Marshall Vintage
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Marshall Vintage
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использует защитную технологию, которая является устаревшей и уязвимой для атаки. Злоумышленник может легко выявить информацию, которая, как вы думали, находится в безопасности.
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The Marshall Model 2466 is part of the Vintage Modern series, featuring 100 watts of all-tube power. Years of Production : 2007 - 2013
Vintage Modern 2466 100-Watt Guitar Amp Head
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This is my first article here at Solodallas.com. I hope this can be useful to all of you who are interested in buying old Marshall amps.
(SoloDallas’ note: it is with pleasure that I introduce to you our already very well known friend Andrè, aka Jaiminho Pagina : he’s now a contributor of SoloDallas.net!)
( NOTE – I did some updates at the 2203/ 2204 section of the article ~JaiminhoPagina)
Before starting, I must warn you that acquiring vintage gear can be really risky. You can end up buying something that is not what you expected or even something that is damaged or modded beyond repair. So, always keep your eyes open for “fishy” deals, look for information, and always ask for high definition photos (especially from the interior of the amps – the circuit, the tubes and transformers) to make sure everything is right. If you don’t have much experience (myself included, to be honest :P), I recommend asking help from the members here of the community. Post a link of the desired amp on the “Ebay Watch Post”, so we can help analyzing it.
In this article, I’ll try to cover the more “desirable” Marshall amps that were built since 1962 up to the JCM800 series, wich most consider to be the “last” great Marshalls produced (That until Marshall released the Vintage Modern series. These amps are really great!).
I’ll concentrate on “how they sound”, “how they look like” and also “how to tell them apart”. I will also try to give examples of where they were used..
Understanding Marshall model numbers
One of the most confusing things concerning these vintage amps are the model numbers. I’ll write down the most important ones and what they mean.
These are just a few of the thousands of codes that Marshall came up with for their amps. I won’t write the rest because it may confuse you even more. So, let’s stick to those for a while.
It’s important to note that, for example, a 1959 amp has nothing to do with the year 1959. Why they chose those numbers then? I don’t know.
The first Marshall ever made. It was basically a copy of the 1959 Fender Bassman. It had ECC83 (a.k.a. 12ax7) pre-amp tubes and a GZ34 rectifier tube. The first amps had 5881 power tubes. They were changed to KT66 shortly after. It was made as a head and as a combo (known as the “ Bluesbreaker ” combo). There were many cosmetic changes on the first years until it finally got the “Classic Marshall Look” by 1964.
The front panel has “Presence”, “Bass”, “Middle” and “Treble” controls, as well as 2 volumes and 4 inputs. In 1965, the plexiglass faceplates were introduced. This is the reason why Marshalls of this early era (up to 1968) are known as “Plexis”.
The sound of this amplifier is “creamy” and “warm”. I would say “crispy” too. This amp is more suited for blues players, with a smoother sound.
Eric Clapton used a JTM-45 combo on the legendary Blues Breakers with Eric Clapton “Beano” album (Now you know why this amp was called “Bluesbreaker” :P) He used his Les Paul through the Normal Channel of the amp. He discovered that, by playing really loud, it would start to “break up”. It was something really new. It changed music forever. The then “horrible” distorted and saturated sound turned into what we know today as the “rock tone” (maybe not yet… But we will get there).
Another example of this amp can be heard on AC/DC’s Ballbreaker album. Free’s debut album Tons of Sobs was probably recorded with a JTM-45 too.
The transition to the JMP: 1965 – 1967
This is a confusing era, with lots of changes and new models. So, I’ll try to explain it the best I can. The transitition from the JTM to the JMP amps happened, in my view, with three steps. The first one was the creation of the first 100w amp.
The JTM-45/100 with the “block” logo
Pete Townshend and John Entwistle of The Who needed amps that could overpower the noisy and energetic crowds.
Marshall then “hot-rodded” the JTM-45 using four KT66 and two 50w output transformers to handle the extra wattage. A larger headbox was also used. The result was the JTM-45/100 ( JTM-100 , for short). With more power tubes, the amp had more headroom, a tighter bass response and more definition. It was the first Marshall with a solid state rectifier.
Another player that acquired some of those was Eric Clapton, who used them to tour with Cream.
The change to EL-34 tubes resulted in the increase of power. The name of the amps was also changed. This is when the confusing model numbers started being used I believe.
The JTM-45 was now called Marshall Lead 50w #1987 .
This amp had a more edgy sound than the JTM-45, due to the EL-34s. But it also had the characteristic smoothness of the tube rectifier. For this reason, this amp is known today as the JTM-50.
