Superleads
(Marshall Mk II, heads):
1959 (100W) and 1987 (50W) are the two different
"superlead" models. They were introduced in
1965 and are still being made as ’69 reissues.
Originally made with KT66 power tubes (1965) but soon
they were replaced by EL34s (1966). The superleads
are easy to recognize with their four input-/no
master volume-design. The amps feature two channels
(two inputs for each, the inputs are wired so that
they can be used to connect both channels, thus
giving you two different sounds in one, and the level
of each controllable with a volume), bright and
normal, individual volumes for each channel and a
standard 4-band EQ. The sound is very
"rock", and very wanted. With the lack of a
master volume, the amps rely on power tube
distortion. This phenomenon comes with a price, and
the price is volume. And when I say volume, I mean
volume. A cranked 100W amp is VERY LOUD, therefore
power attenuators are often used to reduce the level
from stupidly loud to extremely loud. An original
1965-68 "plexi" (the term "plexi"
is used due to the fact that the amps had
gold-painted plexiglas panels during that era) head
might not be very easy to find, and if you find one
don’t expect it to be cheap, but superleads were
made both as JMPs (in the 70s), JCM800s (in the 80s)
and reissues (today) and you should be able to find
one used.
Plexi
Information:
Years are 1965 to 1969, later in Europe. Three phases
within the Plexi era: (dates are approximate)
(mid 65-66) - block-lettered Marshall logo, JTM45/Mk
II front panel legend, aluminum chassis, KT66/640vA,
3" power transformer, 2" output
transformer, no external filter caps. (67-mid 68) -
gold script Marshall logo, reverse JTM front panel
legend, steel chassis, EL34/460vA, 2" or 3"
power transformer, 1.75" output transformer, one
external filter cap. (mid 68-mid 69) - gold script
Marshall logo, JMP front panel legend, steel chassis,
EL34/500vA, 2" power transformer, 1.75"
output transformer, six external filter caps.
JMP
series (heads and 2x12" combos):
In 1976 Marshall introduced the master volume amps
(2203 (100W) and 2204 (50W)). With the master volume,
the amps no longer had to be cranked to distort.
However, no tube amp will sound good at low volumes
and these ones are certainly no exceptions. The amps
feature two inputs (high/low), preamp- and master
volume controls plus the standard Marshall 4-band EQ
(treble, middle, bass, presence). The superleads
(1959 and 1987) were also made in the JMP series.
Identical to the originals except for the cabinet.
All four models (2203, 2204, 1959 and 1987) were also
made as 2x12" combos (2103, 2104, 2159 and
2187). The sound is still classic rock and with a
humbucker loaded guitar and one of these, you’ll
have no problem grinding like a demon.
JCM
800 master volume:
The JCM 800 master volume heads also have the model
numbers 2203 and 2204 but are not identical to the
JMPs. These amps have more gain than the JMPs and
this is partially due to a solid state
clipping-circuit that was added for this sole
purpose. Some tube-fanatics consider this to be a
work of Satan and refuse to play JCM 800s. Being a
work of Satan or not, the Mk II master volumes still
provide a sound that lots of people love. The sound
is quite dark and barky with an accentuated upper
midrange, so if you're looking for the scooped-mid
Metallica sound, look elsewhere or buy an EQ and a
distortion pedal. These are no-nonsense machines for
more classic rock sounds. They can indeed be
criticized for having basically just one sound, but
what a sound! Lots of people consider that sound to
be THE sound...
JCM
800 superleads:
Basically identical to the original superleads but
fitted in the modern bold cabinets.
JCM
800 split channels:
Being the first Marshall with channel switching
capabilities, the split channel amps (heads: 2205
(50W) and 2210 (100W)) became very popular for their
versatility. The clean channel is by no means clean
in the real essence of the word, but to the early 80s
Marshall devotees it was something completely new.
The overdrive channel sounds a lot like the master
volumes’ and is clearly where these amps excel.
Also fitted with a reverb (not indiviual for each
channel) and an FX loop, the split channels were
Marshall’s first hi-tech amps. The split
channels are a little harder to find used than the
master volumes, but you should be able to find one.
It sounds quite like its brother, the master volume,
but with some (limited) channel switching
capabilities.
General
JCM 800 info:
Introduced in 1981 (split channel amps in 1982) and
discontinued in 1989. Superleads are available as
heads only, 50W split channel and master volume amps
available as heads, 1x12" and 2x12" combos,
while 100W split channel and master volume amps were
available as heads and 1x12" combos. Pre-1984
JCM 800s for the American market were shipped with
6550 power tubes and sounds a lot different from the
EL34-equipped "standard" ones. Converting
an originally 6550-equipped amp to accept EL34s is a
minor mod and should cost you more than £30. The
2203 was reissued in 1995 as a special limited
edition amp in red tolex, with matching 4x12"
cabs.
