365 Guitars, Amps & Effects You Must Play by Dave Hunter
Author:Dave Hunter
Language: eng
Format: epub
Publisher: MBI
Published: 2013-04-29T16:00:00+00:00
Amp and photos courtesy Victor Mason/Mojave Ampworks
1968 Marshall JMP50
Now this is what we think of when someone mentions “that Marshall sound.” In the grand scheme of things, the “Plexi” amps—so named for their gold-backed Plexiglas control panels—of 1966 to 1969 were not all that much different from the earlier JTM amps of 1962–1966, or at least less different than, say, a tweed Fender Bassman of the late ’50s or a blonde Bassman of the early ’60s. Nevertheless, a few significant tweaks accounted for a tectonic shift in tonal signature. Add ’em up, and the move to EL34 tubes from 5881s and KT66s, hotter B+ voltages applied to those tubes, brighter voicing of the second channel, firmer filtering in the power supply, and a few other component and application changes signaled what was essentially an entirely new sound in rock amplification. When rammed through a closed-back cab with four warm, cracklin’ Celestion G12M “greenback” speakers, this amp virtually defines the sound of classic rock and has provided lead tones for several of the most influential players in the history of the music (either in its 50-watt form, as here, or with two more EL34s as the 100-watt Super Lead). Plexi, when nothing but a Marshall will do.
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