Marshall Amplification

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continuation of the JCM800 and 900 series, although the controversial diode clipping circuit used in the later 800 and 900 amplifiers 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 four possible channel options – clean/crunch/OD1 and OD2 – instead it only offers 2-channel switching and both channels share the same tone knobs. The DSL line does have a 6 button footswitch that can be purchased that allows switching between channels and modes for each channel. The JCM 2000 was touted as the best Marshall ever, with a question mark in the ads in various publications. They followed the 100W and 50W heads with the DSL401(40W) and 201(20W) combos, also with channel switching. In 2012, Marshall released a revamped DSL line with production and assembly in Vietnam. It consisted of the DSL100 head, DSL40 combo with a 12 inch Celestion speaker, DSL15 head and combo, DSL5 combo with a 10 inch Celestion speaker.The series was revamped in 2018 with a DSL20 head and combo, both with EL34 valves, thus discontinuing the DSL15s and an addition of a DSL1 head and combo to satisfy the bedroom player.

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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.

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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 the JVM410H, a 100-watt four-channel head; the JVM410C, a 100-watt four-channel 2x12" combo: the JVM210H and JVM210C, 100-watt two-channel head and 2x12" combo respectively; and 50-watt versions of these, JVM205H (head), JVM205C (2x12" combo) and JVM215 (1x12" combo). Joe Satriani uses a signature JVM amp called the JVM410HJS which features noise gates in place of reverb on the front panel.

890:. 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. 812:

model numbers denominating various combos and even a "short head". The Jubilee amplifiers were heavily based on the JCM800s of the time, featuring a very similar output section along with a new preamplifier. 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 amplifiers' 25th anniversary and Jim Marshall's 50 years in music. The amplifiers were trimmed in silver covering, and had a bright silver-coloured faceplate, along with a commemorative plaque.

1104: 1115:, which is designed to be a reissue of the late-1960s era "Plexi" amplifier, but which are in reality reissues of the post-1973 Super Lead models in that they use printed circuit boards internally to reduce manufacturing cost. The original design utilised hand-wired circuits on turret boards, which is now available for a premium in the "hand-wired" series. Other reissues are similarly PCB designed, even where the originals were hand-wired, except where explicitly noted (i.e., the "hand-wired" range currently offered). 1362:'s drums and Townshend himself also had to use them just to be heard over Entwistle. In fact, the very first 100-watt Marshall amplifiers were created specifically for Entwistle and Townshend when they were looking to replace some equipment that had been stolen from them. 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. They agreed and six rigs of this 741:(PCBs). Much of the debate about the difference in tone between the plexi- and aluminium-panel Marshall amplifiers 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 amplifiers sold in the US and Japan to the much more rugged 753:

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 preamplifier and EQ circuit. The 2204 followed suit in early 1977 and changed its preamplifier circuit to match the (then) more popular 2203.

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Mark IIIs are essentially JCM800 2203/2204s with added diode clipping controllable via a knob on the front panel and an effects loop. These are fairly uncommon and were not in production for long before being replaced by the 2100/2500 SL-X, which replaced the diode clipping from the Mk III with another 12AX7/ECC83 preamplifier valve. These are easily the highest distortion of the three variants. A number of these were shipped with Sovtek

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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 valve.

225: 2677: 1270: 1026: 1378:. These new "double" cabinets (each containing 8 speakers) proved too heavy and awkward to be transported practically, so The Who returned to Marshall asking if they could be cut in half and stacked, and although the double cabinets were left intact, the existing single cabinet models (each containing four speakers) were modified for stacking, which has become the norm for years to follow. 886:. 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 amplifiers contained more preamplifier gain than ever thanks to a new innovation; diode 1124:

their all-valve counterparts. It is Marshall's current line of "hybrid" amplifier, featuring a 12AX7 preamplifier valve employed in the preamplifier (to "warm up" the signal) as well as solid-state components, with a solid-state power amplifier. These are considered and marketed as intermediate-level equipment to bridge the gap between the higher valve range and lower range MG series.

