One day the JCM 2000s will be worth way more, watch this:
- Thread starter Adrian R
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Adrian, I do get what your saying. I've had this discussion hundreds of times. These youtube channels can get us stirred up on a subject of our interests and before you know it your maxing out the credit cards. (I've made most of my purchase decisions using Youtube videos)
. These youtubers are looking for content that will get views. Sometimes they have great info and other times they are selling us some crap and they may be pumping the market to dump that crap!
I do know that there is a bump when these guys demo something old and then it's time to list yours for sale $$$
. These youtubers are looking for content that will get views. Sometimes they have great info and other times they are selling us some crap and they may be pumping the market to dump that crap!
I do know that there is a bump when these guys demo something old and then it's time to list yours for sale $$$
SmokestackElRopo
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I hope they go up, Mines reliced!!!
Yeah, I was really disappointed when the JVM came out, because I thought my DSL sounded way better. The JVM sounded veiled to me.
It just can’t open up at all an do the classic roar of a Marshall. I have a 78 2203 and Hermanson modded jcm 800 and I still get my 2000 to hang well with this amps .
Michael Roe
Well-Known Member
I agree with you guys on the JVMs. I never liked them either only because I owned a JCM 2k DSL which sounded better.
Marshall should re -release a UK made version JCM 2K but with these changes:
Get rid of the dumb tone shift switch.
And the other useless feature: the Lead 2 channel.
Add a switch for the power amp section for "Vintage/Modern" voicing like on the big EL34 rack power amps.
Make it a 3 ch amp: Clean, Crunch & Lead 1 with at least two tone stacks Clean & crunch/Lead 1.
Marshall should re -release a UK made version JCM 2K but with these changes:
Get rid of the dumb tone shift switch.
And the other useless feature: the Lead 2 channel.
Add a switch for the power amp section for "Vintage/Modern" voicing like on the big EL34 rack power amps.
Make it a 3 ch amp: Clean, Crunch & Lead 1 with at least two tone stacks Clean & crunch/Lead 1.
V-man
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On one hand, 4100X reissues pretty much open the door to anything. On the other hand, a $3,500 DSL concept is DOA with Marshall DSL line and Used Marshall being vastly more tempting competitors. This will only appeal to the Pros who would spend the extra $ as a business write off, not the typical (amateur) consumer.
Jethro Rocker
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Thats called a TSL. Very good sounding amps. Different tonally from DSL.
Adrian R
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I agree, however 3 channels is getting a bit too complex again. They should stay with the basic tonal package, minus the tone shift...and build the amp with great reliability in mind. Use a real choke too!
Marshall Stack
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And make the loop level adjustable, have a triode / pentode switch and fuse light indicator like the JCM900. Have a variable bass boost like in the new DSLs.
Have it selectable between the two classic channels. Make it so that there isn't a volume difference between the two classic channels.
jaallen
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I bullet proofed my 2005 era TSL (tons of good info to do it right out there in the forum) and it has never failed in over 4 years now. Sounds great as well. They are a steal. Looking for a 2000 DSL to go with it now.
This was a big mod for them, the dreaded FX loop tone suck issue: Credit to the Author for this one: Atomium Amplification in Philadelphia. Fixed that perfectly. So, tons of mods to fix em DIY.
"The problem is that the loop doesn’t have unity gain when the mix is all the way up. Looking at the schematic, it’s pretty clear this is a design flaw or oversight, because you can calculate the gain from the component values:
FX send: gain of 0.28x @ -10dBV, gain of 1x @ +4dBu
FX return: 0.4x voltage divider, followed by: gain of 6.55x @ -10dBV, gain of 1.01x @ +4dBu
So:
-10dBV level has total loop gain of 0.73x (-2.7dB)
+4dBu level has total loop gain of 0.4x (-8dB)
This is obviously wrong. And it has nothing to do with the loop level switches – they should change the operating level of the loop, yes, but the gain should remain unity in either case. I.e., you want less send level but more return gain at -10, and vice versa at +4.
Fix:
On the rear panel PCB, change R29 and R35 from 330k to 180k to get unity gain on -10dB setting. This produces an input attenuation of 0.55x w/ opamp gain of 6.55x. Alternatively, if you don’t have 180k resistors on hand, you could change R29 and R35 to 270k and also change R31 and R33 from 220k to 330k.
After you’ve done the above, change R37 and R26 from 100k to 10k to get unity gain on +4 setting. Yields same input attenuation plus opamp gain of 1.85x.
