A 3 × 6 stack of Marshall ModeFour guitar cabinets on the main stage of in 2008. This setup belonged to of. Marshall Amplification is an company that designs and manufactures music,, brands personal and earphones, and, having acquired, drums and bongos.

It was founded by drum shop owner and drummer, and is now based in,, Buckinghamshire. Marshall's are among the most recognised in the world. They are known for their Marshall 'crunch'. This signature sound was conceived by Marshall after guitarists, such as, visiting Marshall's drum shop complained that the guitar amplifiers then on the market didn't have the right sound or enough volume.

After gaining a lot of publicity, Marshall guitar amplifiers and loudspeaker cabinets were sought by guitarists for this new sound and increased volume. Many of the current and reissue Marshall continue to use, as is common in this market sector. Marshall also manufactures less expensive solid-state, hybrid ( and solid state) and modelling amplifiers. Site of Jim Marshall's first shop, now a men's barber After a successful career as a drummer and teacher of drum technique, first went into business in 1962 with a small shop in, London, selling drums, cymbals and drum-related accessories; Marshall himself also gave drum lessons.

Sep 23, 2010. Turning a DSL 100 into a DSL 50. Without looking at both schematics, I guess there's a bit more to it than just changing the two transformers. Amps: 66 Fender BF Pro Reverb Combo,1973 50 Watt Marshall Head,Marshall 4x12 A/V Cab,Vox ToneLab LE,Vox VTH Valvetronix 120 Head,Vox AD 2x12 Cab. Guitar Tuner Apk Download For Android.

According to Jim,, and were the three main guitarists who often came into the shop and pushed Marshall to make guitar amplifiers and told him the sound and design they wanted. Marshall Ltd. Then expanded, hired designers and started making guitar amplifiers to compete with existing amplifiers, the most notable of which at the time were the amplifiers imported from America. These were very popular with guitarists and bass players, but were very expensive.

The three guitarists were among the first customers of the first 23 Marshall Amplifiers made. First amplifiers: birth of the JTM 45 [ ].

Main article: Jim Marshall thought he could produce a cheaper alternative to American-made guitar amplifiers, but as he had limited electrical-engineering experience he enlisted the help of his shop repairman, Ken Bran, an technician, Dudley Craven, and Ken Underwood. They most liked the sound of the 4×10-inch and made several prototypes using the Fender Bassman amplifier as a model. The sixth prototype produced, in Jim's words, the 'Marshall Sound'. The original idea was talked about late one night in early 1963 in a bar in Ealing in West London. The first six production units were assembled in the garden sheds of Ken Bran, Dudley Craven,and Ken Underwood in the same year, in, and, all in West London. They were almost copies of the Bassman circuit, with American military-surplus 5881 power valves, a relative of the. Few speakers were then able to handle more than 15 watts, [ ] which meant that an amplifier approaching 50 watts had to use four speakers.

For their Bassman, Fender used four in the same cabinet as the amplifier, but Marshall chose to separate the amplifier from the speakers, and placed four 12-inch speakers in a separate closed-back cabinet instead of the four 10-inch Jensens in an open-back combo. Other crucial differences included the use of higher-gain valves throughout the preamp, and the introduction of a capacitor/resistor filter after the volume control. These circuit changes gave the amp more gain so that it broke into sooner on the volume control than the Bassman, and boosted the treble frequencies. This new amplifier, tentatively called the 'Mark II', was eventually named the ', after Jim and his son Terry Marshall and the maximum wattage of the amplifier. Jimi Hendrix, Eric Clapton and other blues rock-based bands from the late 1960s, such as Free used Marshall stacks both in the studio and live on stage making them the most sought after and most popular amplifiers in the industry.

Distribution deal [ ] Marshall entered into a 15-year distribution deal with British company Rose-Morris during 1965, which gave him the capital to expand his manufacturing operations, though it would prove to be costly. In retrospect, Marshall admitted the Rose-Morris deal was 'the biggest mistake I ever made. Rose-Morris hadn't a clue, really. For export, they added 55% onto my price, which pretty much priced us out of the world market for a long time.' Park amplification [ ] The new contract had disenfranchised several of Marshall's former distributors, among them his old friend Johnny Jones.