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thousand, nine hundred and sixty-two in the Rose-Morris catalogue. Later amplifiers were given range designations as well as model numbers, which often indicated information about the amplifier itself, for example the JCM2000 range of amplifiers had models such as the TSL100 (Triple Super Lead 100 W) and combo amplifiers like the TSL122 (Triple Super Lead with 2×12-inch

2691: 687:"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 valves, such as the more American-sounding 757:

modifications were optimised to replicate the sound of the earlier non-MV Marshalls with the Master Volume control set 'low'; however, players quickly realised that 'cranking' the MV of these new Marshall amplifiers would yield even more overdrive distortion, the tone of which was more cutting and edgy, and later found favour with players such as

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entry level guitarists to play the same brand of amplifier as their heroes. One particularly successful entry-level solid-state Marshall was the Lead 12/Reverb 12 combo series, which featured a preamplifier section very similar to a JCM800, and a particularly sweet-sounding output section. These amps were actually used on record by

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A series of low-wattage, all valve heads and combos assembled in Vietnam hearkening back to the "Plexi"-era of the company. The Origin series was introduced to address a demand for lower volume amplifiers that many guitarists were calling for. To address this, Marshall announced the Origin5, a 5-watt

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Around the same time as the release of the JVM, Marshall also released an amplifier 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

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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 preamplifier valves between channels (unlike later Marshall designs like the TSL and

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The search for volume was taken on its next logical step with the advent of "daisy chaining" two or more amplifiers together. As most amplifier channels have two inputs, the guitar signal being present on both sockets, the cunning musician hooked the spare input of one channel to an input on another

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Marshall's "Valvestate" amplifiers contained a hybrid of valve and solid-state technology. 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

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With the introduction of the Powerstem technology, the Origin amplifiers are able to provide reduced output power while retaining the same tonal characteristics of a full-powered amplifier. This is accomplished through the new attenuation system, Powerstem, by dynamically reducing the rail voltages

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In 2016, Marshall introduced the CODE series of modelling amplifiers, ranging from the 25-watt Code 25 (single 10-inch speaker), 50-watt (single 12-inch speaker) to the 100-watt Code 100 (available as either a 2×12-inch combo or as a head unit). Developed in conjunction with Softube, the amplifiers

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Marshall continued with a wide range of amps with the look and sound of the Marshall valve amplifier. 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, as released in 1997. These amplifiers are a

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Around this time, Marshall released a few "special edition" amplifiers 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

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There are three different variants of the JCM900. The most common models are the 4100 (100 watt) and 4500 (50 watt) "Dual Reverb" models, which are a descendant of the JCM800 2210/2205 design. These models feature two channels, a largely solid-state preamplifier, and diode distortion. The 2100/2500

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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

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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

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According to 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 preamplifier gain and a master volume). The circuitry

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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,

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series in 1981, which was widely adopted by the hard rock and metal community, while the brand celebrated its 25 years of making amps by releasing the Silver Jubiliee in 1987. Marshall updated the JCM lineup in the 1990s (JCM900) and 2000s (JCM2000) and developed new amp lines, like the DSL and JVM

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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 amplifiers have up to four channels, each with three-foot-switchable modes, dual master volumes, reverb controls for each channel, and a foot-switchable

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1993 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

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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 amplifiers. The Silver Jubilee series consisted of the 2555 (100 watt head), 2550 (50 watt head) along with other 255x

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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

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After the Jubilee year, production of the 255x series amplifiers continued until around 1990 in extremely limited numbers, likely due to left over components. These amps have identical circuitry to the 1987 models but reverted to a standard Marshall livery of black and gold. These follow the same

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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

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and made several prototypes using the Fender Bassman amplifier as a model. The sixth prototype produced, in Marshall's words, the "Marshall Sound", although at this time the only involvement Marshall had was to sell the amplifiers on a commission basis in his shop. As business increased, Marshall

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following suit. However, due to the cost of transport, The Who could not afford to take their full rigs with them for their earliest overseas tours, thus Cream and Hendrix were the first to be seen to use this setup on a wide scale, particularly in the United States. Ironically, although The Who

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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. To do

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were the three main guitarists who often came into the shop. They pushed Marshall to make guitar amplifiers and told him the sound and design they wanted. Marshall Limited then expanded, hired designers and started making guitar amplifiers to compete with existing amplifiers, the most notable of

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of Slayer would often be seen playing in front of a total of 24 cabinets. Malmsteen toured with 30 heads and 28 cabinets, and in 2011 said he would use 60 full stacks on his next tour. Many of those cabinets used by rock bands, however, are dummies, and many artists who do not even use Marshall

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Occasionally confusion has arisen due to Marshall's method of naming each amplifier model, especially during its first few decades, when it was distributed under Rose-Morris. Early amplifier models were simply named after their catalogue number, so for example the 1962 Bluesbreaker was item one

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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

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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.

