The serial number is According to the amp tech who restored it, it's a Marshall '' 18w 1x These were made from ''68 and are apparently quite sought after. I haven't found a lot of info, other than that Marshall are currently re-issuing this very model.
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Also, that there appears to be an active cloning community. A friend of mine gave this amp to me a couple of years ago. I told him that it looked like an old Marshall and was therefore probably quite valuable. He still gave it to me, for which I am eternally grateful to him, since it's the best amp I've ever played.
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He, in turn, found it in the dumps and brought it home. In case you're wondering, I'm not going to sell this baby - at least not for any reasonable amount of money. I love it too much and it would be disrespectful to my friend. Can you see the back panel of the amp with speaker outputs?
If there is one, it is a JTM If it is two, it is a model model, not year made. It's neither - It's a model, as you can read in the [more inside] bit. That much I know. There just doesn't seem to be that much info floating around on these amps. General consensus is that the ELequipped Marshalls were and are thought of more highly, with the added headroom of the not being as desired in the non-master volume Marshalls of the day.
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One debate regarding the shift from handwired turret board to PCB circuits is what, if any, effect was made to the tone of the amps. Early handwired amps are certainly more valued and more expensive. Claims in favor of the handwired amps have been made that not only are they easier to service and work on certainly a fact! I suggest that you let your ears decide what sounds best to you. The overall benefit of all of these early metal panel Marshalls is that they ALL have very simple circuits and with a few changes to components here and there, can essentially be converted to early plexi circuits or later brighter circuits if desired.
By and with the introduction of the first Master Volume series marshals, the watt and 50 watt , Marshall had finally brought to market a much-anticipated design.
The early JMP Master Volume amps achieved their distortion through the preamp stage when played at lower volumes, raising the master volume controlled overall level, but power tube distortion could also be achieved just like with the non-master Super Leads by cranking it up. Punchy and full with extra crunch added to the mix when the preamp gain was turned up.
Interestingly enough, and again in my opinion, the tube is my favorite when used in the master volume circuit. My favorite JMP series master volume amplifiers were made in and These featured the first full integration of the bolder-look cabinet. The first of the Master Volume series from , retained the earlier cosmetics, though transition to elephant grain tolex was made before the series introduction.
Further brightening of the circuits occurred in the JMP master volume models in addition to the non- master volume models. I believe this is due to the incorporation of a new style of capacitor which was now a square plastic cap. Again, in stock configuration, the higher-output pickups which inherently have emphasized bass but reduced highs seem to balance out the circuit. Combo versions in 2 x 12 and 1 x 12 versions also gained popularity during this era. Rather unusual in appearance on the bold-look and later JCM models , these amplifiers also retained the use of EL34s like the European versions.
It is unclear to me as to why these various changes were made only to the Canadian models, but one has to suspect that much of it is due in part to stricter Canadian electrical regulations.
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These make great player-grade amps and though collectors turn typically turn their noses up in the air with regard to these models, with a little bit of circuit tweaking and change to EL34 tubes assuming you have a equipped U. There remains a lot of hype surrounding the JCM series and the market value of them has been driven up as a result.
The notion is basically this: The JCM series marked a very unique time in Marshall history. Marshall was free from a contractual distribution deal and in essence celebrated its independence with the introduction of the JCM series. Cosmetically now changed with front and rear panels and chasis that extended all the way across the bottom of the amplifier heads, and its larger logo now put onto a fabric backing piece, this is the basic Marshall look that continues today.
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Inside the circuit, the early master volume and non-master volume models continued and were essentially the same as the JMPs that preceded them. These were and are aggressive rock amplifiers and sound great. Unfortunately, with the hype surrounding the master volume models, especially the strength of the watt , its value has eclipsed the earlier JMP variations. Whether this will continue remains to be seen, but with Marshall recently reissuing its model as well as bringing out the limited Zakk Wylde Ozzy Osbourne model also based on the , the buzz is currently hot!
Marshall amps with a Barcode Present: In Marshall changed to the latest dating system which is the easiest to decipher of them all. It is simply the year followed by the week.
The Marshall X also known as the silver jubilee is legendary among Marshall guitar amplifiers. Originally from but reissued in and made in the UK.
How does this reissue compare to the original? And is it worth buying? Marshall X Silver Jubilee Head watt Guitar Amplifier Review Click image for a larger view A number of months ago I picked up this X under review from a local dealer who still had this one in stock - basically brand new and only from display. Why did I buy it? Well the fact is that when the originals came out back in for just one year I was using a number of amps and I let the Silver Jubilee slip through my fingers at the time. Back in the day they were available for just one year only and after that apart from a couple of small numbers one was the 'Slash' which I also missed never appeared on the scene again.
But later, the Silver Jubilee had been gaining a reputation for itself along the lines of 'this is what the JCM should have been' and that sort of thing. So guys started to value the originals more and more - indeed very much like the YJM is also doing these days. The fact is, that the head sounded pretty awesome.