Marshall's contract did not prevent him from building amplifiers outside the company, and so Marshall launched the Park brand name, inspired by the maiden name of Jones's wife. To comply with his contract stipulations, these amplifiers had minor circuit changes compared to the regular Marshalls, and minor changes to the appearance.

For instance, often the Parks had silver or black front panels instead of the Marshall's gold ones, some of the enclosures were taller or shaped differently, and controls were laid out and labeled differently. Starting in early 1965, Park produced a number of amplifiers including a 45-watt head.

Most of these had Marshall layout and components, though some unusual amplifiers were made, such as a 75 watt keyboard amplifier with tubes. A 2×12-inch combo had the option of sending the first channel into the second, probably inspired by Marshall users doing the same trick with a jumper cable. The 1972 Park 75 put out about 100 watts by way of two KT88s, whereas the comparable 50-watt of that time used 2 tubes. In 1982, Park came to an end, though Marshall later revived the brand for some transistor amplifiers made in Asia. The Parks made from the mid-1960s to around 1974 (the 'golden years'), with point-to-point wiring – rumoured to be 'a little hotter' than regular Marshalls – fetch higher prices than comparable 'real' Marshalls from the same period. Other Marshall brand names [ ]. Main article: To reduce costs Marshall started sourcing parts from the UK.

This led to the use of Dagnall and Drake-made transformers, and a switch to the valve instead of the tube commonly used in the United States. The changes gave Marshall amplifiers a more aggressive voice, which quickly found favour with players such as, who would sit in Jim's shop practicing. 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 ' amp.

This is the amplifier, in tandem with his 1960 Standard (the 'Beano') and a [ ] that gave Clapton that famous tone on the ' 1966 album,. The Plexi and the Marshall stack [ ]. Main article: Other early customers included and of, whose search for extra volume led Marshall to design the classic 100-watt valve amplifier. Ken Bran and Dudley Craven, Marshall's developers, doubled the number of output valves, added a larger power transformer and an extra output transformer. Four of these amplifiers were built and delivered to Pete Townshend, and the, the original Plexi, was born in 1965. At the request of Pete Townshend, Marshall produced an 8×12-inch cabinet (soon replaced by a pair of 4×12-inch cabinets) on top of which the 1959 amplifier head was placed, giving rise to the Marshall stack, an iconic image for rock and roll.

The size of the wall of Marshall stacks 'soon became an indicator of the band's status', even when rendered obsolete by improved PA systems; indeed, many of the 'ridiculously huge arrays of heads and cabs' included dummies. Still, most modern 100-watt heads have roots in Marshall's design, even though they often contain many more features (or different tubes, such as the more American-sounding tubes). Another valve change [ ]. Rare 1971 200-watt Marshall Major At this time, the KT66 valve was becoming more expensive, as the faced greater competition from. Hence, another valve change was made, with Marshall starting to use European-made Mullard power stage valves.

These have a different overdrive character than the KT66s, which gave Marshalls a more aggressive voice still. In 1966 was in Jim's shop, trying the amplifiers and guitars. Jim Marshall expected Hendrix to be 'another American wanting something for nothing' but to his surprise, Hendrix offered to buy the amplifiers at retail price if Jim would provide him with support for them around the world. Jim Marshall agreed, and several of Hendrix's road crew were trained in the repair and maintenance of the Marshall amps through the years. The amplifiers from this era are easily identifiable by their acrylic glass (a.k.a.

) front panel, which earned them the nickname 'Plexi'. In 1967, Marshall released a 50-watt version of the 100-watt Superlead known as the 1987 Model. In 1969, the plexiglass panel was replaced by a brushed metal front panel.

