If you were to buy one Marshall amp.. what would it be.. and why?

randella

Lestratcaster said:

In reference to my Marshall Dookie mod post this is the one:

@Lestratcaster - Awesome, cheers for that - will take a look after tea

Lestratcaster

randella said:

Lestratcaster said:

In reference to my Marshall Dookie mod post this is the one:

@Lestratcaster - Awesome, cheers for that - will take a look after tea

If anyone can make a Kemper Profile of this I'd snap your arm off for it! Haha. That's the tone right there.

TTBZ

I read somewhere the same modded Plexi was used for Rancid's ...And Out Come The Wolves. Great tones on those albums! 

guitars4you

An original, fully working/restored 1974 Combo for me from the mid/late 60's - Not against the idea of a 1974X replica

randella

Lestratcaster said:

randella said:

Lestratcaster said:

In reference to my Marshall Dookie mod post this is the one:

@Lestratcaster - Awesome, cheers for that - will take a look after tea

If anyone can make a Kemper Profile of this I'd snap your arm off for it! Haha. That's the tone right there.

That's a killer tone right enough. Like anyone with ears and a TV I've heard those tunes a billion times but never really appreciated the isolated guitar sound. 

I did go down a rabbit hole on the modifications made to the Plexi by Martin Golub. Info's a bit thin on the ground and he died a few years ago so there probably won't be too much more.

I did unearth a couple of internal shots of one of his Dookie-modded amps. It does look to be some sort of cascaded gain stage conversion, similar to the Appetite SIR #39/36 amps and the Jose Arredondo stuff. It looks like it was converted to a 2203 JMP Master/800 circuit, and then a gain stage was added somewhere down the line which would account for the fourth preamp valve poking out the top. It has a master volume too.

Very cool! 

shaunm

Kalimna said:

shaunm said:

I adore JTM45’s, maybe the best clean tone in any amp IMHO. 

Then there’s the “Marshall” rock sound and JMP 50 waters are perfect. They record incredibly well too. Just the right EQ to get through a band mix

Very interesting you say that about the cleans. Ive not played a JTM45, but a BlackFlag JTM50 i built from a Modulus kit (and a lot of help from Michael) has the most glorious clean tones in it. Even though it has none, it almost sounds like it has reverb.

Yes indeed. There’s something about Marshall clean sounds. Big, bold and full. 

Modulus_Amps

shaunm said:

Kalimna said:

shaunm said:

I adore JTM45’s, maybe the best clean tone in any amp IMHO. 

Then there’s the “Marshall” rock sound and JMP 50 waters are perfect. They record incredibly well too. Just the right EQ to get through a band mix

Very interesting you say that about the cleans. Ive not played a JTM45, but a BlackFlag JTM50 i built from a Modulus kit (and a lot of help from Michael) has the most glorious clean tones in it. Even though it has none, it almost sounds like it has reverb.

Yes indeed. There’s something about Marshall clean sounds. Big, bold and full. 

The Blackflag is very close to the JTM45 when clean, but when driven the Blackflags EL34s break up in a more pleasing way (IMO)

Reverend

I have 77 and 78 JMP 2203s. they are the best, albeit too loud for less experienced sound techs.


I have a mini 800 which sounds reat and is loud enough to gig with, bearing in mind that there is a 99.999999% chance my drummer is louder than yours. 

Lestratcaster

randella said:

Lestratcaster said:

randella said:

Lestratcaster said:

In reference to my Marshall Dookie mod post this is the one:

@Lestratcaster - Awesome, cheers for that - will take a look after tea

If anyone can make a Kemper Profile of this I'd snap your arm off for it! Haha. That's the tone right there.

That's a killer tone right enough. Like anyone with ears and a TV I've heard those tunes a billion times but never really appreciated the isolated guitar sound. 

I did go down a rabbit hole on the modifications made to the Plexi by Martin Golub. Info's a bit thin on the ground and he died a few years ago so there probably won't be too much more.

I did unearth a couple of internal shots of one of his Dookie-modded amps. It does look to be some sort of cascaded gain stage conversion, similar to the Appetite SIR #39/36 amps and the Jose Arredondo stuff. It looks like it was converted to a 2203 JMP Master/800 circuit, and then a gain stage was added somewhere down the line which would account for the fourth preamp valve poking out the top. It has a master volume too.

Very cool! 

Yeah, I've longed for that sound since I was teenager haha. The mistake too many people make it using far too much gain so its too scooped and metally. That only makes up half of the tone, the other half is that warm vintage crunch from the other amp that has the extra gain stage with the master volume cranked. 

Yes Martin used to work at LA Sound Design, and I heard about his passing sadly. I wonder if he did hand down any tips to any amp techs.

I have a Dookie Mod Kemper profile and they're ok, and its close, but nothing beats that sizzle of a real cranked tube amp (or two) through a 4x12. I had to tweak the speaker cabinet on the profile as it was far too bassey and dark.