Now, here’s your FX loop gain:
+4dBu: 1 * 0.55 * 1.85 = 1.02x
-10dBV: 0.28 * 0.55 * 6.55 = 1.01x
Note that the selected operating level of the loop does not change. Your effects units will see exactly the same level as before, but the make-up gain at the return now produces unity gain into the wet/dry mixer stage.
This was a big mod for them, the dreaded FX loop tone suck issue: Credit to the Author for this one: Atomium Amplification in Philadelphia. Fixed that perfectly. So, tons of mods to fix em DIY.
"The problem is that the loop doesn’t have unity gain when the mix is all the way up. Looking at the schematic, it’s pretty clear this is a design flaw or oversight, because you can calculate the gain from the component values:
FX send: gain of 0.28x @ -10dBV, gain of 1x @ +4dBu
FX return: 0.4x voltage divider, followed by: gain of 6.55x @ -10dBV, gain of 1.01x @ +4dBu
So:
-10dBV level has total loop gain of 0.73x (-2.7dB)
+4dBu level has total loop gain of 0.4x (-8dB)
This is obviously wrong. And it has nothing to do with the loop level switches – they should change the operating level of the loop, yes, but the gain should remain unity in either case. I.e., you want less send level but more return gain at -10, and vice versa at +4.
Fix:
On the rear panel PCB, change R29 and R35 from 330k to 180k to get unity gain on -10dB setting. This produces an input attenuation of 0.55x w/ opamp gain of 6.55x. Alternatively, if you don’t have 180k resistors on hand, you could change R29 and R35 to 270k and also change R31 and R33 from 220k to 330k.
After you’ve done the above, change R37 and R26 from 100k to 10k to get unity gain on +4 setting. Yields same input attenuation plus opamp gain of 1.85x.
Now, here’s your FX loop gain:
+4dBu: 1 * 0.55 * 1.85 = 1.02x
-10dBV: 0.28 * 0.55 * 6.55 = 1.01x
Note that the selected operating level of the loop does not change. Your effects units will see exactly the same level as before, but the make-up gain at the return now produces unity gain into the wet/dry mixer stage.
Last edited:
Kutt
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They are plenty good. However:
1. My observation is that Marshall heads are overall more popular than Marshall combos.
2. For the amps that do have the bias drift issue, the heat generated by combos bakes the main boards much more so than on the heads due to plain ol' physics- heat rises. It therefore has the potential to exacerbate the underlying issue. (And in general create a greater propensity for other failures. Again, physics. Amps don't like to get that hot).
Matthews Guitars
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Once a given model goes out of production, the supply of them will be limited. If they don't really suck bad, eventually they'll start to become less common due to various attrition factors. And eventually they'll get old enough to be cool just because they're now a 30 year old tube amp that isn't very common.
Can you name a tube amp in intact and running condition that's 30 years old or more that is worthless?
Even the cheap, and I DO mean cheap, Japanese tube amps of the 60s are now all collectible.
Even the little budget priced, entry level Fender Champ, once thought to be worthless forever, now brings 700 bucks in good condition.,
Yes, the 2000s will eventually start to appreciate. I think it's inevitable.,
Can you name a tube amp in intact and running condition that's 30 years old or more that is worthless?
Even the cheap, and I DO mean cheap, Japanese tube amps of the 60s are now all collectible.
Even the little budget priced, entry level Fender Champ, once thought to be worthless forever, now brings 700 bucks in good condition.,
Yes, the 2000s will eventually start to appreciate. I think it's inevitable.,
jchrisf
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Any models or years that are safe to buy? I see these all the time at good prices and I like combos.. just didn't know if it would have the the problems I've heard these had.
jchrisf
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I thought the new DSL HRs were supposed to be the best of the best by designing it after all the mods/upgrades people have done to improve the older ones over the years?
Kutt
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I have no definite answer and contrary to what others will say I don't think anyone else does either. Generally speaking ones made from 2005 and later (some say 2004) are allegedly more stable. Yes there are older ones that have never developed a problem.
Then there are some older ones where guys think there is no problem but only because they haven't experienced a full on failure, but that doesn't mean the amp doesn't have a slow, festering issue. This was my scenario. I eventually put my bias meter on for a health check and found one side off the charts even though the amp hadn't yet failed. But it was severely stressed and was only a matter of time. Fortunately I had bought a replacement board the year before, just in case. Well... turns out it was a smart purchase.
Kutt
Well-Known Member
The Resonance circuit on mine shit the bed with less than 8 hours of light home use (created an egg frying sound identical to a faulty preamp tube). The amp was brand new, factory sealed, and still smelled like new MDF and PCB off the factory floor. I eventually sold it but only because I didn't like the tone. The entire board had been replaced under warranty.
Pick your poison. Cost cutting measures around every corner and ever shittier tolerances.
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