Mid-1970s and 1980s models [ ] The JMP's [ ] After 1973, to streamline production, labour-intensive handwiring was discontinued and Marshall valve amplifiers were switched to (PCBs). Much of the debate about the difference in tone between the plexi- and aluminium-panel Marshall amps originates from 1974 when a number of circuit changes were made to the 1959 and 1987 amplifiers; with the addition of 'mkII' added to the 'Super Lead' name on the back panel and 'JMP' ('Jim Marshall Products') added to the left of the power switch on the front panel. Marshall's US distributor Unicord also had them change all the amps sold in the US and Japan to the much more rugged instead of the EL34 output tube. The combined effect of different tubes and a modified circuit gave these mid-1970s Marshalls a very bright and aggressive sound that was punchier than the EL34 sound, but not as rich, compressed, and had less poweramp distortion. In late 1975, Marshall introduced the 'Master Volume' ('MV') series with the 100W 2203, followed in 1976 by the 50W 2204. This was an attempt to control the volume level of the amplifiers whilst maintaining the overdriven distortion tones that had become synonymous with the Marshall brand. In order to do this, Marshall designers connected the two input stages in series rather than parallel on the 2203, but not initially on the 2204, and modified the gain stage circuitry to preserve the tonal characteristics of the 'cranked Plexi' sound and converted the now obsolete second channel volume control to a Master Volume by wiring it between the preamp and EQ circuit.

The 2204 followed suit in early 1977 and changed its preamp circuit to match the (then) more popular 2203. Per Rick Reinckens, who was a short-term Unicord employee electronic technician who tested the first units when they arrived from England, Tony Frank, Unicord's chief design engineer, came up with this idea for a dual-volume-control (a preamp gain and a master volume). The circuitry modifications were optimized to replicate the sound of the earlier non-MV Marshall's with the Master Volume control set 'low', however players quickly realized that 'cranking' the MV of these new Marshall amps would yield even more overdrive distortion, the tone of which was more cutting and edgy, and later found favour with players such as, and. The 1959 and 1987 non-master volume models also continued under the JMP line until about 1980. Main article: Soon after the Rose-Morris deal had ended in late 1980, Marshall repackaged two MV models, the and the (at 100 and 50 watts, respectively), along with the and non-master volume Super Lead in a new box with a new panel, and called it the ' series (named after his initials and the registration plate of his car). Marshall made several amplifiers under the JCM800 name.

The Jubilee [ ] A landmark year for Jim Marshall was 1987. It marked 25 years in the amplifier business and 50 years in music. This was celebrated with the release of the Silver Jubilee series of amps. The Silver Jubilee series consisted of the 2555 (100 watt head), 2550 (50 watt head) along with other 255x model numbers denominating various combos and even a 'short head'. The Jubilee amps were heavily based on the JCM800s of the time, featuring a very similar output section along with a new preamp. Their most publicised feature was the half-power switching, which is activated by a third rocker switch next to the standard 'power' and 'standby' switches. On the 50-watt model this was reflected in the numbering – 2550 is switchable from 25 to 50 watts – and also reflected Marshall amps' 25th anniversary and Jim Marshall's 50 years in music.

The amps were trimmed in silver covering, and had a bright silver-coloured faceplate, along with a commemorative plaque. The Jubilee also featured a 'semi-split channel' design, in which two different input gain levels could be set, running through the same and master volume control. This allowed for a 'classic Marshall' level of gain to be footswitched up to a modern, medium to high gain sound, slightly darker and higher in gain than the brasher JCM800 sound that typified 1980s rock music. 'The sound of these amps is particularly thick and dark, even on the Marshall scale of things. The gain by today's standards is medium.'

The distortion sound of the Jubilee range is typified by Slash's live work with Guns N' Roses. He rarely used anything else live, but oddly the Jubilee did not appear on any Guns N' Roses studio albums – instead these feature a modded 1977 JMP mkII (non-MV) on (1987) and a modded JCM800 on the subsequent albums. It can be heard on some of the material though. The Jubilee amps also featured a 'pull out' knob that activated a diode clipping circuit (similar to boosting the amp's input with an overdrive pedal). Other notable Jubilee users include the, () and (), who used it extensively in the recording of Rush's (2012) album. [ ] After the Jubilee year, production of the 25xx series amplifiers continued for one more year (with no internal changes), but reverted to a standard Marshall livery of black and gold. These are sometimes referred to as the JCM800 Custom amplifiers.

Mid-1980s and 1990s models [ ] Competition from American amplifier companies [ ] Marshall began to see more competition from American amplifier companies such as and. Marshall then updated the JCM800 range with additional models and new features such as 'channel switching', which meant that players could switch between clean and distorted tones with the push of a foot-operated switch. This feature debuted in the 2205 (50 watt) and 2210 (100 watt) series and these amps contained more pre-amp gain than ever thanks to a new innovation; diode clipping. This meant a solid-state diode added additional distortion to the signal path, akin to adding a distortion pedal. As such the split channel JCM800s were the highest gain Marshalls yet built – 'When they were first released, many players were shocked (some were even put off) by its bright, intense distortion – far more than any other amp of the day.'