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was G3PUN, Ken Bran's was G3UDC, and Ken Underwood's was G3SDW. As of Dudley's death in 1998 and Bran's death in 2018, the only original individual is Ken Underwood. The first six production units were assembled in the garden sheds of Bran, Craven, and Underwood in the same year, in

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instead of the EL34 output tube. The combined effect of different valves 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.

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Entwistle and Townshend both continued expanding and experimenting with their rigs, until (at a time when most bands still used 50–100 W amplifiers with single cabinets) they were both using twin stacks, with each stack powered by new experimental prototype

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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

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pioneered and directly contributed to the development of the "classic" Marshall sound and setup with their equipment being built and tweaked to their personal specifications, they would only use Marshalls for a couple of years before moving on to using

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The Origin line consists of the Origin5 combo (5-watt, 1 x 8" Celestion Eight-15 speaker), Origin20 combo (20-watt, 1 x 10" Celestion V Type), Origin20 head, Origin50 combo (50-watt, 1 x 12" Celestion G12N-60 Midnight 60 speaker), and Origin50 head.

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In January 2009, Marshall released their latest variant of the MG line of practice amplifiers. Replacing the MG3 line, the MG4 has been designed to offer the guitarist a whole host of features whilst keeping the control of the amplifier simple.

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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

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loudspeakers arranged in a square layout. The top cabinet has the top two loudspeakers angled slightly upwards, giving the Marshall stack a distinctive appearance. When a single cabinet is used, the complete unit is called a

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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

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speakers) other product ranges use similar descriptive model numbers. Often, speaker cabinets designed to suit a particular range will give a prefix before the speaker description such as JVMC212 (JVM cabinet 2×12-inch

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contain 14 MST preamps, 4 MST power amps and 8 MST speaker cabinets, along with 24 effects. The amplifiers can be controlled via Bluetooth from iOS and Android devices and can also be used to stream audio from a PC.

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material though. The Jubilee amplifiers 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

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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

599:, who would sit in Jim's shop practising. Clapton asked Jim Marshall to produce a combo amplifier with tremolo, which would fit in the boot of his car, and one of the most famous Marshall amps was born, the " 679:, was born in 1965. At the request of 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 444:. Few speakers then were able to handle more than 15 watts, which meant that an amplifier approaching 50 watts had to use multiple speakers to handle the power. For their Bassman, Fender used four ten-inch 2762: 951:

valves, a ruggedized variant of the 6L6 family of output valves, due to a lack of suitable quality EL34s. Most of the JCM900s and 6100s built between 1994–1998 left the factory with the 5881s.

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they were not as hi-gain as advertised, and used solid-state components for much of the distortion in some models - something which many guitarists did not like. Still, if not with

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were responsible for the creation and widespread use of stacked Marshall cabinets. Townshend later remarked that Entwistle started using Marshall Stacks to hear himself over

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The MS-2 is a 1W micro amp, containing 2 channels and a 2" speaker, ideal for practice. The MS-4 has a 2x2" speaker configuration, and is designed to look like a full stack.

663:, 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 2747: 2243: 1078:

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".

824:. He rarely used anything else live, but oddly the Jubilee did not appear on any Guns N' Roses studio albums – instead these feature a modified 1977 JMP mkII (non-MV) on 2413: 2260: 452:

speakers in a separate closed-back cabinet instead of Fender's four 10-inch Jensens in an open-back combo. Other crucial differences included the use of higher-gain

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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 "

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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

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amplifier. By 1969, Hendrix was daisy-chaining four stacks, incorporating both Marshall and Sound City amplifiers, as recommended to him by Townshend.

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tube commonly used in the United States. The changes gave Marshall amplifiers a more aggressive voice, which quickly found favour with players such as

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speakers) or a suffix C to denote a combo variant of an amplifier such as the Vintage Modern 2266C (Vintage Modern 2 channel 2× KT66 valves Combo).

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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."