25/50
silver jubilee series:
Also a split channel amp, introduced in 1987 to
celebrate 25 years of Marshall amps and Jim
Marshall’s 50 years in the music business. The
front panel layout is simpler than the JCM 800 split
channels’ with only one gain knob, one
"lead master" and one "output
master". The gain and the "output
master" knobs are push-pull and activates
"rhythm clip" and lead channel
respectively. The amps were made in silver/grey tolex
and also feature a half/full power switch
(pentode/triode) and an FX loop, but no reverb.
Generally considered to be one of the best sounding
(Yes, I know that "best" is a relative
term...) Marshalls ever, it's a little brighter
sounding than the "ooouumphy" JCM 800s, but
not as bright as a JCM 900. These amps will give you
a sound that'll suit almost anywhere in the rock
spectrum of music, from Jimi Hendrix and Led Zeppelin
to Metallica. The jubilee amps have recently become
something of a collector's item and finding one could
require some serious research. The 2555 was reissued
in 1996 as the JCM Slash signature amp, with vintage
30s-equipped 4x12" cabs.
JCM
900 master volumes:
The JCM 900 master volume was designed to give the
late 80s metal bands what they wanted the most, MORE
GAIN. And more gain they got. However, the sound of
the 900s is not as ballsy as the 800s’. To get
the extra gain, the diode clipping-circuit was
modified which in turn gave not only more gain but
also a somewhat buzzier and brighter distortion. But
the players loved it anyway, and lots of people still
do. By backing the gain off, you decrease the amount
of solid state-clipped signal (the clipping circuit
is fed with less signal the lower the gain is set)
and you can get some killer, more vintage "true
tubeish" tones out of these amps. The tones
produced by these amps will first and foremost suit
modern thrash metal, hardcore or punk players who
don’t need a clean sound. In 1994 the Mk III was
replaced by the Mk IIII, also known as the SLX. These
amps feature an extra ECC83 (12AX7) preamp tube and
even more gain than the original JCM 900 master
volumes.
JCM900
dual reverbs:
Featuring a clean channel with some real headroom,
sounding a lot less "Marshall" than
previous "clean" Marshall-made channels.
The overdrive channel is less buzzy than the JCM 900
master volume and does not have as much gain. Front
panel functions include individual gain controls for
each channel, a shared 4-band EQ, and individual
reverb and master volume controls. Without knowing
it, Marshall made an amp that suited the next
generation of "alternative" bands. When the
gain is set low on the overdrive channel it'll sound
somewhat "retro" and turning it up a bit
(not past 2 with humbuckers, preferably in neck
position) results in a chunky ballsy tone. Scooping
out the mids and turning everything else up will give
you an "almost-SLX" sound, that can be used
for more "metal" applications.
General
JCM 900 info:
The JCM 900s were originally equipped with EL34 power
tubes, but from 1994 onwards they came with 5881
power tubes due to the fact that, at that time, EL34s
were becoming hard to find. The die-hard Marshall
user's consider this a cop out, while others
(including me) think that putting 5881s into the 900s
were a not-so-bad move since 5881s made the 900s
sound less brittle and a little more ballsy. Anyway,
it’s no big deal modding a 5881-equipped amp to
accept EL34 tubes. The master volumes' came as 50W
heads and 1x12" and 2x12" combos and 100W
heads and 1x12" combos. The dual reverbs came as
heads, 1x12" and 2x12" combos in both 100W
and 50W models. No SLX combos were ever made.
Anniversary
series:
The most versatile Marshall to date. Three completely
individual channels, clean, crunch and lead. Clean is
clean, jazzy clean or country clean or pop clean, you
decide. Crunch features three gain modes (A, B and
C), A gives you classic superlead crunch, B takes you
into 2203 territory and C gives you the SLX scream,
and a little more. The lead channel continues where
the crunch channel stops. Insane amounts of gain, I
haven’t heard more gain coming from an amp, with
a possible exception for the JCM 2000. Whatever your
preferences might be, the anniversary series amps has
got the sound for you. The design is also very
hi-tech. Channel switching is MIDI-controllable, the
FX loop has individual levels for each channel and is
switchable from serial to parallel, the power amp
features two different damping modes (low and high)
and an "auto" option that automatically
assigns the "right" mode for each channel,
a recording compensated balanced XLR output, a
low/high switch for pickup compensation and a
"low volume compensation" that fattens the
tone up a bit at low volumes. The anniversary series
amps were introduced in 1992 and the first year the
amps were made in blue tolex. Special (brass-plated
chassis, gold logotype) limited edition series amps
were also made in 1992. The series were continued
unmodified, but in black tolex, until late 1994 when
the lead channel was re-designed and the amps renamed
with an "LM" after the model number. The LM
amps are all fitted with 5881 power tubes as opposed
to the EL34s that the originals came with.
TIP:
The creamy, warm and rich characteristics of an old
Marshall amp can be found when the mids are brought
up. Try this one:
Presence
0, Bass 3, Mid 8, Treble 5.
The volume can be as high as you can
stand, but at least two-thirds for the best results.
Your roadie will peel you off the back wall!