While hotly criticised today among valve purists, these amps were more popular than ever, finding mass acceptance within the hard rock community and still in use today by many. The split-channel JCM800s are still used by Tom Morello (Rage Against the Machine, Audioslave) and were played exclusively by Michael Schenker (UFO) for many years.

Marshall around this time began further experiments with amplifiers, which were increasingly improving in quality due to technological innovations but were still considered beginner level equipment. Regardless, solid-state product lines with the Marshall name on them were and still are a wild (if critically discounted) success for the company, allowing entry level guitarists to play the same brand of amp as their heroes. One particularly successful entry-level solid-state Marshall was the Lead 12/Reverb 12 combo series, which featured a preamp section very similar to a JCM800, and a particularly sweet-sounding output section. These amps were actually used on record by of, and are now in some demand. The 1990s [ ].

Guitarist playing a Marshall amp in 1994 JCM 900 [ ] In the 1990s, Marshall updated its product line again with the JCM900 series. Reviewed by Guitarist magazine in the UK and given the line, 'Shredders, here is an amp you won't need to have modified', this move by Marshall was again an outgrowth of musicians' desires, featuring more distortion than ever and retaining popular aspects of the late JCM800 models. However, despite such marketing claims they were not as hi-gain as advertised and lacked a full gain stage. Marshall rectified this with the SL-X series (as used by the group [ ]). This model was one channel, 2 switchable master volumes, and was given an additional pre-amp ECC83/12AX7 instead of diode-based distortion. Still, if not for shredders, the JCM900 was well received by younger players associated with pop, rock, punk and grunge which was widespread by the early 1990s.

The Dual Reverb was also notably used by Dave Navarro. The early JCM900 range featured the 4100 (a split channel, dual reverb head descended from the 2210), and the 4500 (same in a 50 watt configuration), along with the usual range of combos along the same lines. It also featured a single-channel descendant of the 2203/2204 line (the 2100 or 2500 Mark III), which is now quite rare and was essentially replaced by the SL-X (2100 or 2500 Mark IV) in the early 1990s – itself quite rare in EL34 form. Although the EL34 had at this time begun to return to prominence, a number of these were shipped with valves, a now uncommon valve similar in tone and build to a 6L6. Most of the JCM900s and 6100s built between 1994–1998 left the factory with the 5881s. Around this time, Marshall released a few 'special edition' amps in this range, including a 'Slash Signature' model, a first for the company. This was actually a re-release of the earlier Silver Jubilee 2555 amplifier, with identical internals, a standard Marshall look, and a Slash logo.

This amp retained EL34s and was produced 3,000 units from 1996 to 1997. 30th Anniversary 6100 series [ ] 1992 marked 30 years in the amplifier business. To commemorate this milestone, Marshall released the 30th Anniversary series of amplifiers, the EL34 powered 6100LE with commemorative blue covering and gold faceplate, which was followed by the 6100 (in blue tolex and still EL34 powered) and then in 1994 the 6100LM (in standard Marshall livery but now 5881 powered like the JCM900s of the time). All versions of the 6100 had three channels; clean, crunch and lead. The clean channel featured a mid shift, which gave the option of a more 'Fender-like' voicing, and the crunch channel featured three modes recreating all the classic Marshall crunch tones of the past three decades. The lead channel featured a switchable gain boost and a mid-range contour switch, which gave it the tone and gain levels, which Marshall's engineers hoped would keep it competitive in the high-gain world in the early to mid-1990s.

In fact some players felt the lead channel was perhaps the weaker link in the amplifier's arsenal, and it came in for revisions in the third year of production (the LM standing for 'Lead Mod'). This revision featured even higher gain. The Anniversary series found prominence with in particular, who favoured the early EL34 powered versions and used only the clean channel live along with his signature Vox Satchurator distortion pedal which is based on his old modded. Satriani used these older Boss pedals almost exclusively for live work and on a number of studio albums including (1992) until the early 2000s. The Anniversary models were probably the most complicated Marshall ever (other than perhaps the later JVM), with channel selection, half power switching, pentode/triode switching, adjustable speaker excursion, and a low volume compensation switch. Despite all this complication the amps had a pure signal path that did not share preamp tubes between channels (unlike later Marshall designs like the TSL and JVM).