I’m not sure what recordings this amp was responsible for. But Fil’s Metro is a reproduction of this very same amp, so you might be familiar with it by now.
Please note the “Black Flag” JTM marking that was used at that time.
The JTM-100, now with four EL-34s too, also gained a proper 100w transformer. The name? It was called Marshall Super Lead 100w #1959 (Although they still didn’t have the “JMP” mark on the front, In my view, this amps are already into the JMP territory, because they have all of the JMP characteristics).
This is a photo of a JTM-45/100, but it’s the same headbox used for the early Super Leads
I think you are all familiar with this amp. Many consider it to be the ultimate rock amp. It’s indeed, a lengend on it’s own. This early “Plexi” versions (up to 1968) are really articulate and have a real nice “roar”. If you want to hear this amp, listen to any Free live performance. Paul Kossoff was the man who really knew how to use these. When I listen to the Free Live! album, and I hear the sweet tone of that Les Paul through his Super Leads, I feel I’m in “tone heaven”
The change to the solid state rectifier
By late 1966 – early 1967, Marshall stopped using the GZ34 tube rectifier in all the models and started using a solid state rectifier instead.
The JTM50 now definetly turned into the JMP incarnation of the 1987 model, although the “formal” name ramained the same.
This amp is basically the 50w version of the Super Lead, so the sound is really similar to it’s “big brother”.
While all those changes happened, new models started being developed to expand Marshall’s catalog. Here are some of them:
The Marshall Bass 50w #1986 and the Marshall Super Bass 100w #1992 appeared after the change to the EL-34 tubes. Related to the #1987 and the #1959 respectively, they were designed for bass players. But many guitarrists also decided to try those and they found out that they could get really interesting tones with them. They were a bit smoother and had a tad less gain than their Lead counter-parts. They can easily be converted into Lead circuits as well. So, if you find one for a good price, grab it
It used the same headbox as the Super Lead. Front panel was also identical.
The Marshall Super PA 50w #1963 and the Marshall Super PA 100w #1968 amps may scare you a bit when you look at them. These amps had two “sections” (The most common thing to do was to set one section to Lead specs and the other one to Bass specs). With a standard eq (presence, bass, middle, treble), a total of 8 inputs (4 for each “section”) and 4 volumes, this thing is a real Frankstein monster.
So… How does it sound like? The Lead section sound like a Lead circuit. The Bass section sounds like a Bass circuit… duuuhhh
This is a really underrated amp. It is just as good as the other (probably even more versatile), but the “weird looks” probably scare people a bit and they think this is not a good amp. For that reason, these amps are less expensive and are a really great deal (if in good condition, of course).
Ah… Did I mention that Free used a lot of Marshall Super PAs on stage?
The back of a Marshall Major. Note the 4 KT88 tubes. The extra knob probably is a Master Volume mod.
If you thought a Marshall Super Lead was already too loud. Stay away from this thing. This is a JMP on steroids. It’s 200W of pure loudness
The Marshall Major 200w has a different circuit than its “little brothers”: the pre-amp has two ECC83s, but the third tube (the “driver tube”) is an ECC82 (a.k.a. 12au7). The power section has four KT88 tubes. These amps were not only stupidly loud, but also really really clean.
Ritchie Blackmore was a famous user of the Major, but they were heavily modded at the Marshall factory (as said in an interview) and later by a man called John Dawk. Blackmore’s amps had extra power tubes, making it even more powerful, as well as extra gain stages. Don’t ask how that’s even possible. I have no clue either.
These amps also CAN NOT TAKE ANY KIND OF BOOST OR OVERDRIVE. Its nicknamed “Smoke On The Water Effect”. These amps would blow because they were already working at critical point without anything, so if you plugged something to make them run even hotter… well…
This is one of the reasons why the Major was discontinued in 1974.
Marshall Super Tremolo. Note: 8 knobs instead of 6
These amps had an extra 12ax7 tube for the “tremolo” effect. They are easy to tell apart because the two extra knobs (“speed” and “intensity”) on the front panel.
These amps weren’t much popular and were discontinued in 1973.