460:, 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 2722: 1580: 1287: 1043: 2186: 2717: 2301: 1557:

In 2021, Marshall Amplification opened the doors to a state-of-the-art recording facility at its base in Bletchley, Milton Keynes. Featuring a

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In 2010 Marshall started a partnership with Zound Industries to make headphones and bluetooth speakers, Zound Industries is most known for its

985:(1992) until the early 2000s. The Anniversary models were probably the most complicated Marshall ever (other than perhaps the later JVM), with 480:

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.

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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

1386:, each connected to the guitar via a Y-splitter. This, in turn, also had a strong influence on the band's contemporaries at the time, with 986: 943:, the JCM900 line was well received by younger players associated with pop, rock, punk and grunge which was widespread by the early 1990s. 719:

power stage valves. These have a different overdrive character than the KT66s, which gave Marshalls a more aggressive voice still. In 1966

644:) front panel, which earned them the nickname "Plexi". In 1967, Marshall released a 50-watt version of the 100-watt Superlead known as the 440:, all in West London. They were almost copies of the Bassman circuit, with American military-surplus 5881 power valves, a relative of the 815:

The Jubilee also featured a "semi-split channel" design, in which two different input gain levels could be set, running through the same

2752: 267:, England. Since March 2023, Marshall Amplification has been one of several divisions of the Swedish conglomerate, the Marshall Group. 1419: 608: 2285: 503:

Marshall's gold ones, some of the enclosures were taller or shaped differently, and controls were laid out and labelled differently.

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Marshall currently manufactures a professional, all-valve bass rig called the VBA400. It houses eight 6550 power valves plus three

803:" series (named after his initials and the registration plate of his car). Marshall made several amplifiers under the JCM800 name. 737:

After 1973, to streamline production, labour-intensive handwiring was discontinued and Marshall valve amplifiers were switched to

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in the same cabinet as the amplifier, but Marshall chose to separate the amplifier from the speakers, and placed four 12-inch

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and several of Hendrix's road crew were trained in the repair and maintenance of the Marshall amplifiers through the years.

282:, in 1963. Following complaints over limitations in amp volume and tone from visitors to Jim Marshall's drum shop, notably 2264: 971:

in particular, who favoured the early EL34 powered versions and used only the clean channel live along with his signature

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model number structure as the 1987 amps but do not have the limited edition badge and lose the “silver jubilee” name.

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that represent independent record labels. Marshall Records signed a North and South American Distribution deal with

979:. Satriani used these older Boss pedals almost exclusively for live work and on a number of studio albums including 1195:

amplifier that can run on either high (5-watt) or low (0.5-watt) with the help of Marshall's Powerstem technology.

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Marshall is an important sponsor of sport in the local area. Marshall were one of the earliest shirt sponsors for

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This competition for greater volume and greater extremes was taken even further in the early 1970s by the band

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There are also solid-state models called MB series ranging from 15 watts to 450 watts and extension cabinets.

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equipment. Cream, and particularly Hendrix, would be widely credited with the invention of Marshall Stacks.

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with their first-ever signature bass amplifier head, based on his 100 watt super bass unit "Murder One".

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and an extra output transformer. Four of these amplifiers were built and delivered to Townshend, and the

2606: 2601: 2560: 2452: 844: 738: 600: 582: 327: 2194: 2155: 1160: 1156: 404: 298:(released in 1965) being popularly known as "Plexis." Their adoption by guitarists like Townshend, 1961:

Jim Marshall, father of loud: the story of the man behind the world's most famous guitar amplifiers

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of full-stack Marshall amplifiers as their backdrop. (BÖC also referred to Marshalls in the songs "

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Thompson, Art; Darrin Fox; Dave Hunter; Matt Blackett (January 2013). "Nine 100-Watt Tube Heads".

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The company first began making amplifiers to provide an alternative to expensive, American-made

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Marshall amp fans, take a video tour of the British amp titan’s new mixing and recording studio

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Soon after the Rose-Morris deal had ended in late 1980, Marshall repackaged two MV models, the

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enthusiasts after they had been to their weekly Greenford radio club meeting, Dudley Craven's

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technician and Dudley Craven, an EMI apprentice. They most liked the sound of the 4×10-inch

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were manufactured, of which two each were given to Townshend and Entwistle and one each to

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Artist that have had their music release by Marshall Records include: Bad Touch, D_Drive,

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In the 1990s, Marshall updated its product line again with the JCM900 series. Reviewed by

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asked the three to work for him in his shop, as he had more space and capital to expand.

