School Me on Marshall

[Gutch220]

it sounds like the SC20 is right up your alley and you already have it, so you're in luck.

 

[LPMarshall hack]

I am just an ordinary guy, not royalty so just call me Ken lol

We are forever grateful for your contributions to rock n roll

 

[Ken Underwood]

Now come on guys your making my head swell, but i know were you are coming from, meanwhile back on the farm lol

 

[Mitchell Pearrow]

Now come on guys your making my head swell, but i know were you are coming from, meanwhile back on the farm lol

Ken you are Royalty here.
You are just going to have to get used to it.
So many of us here are Marshall fanatics and without you and you’re 2 buddies that can no longer speak to us.
This place would not exist!!!
Cheers to ya Ken
Mitch

 

[ampmadscientist]

'Ken'

You have to realise, old thing, that to many of us, you are "our" Royalty... or at least a 'Sir'

Yes I realized who he was some time ago....and we always appreciate his wisdom.
But I was not surprised he was here, considering there are so many rock stars on the forum every day.

We just wish that he would say (write) more than he does already.
(he is very humble and polite)
Don't be shy Ken, we want to hear what you have to say.

I nominate Ken Underwood as: "Ambassador of Technical Affairs."

 

[Ken Underwood]

I am not a great word smith but always willing to help were i can, so ask questions if you like and i will try to answer them.
Memory is still sharp.

 

[ricksdisconnected]

To find out whats its all about then take a read of this www.dudleycraven.com

very interesting read.

 

[paul hancher]

I am just an ordinary guy, not royalty so just call me Ken lol

but Ken,

WE’RE NOT WORTHY!

 

[ampmadscientist]

We are forever grateful for your contributions to rock n roll

"Dudley qualified for an Amateur Radio license in February 1962. He got to know Ken Bran and Ken Underwood, who were both newly licensed radio amateurs, at the Greenford Radio Club Friday night meetings in 1963. Most weeks Dudley, Ken and Ken after the club meeting went on to the Wimpy Bar in Ealing Broadway for a coffee. Ken Bran had mentioned the discussions with Jim about the local bands and their sound issues, and suggested that they could develop an amp that would fill the needs – and make some extra cash at the same time. In the next few months work got underway in back garden sheds – Ken Underwood in Hayes and Ken Bran in Heston. Dudley lived with his Dad in Hanwell on the banks of the river Brent, at 202C Uxbridge Road, just down the hill from Marshall’s shop. The house, originally part of a pig farm that was built in the 18th century, had outdoor plumbing, open fireplaces and a crumbling chimney on the roof that barely supported Dudley’s quad antenna. The small workshop which served as a Ham Radio Base as well as a garden shed was tucked behind the house, next to the coal cellar.

It was agreed that Ken Underwood would mount all the hardware onto the chassis, Ken Bran would construct the Component tag boards and Dudley would connect everything else and do the final test.

The first valves that Dudley tried were 6V6s as used by Fender, but he wasn’t happy with the result. He then went on to 6L6s, which were a lot better. The very first amp used this valve line up as the output pair along with the ECC82/3 preamp valves and the GZ34 high voltage rectifier valve.

It was the 6L6s that made what they called today the true Marshall sound. This was down to Dudley’s experiment driving the amp into distortion, deliberately of course.

Dudley spent many hours on the first prototype to get it just right for the current music scene. He worked far into the night and many times he could be found fast asleep at his work bench.

The final test was made in September 1963 on a Sunday night at the Ealing club with the resident band. The group was made up of several local band members who visited Jim’s shop at week ends. One of them was Jim’s son Terry Marshall on sax, along with Mitch Mitchell who went on to play with the Jimi Hendrix Experience – who better to give it their seal of approval.

The Launch

The amp that received its final test at the Ealing club that Sunday night went into Jim`s shop the very next morning and was snapped up within minutes by Pete Townsend for £110......"

 

[Shane Stevenson]

This thread really makes me want to leave Texas and go visit England. I’d love to see some of these places mentioned above!

 

[Dogs of Doom]

To answer the OP...

If you are looking for those mid/late '70s - mid '80s tones, the SV20 & SC20 will get you those, at a bit lower volume.

They are in essence lower watt JMP MkII & JCM800 amp's.

The only way to get more authentic, is to look up to their big brothers, in 50 & 100 watt versions.

Figure, tat Led Zeppelin was using JMP MkII's, & so were the likes of Iron Maiden & Judas Priest. Maiden & Priest also later used JCM800 series, along w/ Def Leppard, etc., in their early years.

Van Halen used a JMP Mk II, so did George Lynch (Dokken), Slash, Ratt, Boston... You name the guitar guy, that's pretty much what they used. JMP or JCM...

You get that SV20 (along w/ the SC20) & you'll have everything you need for that era...

 

[Kinkless Tetrode]

I’ve got the Fender style amp influences like Slow Hand....

Actually, Eric is one of the the most important Marshall players historically. He has used Marshalls extensively through out his career. Much of his recorded catalog is with a Marshall amp or a close cousin to a Marshall amp. A look at Eric's amp use through the years is a good way to survey the evolution of Marshall amps.

With John Mayall's Bluesbreakers it was Eric that established that singing lead tone we hear in blues/rock music and now many other types of music. He was using a Marshall amp. It was the 2x12 combo version of the JTM45. The JTM45 is based on the tweed bassman circuit, but using England sourced components and through Celestion speakers. A whole new sound at the time.