On a side note, a faulty Marshall Super Lead #1959T was modified by Tim Caswell (he used the extra 12ax7 as another gain stage on the pre-amp), and it became the legendary #39 of SIR studios in California, USA. The amp was desired by every musician that rented it. SIR studios declined all the offers they received for it. Then, this amp was used on the rehearsal sessions of Guns ‘n’ Roses’ Appettite for Destruction album. Because of rumors that Slash was going to steal the amp (and legend says he did it!), SIR studios switched amps, and Slash ended up “renting” #36 instead: a late 70’s JMP, also modified like #39 (He didn’t notice the difference?). AFD was recorded with this amp. Then, a misinformed roadie returned it a year later (and was probably fired afterwards). Both amps never were seen again. (Creepy, huh? XD)
Close-up of a “plexiglass” panel JMP
And now, we are oficially into the JMP era.
The first JMP marked amps came out around late 1967, although, as you saw, all of them already had JMP characteristics. So, it was more of a “brand” renewal.
An important note is that, by 1968, there were some changes on the circuits that made the amps more aggressive. All the models mentioned above are still being produced here.
The amplifiers that were shipped to America had an extra toggle, wich was the polarity switch. That happened until around 1976.
A notable user of these amps is a guy named Eddie. Yes: On Van Halen’s debut album, a 100% stock 1968 Marshall Super Lead #1959 was used. With a thing called variac, he was able to kind of “attenuate” the amp and obtain more gain.
Jimmy Page of Led Zeppelin is well know for his use of a 1959 Les Paul and Marshall Super Lead #1959 amps (Did you notice that both have 1959 on their name? Coincidence? :P). I’m not sure of the year his amps were made, but something tells me that they are from around this period (1968 or 1969) or maybe from the early Metal-Face years. Anyway… It’s said that his amps were modded to accept KT88 power tubes, boosting their power to 200w (and actually, he really told so on an interview in 1977), but the question is: When was it done? – My opinion is that maybe he did that around 1974, since his tone was a lot different in the 1975 tour, but, of course, I might be wrong.
Malcolm Young said his favourite amp is an old Super Bass amp, probably from this period too (it could be an early Metal-Face as well).
The “Metal Face” JMP era: 1969 – 1976
Close-up of a “Metal-Face” Marshall
In mid-1969, the plexiglass faceplates were replaced by brushed aluminium faceplates, hence the nickname “Metal-faces”.
This change didn’t affect the tone directly. What happened is that there were more changes in the components and the amps became even more aggressive: they were brighter and had a more drive than before. This was actually good for most guitar players, since they wanted more and more gain.
Another good side here is that amps made after 1970 doesn’t have so much collectible value as the early “Plexi” amps. These are probably the best oportunities to own a “Plexi style” circuit without spending a fortune (with some tweaks, they can be converted into the “smoother” late 60’s circuit).
It’s important to note that from 1972 onwards, Marshall amps that were shipped to America had 6550 power tubes, because american dealers said EL-34s were breaking too much often inside the warranty time.
There weren’t much changes afterwards. The only one that worth mentioning is the switch to PCB style assembly on late-1973. Did it affect the tone? I can’t really tell. It got worse? Definetly not. They are as reliable as the PTP Marshalls. You can read more about this here .
Another change (wich is not that important) is that now the 50w chassis were put in the same bigger style headbox as the 100w. So, the only way to tell them apart (besides the model written on the back, and the number of power tubes) is by looking at the top. If it has a top vent, then it’s a 100w. If it doesn’t, it’s a 50w.
Due to all the hype around the PCB, post-1973 Marshalls are even more accessible to us.
AC/DC probably used Metal-Faces from this era to record High Voltage , TNT and Dirty Deeds Done Dirt Cheap , as well as live performances up to 1976 (Angus used to play his solos with the neck pickup a lot back then, probably because he coudn’t always play with his amps loud enough to get the desired overdrive).
The PA and Super PA heads were discontinued around 1975.
In 1976, Marshall decided to try something new. After receiving many complains, they decided to put a Master Volume on their amps. They used the #1959 and the #1987 as a base, removed the normal channel and added a pre-phase inverter master volume on it, so it was possible to have the pre-amp saturation at lower volumes. The panel of this model had only 2 inputs, standard eq section , a Pre-Amp and a Master Volume knobs. They called it Marshall Master Model 100w Lead #2203 and Marshall Master Model 50w Lead #2204 . Did it work? Yes and no. Yes, it was possible to have pre-amp drive at low volumes, but since it was the power amp saturation that made Marshalls so great, guitar players complained that they couldn’t get enough “distortion” at lower volumes. So… Marshall had to come up with something to solve this problem…
UPDATE: It seems that the early versions of the 2203 (100w – with the old cosmetics) already had the cascaded pre-amp. Only the 2204 (50w) suffered from the lack of gain at low volumes.
Early version of the JMP Master Model #2204 (no top vent = 50w)
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