Jim Marshall wanted someone to 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, a Pan American Airways technician, Dudley Craven, an EMI apprentice They most liked the sound of the 4×10-inch Fender Bassman and made several prototypes using the Fender Bassman amplifier as a model. In the early-to-mid-1960s, Pete Townshend and John Entwistle of The Who were responsible for the creation and widespread use of stacked Marshall cabinets. I go back and forth between the Spider V 60 and CODE 50 and like both. These amps were actually used on record by Billy Gibbons of ZZ Top, and are now in some demand. I have a mustang III and mustang I. My other gear is all valve which is great for large gigs but much heavier and more expensive. Technology.

Be who you want to be Upload and download to the global library of user presets using MyMarshall. For export, they added 55% onto my price, which pretty much priced us out of the world market for a long time. They approached Jim Marshall asking, if it would be possible for him to make their new rigs more powerful than those they had lost, to which they were told that the cabinets would have to double in size. Model. [9], Other brand names Marshall Amplification had used for various business reasons included Big M (for the then-West German market), Kitchen/Marshall (for the Kitchen Music retail chain in North London), Narb (Ken Bran's surname spelled backwards) and CMI (Cleartone Musical Instruments). 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. [5] This is the amplifier, in tandem with his 1960 Gibson Les Paul Standard (the "Beano"), that gave Clapton that famous tone on the John Mayall & the Bluesbreakers' 1966 album, Bluesbreakers with Eric Clapton. 30 days to exchange or return your purchase after the delivery. 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. General.

Four of these amplifiers were built and delivered to Pete Townshend, and the Marshall Super Lead Model 1959, the original Plexi, was born in 1965.

Few speakers then were able to handle more than 15 watts,[citation needed] which meant that an amplifier approaching 50 watts had to use four speakers.

Outputs. Townshend later remarked that Entwistle started using Marshall Stacks to hear himself over Keith Moon's drums and Townshend himself also had to use them just to be heard over Entwistle.

There are also solid-state models called MB series[23] ranging from 15 watts to 450 watts and extension cabinets. The amplifiers from this era are easily identifiable by their acrylic glass (a.k.a. Currently named the "AVT series" (although these are now out of production, being replaced with the "AVT tribute" for a short time), there are a number of different models, all of which are less expensive than their all-valve counterparts. [33], Competition from American amplifier companies, History of Marshall from Guitar World Magazine, September 2002, page 84, History of Marshall from Guitar World Magazine, September 2002, page 86, Learn how and when to remove this template message, "Marshall Headphones review, are they still the best? There are lots of features on the CODE so we've made some videos to help you better understand how the CODE can help shape your sound. The JVM410C, a 100-watt four-channel 2x12" combo.

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. The first six production units were assembled in the garden sheds of Ken Bran, Dudley Craven, and Ken Underwood in the same year, in Heston, Hanwell and Hayes, all in West London. Soon after the Rose-Morris deal had ended in late 1980, Marshall repackaged two MV models, the 2203 and the 2204 (at 100 and 50 watts, respectively), along with the 1959 and 1987 non-master volume Super Lead in a new box with a new panel, and called it the "JCM800" series (named after his initials and the registration plate of his car).

[17] Marshall made several amplifiers under the JCM800 name. Entwistle and Townshend both continued expanding and experimenting with their rigs, until (at a time when most bands still used 50–100 W amps with single cabinets) they were both using twin stacks, with each stack powered by new experimental prototype 200 W amps, each connected to the guitar via a Y-splitter. The CODE has 14 MST preamps, 4 MST power amps and 8 MST speaker cabinets for you to play and create sounds that suit you.

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 among the most sought after and most popular amplifiers in the industry. These are easily the highest distortion of the three variants.

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