Other famous 6100 users included on 's album (1996) and (OCS) guitarist. Current models [ ]. This section needs additional citations for. Unsourced material may be challenged and removed. (October 2009) () Marshall currently produces a number of amplifiers, which are a mix of modern designs and vintage reissues.

Most models attempt to include the 'classic' Marshall 'roar'. Modern series [ ] As of 2012, Marshall produced a wide range of amps with the look and sound of the Marshall valve amp. The longest running of such models is the JCM2000 range, which is split into the two- and three-channel series, known as the Dual and Triple Super Leads. These amps are a continuation of the JCM800 and 900 series, although the controversial diode clipping circuit used in the later 800 and 900 amps has been removed in favour of additional valve gain stages.

Although lumped together as JCM2000 models the DSL and the TSL have different circuits and are more distantly related than the model range suggests. The DSL is an extension of the JCM800 series with several changes including dual reverb controls and is generally considered to be an excellent workhorse although it lacks the direct foot switching of all 4 possible channel options – clean/crunch/OD1 and OD2 – instead it only offers 2-channel switching and both channels share the same tone knobs. Marshall looked towards a new flagship to nail all the compromising of the earlier models, the JVM, made in a variety of models and ranges. These amps have up to four channels, each with three-foot-switchable modes, dual master volumes, reverb controls for each channel, and a foot-switchable effects loop. These features can be programmed into the standard foot-switch to be foot-switchable as 'patches', so now the user can switch from, say, a clean channel with a chorus in the effects loop and reverb, to a medium-gain rhythm sound with no effects, to a high-gain lead sound with boosted output volume, with one click of the foot-switch per sound. The JVM range consists of a 100-watt four-channel head, JVM 410C (2×12-inch speaker combo), a 100-watt two-channel head (JVM 210H, used by Joe Satriani for some time), JVM 210C (2×12-inch speaker combo) and 50-watt versions of these (JVM 205H (head), JVM215C (1×12-inch speaker combo) and JVM205C (2×12-inch speaker combo), respectively).

Around the same time as the release of the JVM, Marshall also released an amp called the Vintage Modern, which is designed to be much simpler, with a single channel and designed to be controlled more by the player's style and guitar than by channel switching or multiple settings, reminiscent of the vintage 'Plexi' and JCM800 range, but with modern conveniences such as foot-switchable dynamic ranges (distortion levels), effects loop and reverb. The Vintage Modern series consists of the 2466 100-watt head and 2266 50-watt head with matching combos and a matching cabinet loaded with G12C 25-watt Greenbacks. The Vintage Modern is the first Marshall since the late 1960s to be powered by KT66s, a European version of the 6L6 tube. Vintage series [ ]. Retrieved 31 March 2012. Retrieved June 18, 2015. The Guardian.

Retrieved 5 April 2012 •. Basic Concepts Of Chemistry Malone Pdf Creator. The New York Times. Retrieved 6 April 2012 • ^ 13 December 2010 at the. • Salter, Trent (April–May 2003).. Archived from on 13 December 2010.

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Tronto, Canada: XMC Branded Products Inc. • History of Marshall from Guitar World Magazine, September 2002, page 86 • Pittmann, Aspen (2003).. • Millard, A.J. • Doyle, Michael (1993).. • Thompson, Art; Darrin Fox; Dave Hunter; Matt Blackett (January 2013).

'Nine 100-Watt Tube Heads'.. • • Maloof, Rich (2004).. • Nichols, Ritchie Fliegler; editor, Jon Eiche; assistant editor, Leslie (1993).

Amps!: the other half of rock 'n' roll. Milwaukee, WI: H.

• Nichols, Ritchie Fliegler; editor, Jon Eiche; assistant editor, Leslie (1993). Amps!: the other half of rock 'n' roll. Milwaukee, WI: H. 10 November 2012. • 16 July 2009 at the.

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• • at bbc.co.uk • Interview for NAMM Oral History Program (2002).