I really enjoyed the "Anniversary" version which covered all the eras with a pushbutton system, and the JMP1 which, with the right power amp, did the same general thing. I'd still like to get another SL-x the only one where the added gain comes from another tube stage not transistors. No interest in the new multichannel, ribbon cable, whimpy PCB moder versions at all. And my buddies that fix amps REALLY don't like them, since I tend to keep amps for decades, I dont' want something that's going to break down and be unfixable.
Seriously, my favorite "Marshall" right now is a Laney Supergroup 50w I just picked up-stouter cleans and better crunch than most Plexi's I've tried Messages 6, Best: tie of my and 69 super trem t. Class 5. Chonny Senior Member. Not to knock or troll anyone but I really do not like anything made past the JCM and I could go into some serious detail because Ive owned them all. Im not sure what they are doing over there at Marshall but Orange is getting my repeat business for English amps because they make amps that sound the way I want where as Marshall seems to be getting off the path the made them famous.
My favorite is the Superlead w Plexi with the JCM coming second with big nods to the 18 watt and the Bluesbreaker combos. Doesnt mean these are bad amps but they arent the first two I mentioned.
Messages 9, Titi Member. I'll never sell it! Good: YJM. Very nice plexi tones. Average: Class 5. Rouxmarx Member. Any thought of the dirty Shirley? Messages 1, Messages 2, Not the information the op was asking for.
You must log in or register to reply here. Trending Topics. What is everyone's thoughts on Tim Henson's "Boomer Bends" comment? The Sound Hound Lounge. Who has the best tele tone? The one on the far right that may be laying down or standing up is the Power Transformer. Examine the shine or lack of shine on that transformer bell housing and compare it to the output transformer, which is the transformer closer to the near center of the amp. Do they look similar or is one nice and shiny while the other is dull?
If removing the chassis yourself, pay careful attention to the plexi panels. Now first, carefully look at the circuit board. The majority of these Marshalls have red painted dye that was put onto all the solder connections including the pots, switches and jacks.
Look for it everywhere. OR what if you see two different shades of dye? Beware as some unscrupulous people have re-dyed the factory solder joints after changing parts.
Now look for the cloth-coated wires from the output transformer that lead to the output ohm selector as well as the circuit and tubes one wire each there if I recall. Do all the wires from the output transformer have the red dye mark as well? Are the cloth-covered wires? Do the same by looking at the leads for the power transformer. In general, the earlier boards were all perforated and a dark tan and brownish color. Then that transitioned into a darker tan non-perforated board.
Also, regarding the bias selector, the stock original types for the plexi era are the slider types which are long metal pieces with a square slider that you move across to adjust the bias. The first of the screwdriver rotational types emerged either toward the tail end of the plexi era or right in the beginning of the metal panel era.
I call these the horseshoe style-bias adjusters. They changed again in early to another similar but smaller circular bias adjuster. Finally look at the inside of the chassis walls. Do you see any holes that appear from the inside, but not on the outside? Some are normal such as the spot where the tremolo and voltage selector areas are at. Usually those look factory made and are easy to identify compared to what someone may have done with a drill bit. In any case, seeing holes on the inside, but not the outside panel indicates a panel change.
Many things. First and most important perhaps is the sense of dynamics and rich harmonics. No large-production amp created before or since the early Marshall plexi series has been able to capture the feel of the player through varying degrees of dynamics and coloration from the mostly ELbased tube circuits of these Marshalls. Call it a lucky accident with the folks at Marshall, but they were able to create amplifiers that really responded well to the guitars that played through them.
A wide palette of distortion color that is rich and full and just powerful and timeless in tone is what these amps deliver. It takes some time to really get used to playing a basic amp such as a Marshall plexi.
No multi channels or reverb or effects and no master volume controls. Turn up the amp and play — play hard and the amp rewards you with fullness of tone and smooth distortion. Back off your playing and the amp will respond, and move into lighter shades of overdrive.
On a less-significant note as far as tone itself of the amp is solely concerned is namely the rich Marshall heritage. Finally, certainly something special, but not unique to the plexis, is the build quality. On that note, if you can forgive a previous mod-mark of some type, or are willing to deal with a fixer-upper amp you should find some good opportunities for good pricing.
Realize that a fixer-upper is like anything else and you may end up investing more dollars to fix up an amp to get it up to shape then what a clean-original piece would have sold for in the first place.