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and drum-related accessories; Marshall himself also gave drum lessons. According to Jim,

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Other brand names Marshall Amplification had used for various business reasons included

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The amplifiers from this era are easily identifiable by their acrylic glass (a.k.a.

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in Milton Keynes) to use the space for music events. The opening act is to be the

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Model. In 1969, the plexiglass panel was replaced by a brushed metal front panel.

468:", after Jim and his son Terry Marshall and the maximum wattage of the amplifier. 228:

A 3 × 6 stack of Marshall ModeFour guitar cabinets on the main stage of

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Marshall began to see more competition from American amplifier companies such as

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non-master volume Super Lead in a new box with a new panel, and called it the "

326:, as is common in this market sector. Marshall Amplification also manufactures 2676: 2672: 1567: 1542: 1503: 1435: 1359: 816: 762: 323: 307: 291: 2492: 2165: 1558: 1537:

In September 2018, Marshall Amplification announced a naming agreement with

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The original idea was talked about late one Friday night in early 1963 in a

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Since 2013, Marshall Records is a separate division of the Marshall Group.

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mixing console previously installed in Pathé Marconi in Paris and used by

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amplifier retained EL34s and 3,000 units were produced from 1996 to 1997.

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in 2018. In 2020, Marshall Records announced a sub-publishing deal with

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preamplifier valves. The input accommodates both active and passive bass

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History of Marshall from Guitar World Magazine, September 2002, page 86

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History of Marshall from Guitar World Magazine, September 2002, page 84

1507: 1355: 1294: in this section. Unsourced material may be challenged and removed. 1152: 1111:

In 2001, Marshall reissued many of its earlier amplifiers, such as the

1050: in this section. Unsourced material may be challenged and removed. 712: 660: 433: 364: 287: 144: 683:, an iconic image for rock and roll. The size of the wall of Marshall 359:

After a successful career as a drummer and teacher of drum technique,

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The history of Marshall: the illustrated story of "the sound of rock"

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Wall of Marshall Fridge: refrigerator products using Marshall brand.

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helped establish the brand's legacy. Further development led to the

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Standard (the "Beano"), that gave Clapton that famous tone on the

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In early 2017, Marshall Amplification announced it has started a

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At this time, the KT66 valve was becoming more expensive, as the

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Musical instrument manufacturing companies of the United Kingdom

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Why have legendary amp makers Marshall started a record label?

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Satchurator distortion pedal which is based on his old modded

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Many of the current and reissue Marshall amps continue to use

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United Kingdom, Canada, Australia, Europe, Asia, United States

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Nichols, Ritchie Fliegler (1993). Jon Eiche; Leslie (eds.).

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In 2007, a group of Marshall employees broke away to start

2261:"Marshall backing Lions all the way – Milton Keynes Today" 216: 1676:"Jim Marshall, creator of the Marshall amp, dies aged 88" 893:

Marshall around this time began further experiments with

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is a British company that designs and manufactures music

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basketball club, before the latter relocated to London.

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Marshall Records partners with Eleven Seven Label Group

1702:"Tube Amps Vs Solid State Amps: What's The Difference?" 1330:

containing the actual amplifier, on top of two stacked

55: 1334:, which are loudspeaker cabinets each containing four 855:), who used it extensively in the recording of Rush's 603:" amp. This is the amplifier, in tandem with his 1960 548:(for the Kitchen Music retail chain in North London), 363:

first went into business in 1962 with a small shop in

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Site of Jim Marshall's first shop, now a men's barber

2037:"Marshall JCM 2555 Slash Signature on SlashParadise" 791:(at 100 and 50 watts, respectively), along with the 66:, and by adding encyclopedic content written from a 2763:

Audio equipment manufacturers of the United Kingdom

2589: 2548: 2444: 2442: 212: 202: 192: 172: 162: 136: 122: 112: 2241:MK Dons to have minute's applause for Jim Marshall 2156:"Marshall taps Alexa for its first smart speakers" 2134:"Zound Industries | Urbanears | Marshall | adidas" 1958: 1871:The Electric Guitar: A History of an American Icon 524:comparable "real" Marshalls from the same period. 2334:Marshall Records signs distribution deal with ADA 2430:Marshall Records Announce First Signing To Label 2366:Sentric signs sub pub deal with Marshall Records 2224:Fox, Darrin. "Yngwie Malmsteen: Total Control". 1241:headphones and have a similar partnership with 2449:Welcome to the Marshall Arena in Milton Keynes 2372:, 14 December 2020. Retrieved 16 December 2020 2292:, 21 February 2017. Retrieved 16 December 2020 294:control plates, leading to models such as the 255:. Founded in London by shop owner and drummer 2526: 2436:, 7 February 2017. Retrieved 16 December 2020 2420:, 12 January 2018. Retrieved 16 December 2020 2051:"Signature Series > 1992LEM > Overview" 967:The Anniversary series found prominence with 874:Competition from American amplifier companies 388:amplifiers imported from the United States. 8: 2471:, 17 December 2021. Retrieved 25 August 2022 2302:Marshall Amplification Launches Record Label 1995:Amps! : the other half of rock 'n' roll 1821:. Toronto, Canada: XMC Branded Products Inc. 1796: 1794: 1792: 98: 2494:Play it Loud: The Story of the Marshall Amp 2340:, 28 March 2017. Retrieved 16 December 2020 1443:amplifiers have the dummy stacks on stage. 552:(Ken Bran's surname spelled backwards) and 2533: 2519: 2511: 2404:, 4 March 2019. Retrieved 16 December 2020 2039:. www.slashparadise.com. 10 November 2012. 1988: 1986: 1155:output for recording complete with Earth ( 97: 2748:Electronics companies established in 1962 1801:Hunter, Dave (July 2013). "The Park 75". 1764: 1762: 1760: 1728: 1726: 1724: 1722: 1310:Learn how and when to remove this message 1066:Learn how and when to remove this message 86:Learn how and when to remove this message 2356:, 7 May 2018. Retrieved 16 December 2020 1620: 1618: 1514:, Rews, Reigning Days, The Bottom Line, 1997:. Milwaukee, WI: H. Leonard Pub. Corp. 1700:Blenkinsop, Richard (3 February 2022). 1602: 1248:In August 2018, Marshall announced two 990:JVM). Other famous 6100 users included 274:amps, releasing their first model, the 27:British/Swedish music equipment company 1581:List of guitar amplifier manufacturers 419:bar in Ealing in West London by three 206:Marshall Amplification PLC (1962-2023) 47:contains content that is written like 2743:British companies established in 1962 2078:"New Release: Marshall Origin Series" 7: 2214:from Guitarist magazine, August 1994 1292:adding citations to reliable sources 1048:adding citations to reliable sources 2414:Marshall Records sign Press To Meco 1502:, Inklings (the solo project of ex 1107:Marshall Vintage Reissue Amplifiers 609:John Mayall & the Bluesbreakers 544:(for the then-West German market), 2398:Keywest Sign with Marshall Records 1610:"The First 30 Years of Amplifiers" 1479:, a distribution company owned by 1434:also use walls of Marshalls; both 1420:Cities on Flame with Rock and Roll 25: 2386:Marshall Records Official Website 1477:Alternative Distribution Alliance 1245:to make audio products for them. 1233:Headphones and bluetooth speakers 703:Rare 1971 200-watt Marshall Major 208:The Marshall Group (2023-present) 2733:Companies based in Milton Keynes 2689: 2675: 2250:MK Dons. Retrieved 20 April 2012 1268: 1024: 232:in 2008. This setup belonged to 131:Musical instrument manufacturing 104: 36: 2402:Irish Music Rights Organisation 1847:. Hal Leonard. pp. 72–73. 1775:. Hal Leonard. pp. 76–77. 