57Deluxe

200 Pig

rockmonster

Bah! Marshalls are shit!
https://i.imgur.com/hW7ELNF.jpeg

BigPaulie

equalsql said:

If you were to buy one Marshall amp.. what would it be.. and why?

Very specifically SIR Stock #39 because it's "the" amp, isn't it?

Fez

Jcm 800

Petepassion

A 1967 Superlead...but I'd really want JD's fingers too...
https://youtu.be/YZveZOnuHNo?si=feOiIXbyfNgWreRr

Flanging_Fred

I’ve used a 50w JCM800 1x12 combo as my main gig amp for years and it’s such a great sounding practical amp.  I’m not likely to get rid of it so I  would probably go for something a bit different, maybe the Satriani JVM and a 2x12 would be a change of pace. Maybe something left field like the old Club and Country. 

I’d like to try one of the old Super Tremelo heads at the end of a very long cable in a sparsely populated country, or better yet, go full Disaster Area and play from orbit.

Nerine

Flanging_Fred said:

I’ve used a 50w JCM800 1x12 combo as my main gig amp for years and it’s such a great sounding practical amp.  I’m not likely to get rid of it so I  would probably go for something a bit different, maybe the Satriani JVM and a 2x12 would be a change of pace. Maybe something left field like the old Club and Country. 

I’d like to try one of the old Super Tremelo heads at the end of a very long cable in a sparsely populated country, or better yet, go full Disaster Area and play from orbit.

Your 800 combo. Is it a 4010 or 4210?? 

I’ve never tried a 4010, but have played through a 4210 with an extension cab and it sounded sublime.

I was considering getting one, but always preferred the 4010 circuit, but wouldn’t be able to do without the fx loop that you do get on the 4210. Now I’ve got a Powerstation I can add an fx loop to any amp so the 4010 is an option now. 

I had an original Jubilee 50w combo and the amplifier sounded incredible but it was BADLY let down by the size of the cabinet and the V30 they came stock with. Plug it into a different cab and it was sooooo good. 

Wondered if the combo you speak of sounds decent because it’s a bigger size than the Jubilee cab? 

ICBM

The 4210 is confusing because there are two almost completely different circuits which look the same from the outside.

PPPMAT

I have heard a few 4210s and have always been very impressed - prob more than the jubilees to be honest

Flanging_Fred

Nerine said:

Flanging_Fred said:

I’ve used a 50w JCM800 1x12 combo as my main gig amp for years and it’s such a great sounding practical amp.  I’m not likely to get rid of it so I  would probably go for something a bit different, maybe the Satriani JVM and a 2x12 would be a change of pace. Maybe something left field like the old Club and Country. 

I’d like to try one of the old Super Tremelo heads at the end of a very long cable in a sparsely populated country, or better yet, go full Disaster Area and play from orbit.

Your 800 combo. Is it a 4010 or 4210?? 

I’ve never tried a 4010, but have played through a 4210 with an extension cab and it sounded sublime.

I was considering getting one, but always preferred the 4010 circuit, but wouldn’t be able to do without the fx loop that you do get on the 4210. Now I’ve got a Powerstation I can add an fx loop to any amp so the 4010 is an option now. 

I had an original Jubilee 50w combo and the amplifier sounded incredible but it was BADLY let down by the size of the cabinet and the V30 they came stock with. Plug it into a different cab and it was sooooo good. 

Wondered if the combo you speak of sounds decent because it’s a bigger size than the Jubilee cab? 

Mine is the 4010. Absolutely no frills at all. The 1x12 combo format does mean that it sounds smaller than with a 2x12 or 4x12 but in the small venues I play in, that’s probably a benefit rather than a drawback. I’m happy to let the drummer and bassist handle the low stuff. 

The singer/rhythm guitar player uses a Fender hot rod deville or blue deluxe in smaller places so the mid focused nature of my amp sits well against the more scooped sound of the fender. It seems to save a lot of time messing about with EQ on the desk. We all seem to blend in pretty naturally.

It ain’t flashy, but it does the job.

ICBM

Flanging_Fred said:

Mine is the 4010. Absolutely no frills at all. The 1x12 combo format does mean that it sounds smaller than with a 2x12 or 4x12 but in the small venues I play in, that’s probably a benefit rather than a drawback. I’m happy to let the drummer and bassist handle the low stuff. 

The singer/rhythm guitar player uses a Fender hot rod deville or blue deluxe in smaller places so the mid focused nature of my amp sits well against the more scooped sound of the fender. It seems to save a lot of time messing about with EQ on the desk. We all seem to blend in pretty naturally.

This. Mixing by EQ is far more effective than mixing by level, and avoids volume wars because you can still hear the quieter guitar. You can do it at the desk but it’s better just to start with contrasting sounds in the first place.

This is also why it’s best to raise the guitar amps off the floor, but keep the bass amp down on it - that naturally rolls off some of the bottom-end from the guitars but reinforces it on the bass. If the band mixes itself correctly ‘acoustically’ it’s much easier to get a good mix through the PA as well.