Think of this as similar to a classic car — you can purchase a beat-up classic car for a deal, but more often then not, buying a restored or extremely clean car in the first place — while initially at a higher investment in dollars — ends up being cheaper in the end. Fixing or restoring a classic car is not cheap and many of those little knick-knack parts can be very expensive. The same holds true, believe it or not, with vintage amplifiers.
On that note, I tend to stick to amps that are original in the first place without holes or replaced major parts e. From my experience, the higher prices paid for plexis come from vintage amp dealers and the lower prices are typically found from private party sales. That said, a dealer has its reputation at stake so usually there is more comfort involved with those purchases as well as possible recourse for misrepresentation or issues.
Some dealers are also very knowledgeable and not only specialize but also work on and maintain these older classic amplifiers. In the case of a dealer offering full servicing with its amps for sale, a higher price can often be justified and worthwhile. In other cases, a dealer may just be providing a high price simply from the fact that quite honestly, the plexi shopping market has really dried up in terms of really nice amps being available and the dealer may not be in any hurry to let go of the particular amp, knowing full well that its value will only go up as it sits in the shop.
Bulletin Board forums and various dealers are available online and are a resource. In the case of bulletin boards, these are great for meeting and conversing with other buyers and sellers of Marshalls as well as good avenues for information. You also have the Ebay option.
Thanks in advance. There are advantages and disadvantages to anything you do. Combo: Pros: Portable all-in-one solution. Perfect if you intend to mic it at a gig. Cons: If you want to plug the amp portion into a venue-provided cab or their PA system , then you are lugging the builtin speaker around for nothing. Head: Pros: Highly portable. Sometimes more reliable than their combo equivalents, and usually less expensive.
Cons: Must be plugged into a cab or PA system. If the venue does not provide this, you will have to bring your own cab, at which point your life is no easier than if you had to bring a combo. Tube amps: Pros: Best sound you can get from a Marshall. Can produce amazing, face-melting tone without breaking a sweat.
Cons: Expensive. I mean, really expensive. Tend to sound their best only when really cranked loud, and most of the time you'll never get to turn it up that loud, not even in a club, bar, or small hall. There is also tube replacement and re-biasing to contend with since tubes die eventually just like light bulbs. Solid State amps: Pros: Inexpensive.
Don't need to "warm up" before use, like tube amps. Often sound their best at lower volumes than tube amps require. Require virtually no maintenance.
Cons: Tend to sound less than great at high volume, though supposedly they still sound decent at most gigging volumes. Can not achieve the heavenly tone of a true tube amp. This comes with a host of pros and cons. Unlike solid-state, tube amps are louder, more responsive and contain a smoother distortion when the tubes are pushed. This is why gigging guitarists prefer tube amps due to their tone, volume and available headroom for loud clean tones.
However, the downside is that tube amps need volume to achieve a good level of saturation for overdriven tones, unsuitable for home use without annoying family, roommates or neighbors. Most modern valve amps include built-in attenuation devices via a switch selector. Essentially this drops the output wattage to lower levels of volume while still achieving a saturated tone at bedroom volumes.
The Code Reverb. Although Marshall arrived late into the digital modeling market. The Code 25 and watt versions are near identical with the exception of speaker size, wattage output, and preset edit controls. This is the ideal amount for home use while packing enough volume for gigs, practice, and jamming sessions.
The Code series only serves to do one thing…deliver the catalog of classic and modern Marshall tones, in an affordable and highly functional amp. The Marshall Code Reverb. The power amp models can switch between American, vintage or British tones. The 24 onboard effects keep the tone freaks satisfied including chorus, delay, reverb, flanger, phaser, modulation, wah, and compression. Giving the user an infinite amount of tonal variety.
You can view all the presets, effects and patches he re! With all the tone selection available, the Code is surprisingly easy to use compared to other digital modeling amps, cough cough Line 6! Creating a preset is as easy as selecting the patch via the button interface, and cycle and save patches via the LCD screen, allowing to effortlessly shape your sound.
The Marshall Gateway app can integrate the Code via Bluetooth from any IOS or Android device allowing control of all parameters at your fingertips with a smart and easy to use app. Another cool feature is the audio playback. Can the Marshall Code 50 run an external cabinet?
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