads used EL34 power tubes (in place of KT66s), dual solid state rectifiers, and a single 100-watt Drake transformer. I’m writing here because I have just sold my amp and I’m searching for a new amp. While brushed gold metal faceplates replaced the true Plexi faceplates in mid-1969, the Plexi sound remained the same and became even brighter and louder through the early ‘70s. In addition to drums, Jim and Terry carried Vox and Selmer amps, but the bands stopping by convinced them to import Fender and Gibson guitars and amps as well. These early 100-watt versions of the JTM 45 became the "Dual Output" production model, named for its two separate 50-watt Drake transformers. Clapton had been touring in Greece with a side gig after leaving the Yardbirds, already having done one stint with Mayall’s band. With the additional of a split cathode preamp for different levels of brightness between channels, a modified tone stack for higher gain and a new Dagnall transformer, these JMP 100 Superleads were louder, more aggressive, more crisp. Marshall 1987 Lead, 2204 Master Volume Lead and JCM800 Lead Series 50 Watt Power Amp. Serial numbers began appearing on the back panels in July 1969. Clapton asked Jim Marshall to produce a combo amp with tremolo, which would fit in the boot of his car, and one of the most famous Marshall amps was born, the "Bluesbreaker" amp. Marshall Amplification fue fundada a principio de la década de los años 1960 por Jim Marshall en una pequeña tienda de Hanwell, Londres. As his number of students and desire to be a major drum dealer grew, it was clear he was going to have to set up his own shop. They decided to use this space for branding, adding the name JTM45 and MKII on either side of the switches. For Marshall, it all started with the JTM45 – Marshall’s first amplifier. History of the JVM. (Remember: Marshall model numbers do not indicate year of manufacture.) We don't usually think of Charlie Christian, T-Bone Walker or even Les Paul (as a player), though they all had considerable parts in moving the instrument forward. That’s when he purchased the iconic 2x12 combo on credit from Jim’s shop. In just four years, the 100-watt Marshall head went from a pioneering prototype (1965) to a workable production model with a single output transformer (1966) to a road-tested industry standard with EL34s and dual rectifiers (1967) to a refined legend with a split cathode preamp (1968). Marshall continua sosteniendo una posición líder en el mercado, y varios competidores (por ejemplo, Hiwatt, Sound City, Vox y Orange) desaparecen o se fusionan en los años 1970. More models started to sport the iconic script Marshall logo we now see today, and a new line of 50-watt amps took the market by storm. They created not only a new tonal palette, but an entirely new concert experience. It’s hard to think of British amp manufacturers without thinking of Vox or Marshall, but in back in the day, brands like Selmer and WEM reigned supreme. Marshall JVM215C 1×12″ 50-watt 2-channel Tube Combo Amp. What resulted was the first Marshall stack, with a 100-watt head placed atop two 4x12 cabs. The first amps had 5881 power tubes. While Fender amps may have blazed a trail for country and early rock ‘n roll, we owe modern lead guitar tone to the precedent-setting Marshall amps of the ‘60s and ‘70s. Los amplificadores de alta gama de Marshall siguen usando preamplificadores y etapas de potencia a válvulas de vacío en vez de transistores de estado sólido, aunque también fabrica dispositivos más baratos con únicamente transistores o mixtos (híbridos). Sign up to our newsletter to get the best Marshall advice, latest news, artist insights and more … A finales de los años 60, las distorsión (overdrive) de Marshall era la más utilizada por guitarristas como Eric Clapton, Jimi Hendrix y Jimmy Page. The heads produced under the JMP label from 1968–1972 (‘69 in particular) are considered by many to be the high water mark of vintage Marshall amps. Crunchy and bright at full volume. They made tight and articulate playing possible with loads of distortion. R 14,881.00 R 9,300.00. Townshend refused, so they initially built six of the cabinets (two for Townshend, two for Entwistle and two went to the Small Faces). the "Pig" from 1967 (thanx to and courtesy of Jacques of www.TS808.com). Durante los años 1980 y 1990s, Marshall continúa introduciendo nuevas series de amplificadores que ofrecen mayor ganancia y distorsión (Overdrive) a menor volumen. Marshall also made a series of 18-watt combo amps around the same time in 1965. 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