1279:needs additional citations for 1035:needs additional citations for 711:faced greater competition from 651:Other early customers included 614:Bluesbreakers with Eric Clapton 2723:Guitar amplifier manufacturers 2154:Dent, Steve (30 August 2018). 1674:Hann, Michael (5 April 2012). 1625:Parker, Matt (30 March 2023). 925:playing a Marshall amp in 1994 906:, and are now in some demand. 673:Marshall Super Lead Model 1959 1: 2718:Audio amplifier manufacturers 1593:, part of the Marshall Group. 230:Tuska Open Air Metal Festival 2505:NAMM Oral History Collection 2388:. Retrieved 16 December 2020 2324:. Retrieved 16 December 2020 2308:. Retrieved 16 December 2020 1655:. Marshall Amplification plc 959:30th Anniversary 6100 series 1901:. Hal Leonard. p. 37. 1457:Milton Keynes Athletic Club 1392:The Jimi Hendrix Experience 1346:In the early-to-mid-1960s, 1166:In 2008, Marshall honoured 384:which at the time were the 149:; 62 years ago 2779: 2753:Mobile phone manufacturers 1874:. JHU Press. p. 155. 1612:. Retrieved 31 March 2012. 1199:throughout the amplifier. 869:Mid-1980s and 1990s models 776: 728:Mid-1970s and 1980s models 631: 580: 528:Other Marshall brand names 395: 259:, the company is based in 2191:twtd.bluemountains.net.au 367:, London, selling drums, 103: 2246:29 December 2012 at the 1965:. Hal Leonard. pp. 1841:Pittmann, Aspen (2003). 1734:"Marshall Amplification" 1489:Eleven Seven Label Group 827:Appetite for Destruction 2382:Marshall Records Roster 1895:Doyle, Michael (1993). 1769:Pittman, Aspen (2003). 667:, added a larger power 566:Blackstar Amplification 2542:Marshall Amplification 2501:Jim Marshall Interview 2486:Marshall Amplification 2230:. pp. 64–72, 136. 2187:"The Who and Marshall" 1868:Millard, A.J. (2004). 1455:, they also sponsored 1215:Model number confusion 1119:Solid-state amplifiers 1108: 926: 704: 572:Early amplifier models 537: 456:valves throughout the 356: 245:Marshall Amplification 241: 117:Public limited company 99:Marshall Amplification 2453:Milton Keynes Citizen 1957:Maloof, Rich (2004). 1940:"Marshall Schematics" 1487:(previously known at 1384:200 W amplifiers 1106: 917: 845:Red Hot Chili Peppers 739:printed-circuit-board 702: 591:valve instead of the 583:Marshall Bluesbreaker 535: 354: 334:and solid state) and 227: 68:neutral point of view 2019:"Know your Marshall" 1744:on 13 December 2010. 1426:"). Artists such as 1288:improve this article 1159:) lift and Pre/Post 1044:improve this article 695:Another valve change 516:of that time used 2 405:Pan American Airways 336:modelling amplifiers 322:(tubes) rather than 2713:Marshall amplifiers 2455:, 29 September 2018 1553:The Marshall Studio 1506:member Kier Kemp), 1461:Milton Keynes Lions 1260:The Marshall legacy 1148:; there is also an 100: 60:promotional content 18:Marshall Amplifiers 2318:Tileyard Community 1928:. pp. 102–14. 1563:The Rolling Stones 1485:Better Noise Music 1481:Warner Music Group 1453:Milton Keynes Dons 1447:Sport sponsorships 1109: 1006:Ocean Colour Scene 927: 705: 538: 493:Park amplification 357: 242: 62:and inappropriate 2683:Technology portal 2670: 2669: 2370:Record of the Day 1976:978-0-87930-803-2 1881:978-0-8018-7862-6 1854:978-0-87930-767-7 1844:The Tube Amp Book 1819:"Marshall Fridge" 1807:. pp. 52–54. 1782:978-0-87930-767-7 1772:The Tube Amp Book 1524:Thousand Thoughts 1510:, King Creature, 1424:The Marshall Plan 1320: 1319: 1312: 1076: 1075: 1068: 625:and the Marshall 484:Distribution deal 373:Ritchie Blackmore 222: 221: 96: 95: 88: 16:(Redirected from 2770: 2699: 2697:Companies portal 2694: 2693: 2692: 2685: 2680: 2679: 2535: 2528: 2521: 2512: 2489: 2488: 2472: 2462: 2456: 2446: 2437: 2427: 2421: 2411: 2405: 2395: 2389: 2379: 2373: 2363: 2357: 2347: 2341: 2331: 2325: 2322:Tileyard Studios 2315: 2309: 2299: 2293: 2283: 2277: 2276: 2274: 2272: 2267:on 25 March 2007 2263:. 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