With Cream, Eric was using 100 watt Marshall heads through two 4x12s each, also known as a full stack. During this period the 100 watt Marshall lead head, also known as a Super Lead, rapidly matured from a 100 watt version of the JTM45 to the monster rock amp we know today. It went through a number of minor circuit changes under engineer Dudley Craven and changed from KT66 to EL34 power tubes during this period.

Post Cream, Eric began using Fender Dual Showman heads, a head version of the Twin Reverb, but didn't stop using 100 watt Marshall heads, which he played along side with Fender heads. Live tracks of Derek and Dominos, the Rainbow concert and so forth are very much Marshall powered. Especially the solos.

After a period of using Music Man amps (Leo Fender's new company during the 70s.) Eric returned to using Marshall stacks during the 80s. This time they were 50 watt four holers model number 1987 but is JCM800 cosmetics. JCM800 is an amp series not one specific amp.

Even after he entered his Soldano SLO period, an amp very much Marshall based but high gain, Eric used a JCM800 model number 1959 head in his live rig to drive a Leslie speaker cab. This continued into his modern period of using Fender Tweed type amps.

The high powered Twin type amps have much in common with Marshall amps. The preamp of a tweed bassmann and a tweed twin are the same, as is the Marshall JTM45. The tweed twin uses four output tubes and two rectifier tubes, so it can be seen as simply a higher wattage version of a Bluesbreaker combo amp he used to invent the sound of rock-solos.

https://www.whereseric.com/the-vaul...ptons-guitar-amp-and-equipment-set-historical

 

[Ken Underwood]

This thread really makes me want to leave Texas and go visit England. I’d love to see some of these places mentioned above!

Sadly like most places they now are not as they used to be. I have not been back for many years but they are not a nice place to be today

 

[EADGBE]

You can learn a little bit here: https://books.google.com/books/about/The_History_of_Marshall.html?id=E90tMBs9_FEC

 

[MarshallDog]

So....you basically have to buy and sell Marshalls to find the one and only one you like. Its the only way, we can all blab all night and day long but it will be a waste. You need to spend and waste money to find which is best fir you. Even if you find the the one based on someones opinion you will always wonder...so just dig in, bite the bullet and get ready to spend some hard errand cash like all the rest of us...its the only way!

 

[Shane Stevenson]

So....you basically have to buy and sell Marshalls to find the one and only one you like. Its the only way, we can all blab all night and day long but it will be a waste. You need to spend and waste money to find which is best fir you. Even if you find the the one based on someones opinion you will always wonder...so just dig in, bite the bullet and get ready to spend some hard errand cash like all the rest of us...its the only way!

Actualy I found my Marshall in the SC20H, and what surprises me is that it’s the first Marshall I’ve ever bought. I can’t say that with other brand name amps. I always paid lots of money tone searching. My next purchase will be the SV20 but I won’t get rid of the Classic and the Vintage won’t take its place.

I started this thread because I have a feeling that I’m not going to be settled with just 2 Marshall rigs. When I buy more I want to know what I’m shopping for. This means that I need to understand the history as told by credible people.

Well, that’s one reason why I started the thread...I have to admit that I absolutely love history regarding all things music. I could read about this stuff for hours. I’ve read lots of musician biographys, music genre history, just books that not too many other people would care about lol. This is why it was a big deal to me to realize who I was talking to on this forum. This site is really great so far!

 

[Crikey]

M

As a few of you know, I’m extremely new to Marshall amps. I’m loving my SC20 head/cab and am getting close to getting the SV20 head/cab. So far, Marshall feels like an amp that was made for my exact style of playing and I have no idea as to why it took me so long to get on board. Maybe it’s because 100 watt heads were never usable for the places I play.

I know this is asking a lot, but could somebody here give me a list of the top 5 or 6 most notable and desirable Marshall amps during the 70s and 80s?

I’ve heard buddies say things like “plexi’s are the grail of amps”, but which model exactly could they be referring to? I mean, didn’t Marshall use plexiglass on several different models? I just assumed they were talking about the 1959slp or super lead.

I always see posts about Origins, DSLs and Silver Jubes but I wanna know about the Marshalls I grew up hearing. I’m 45 and was influenced by early Van Halen, Ozzy after Sabbath, AC/DC, ZZ Top, hair bands (only the good ones), lots of southern rock..ect. I’ve got the Fender style amp influences like Slow Hand, BB and SRV covered.

I’m clearly with Marshall to stay but I need to be educated by folks who know their business. Thanks![/QUOTErshall

This thread really makes me want to leave Texas and go visit England. I’d love to see some of these places mentioned above!

do it. You would love it. Seeing the marshall factory is real cool for guitarists and music lovers.

 

[Crikey]

To the poster,s request for sounds from his youth, marshall nailed it with the 2210. Its not just becuz i own one, the 2210 drive is frickin awesome

 

[ampmadscientist]

Sadly like most places they now are not as they used to be. I have not been back for many years but they are not a nice place to be today

So, how does it feel to reach celebrity status?
Everybody wants your autograph.

 

[Ken Underwood]

You can learn a little bit here: https://books.google.com/books/about/The_History_of_Marshall.html?id=E90tMBs9_FEC

The operative word is Little, lots are just exaggerations and an ego boost for JM

The true history is on Dudley Cravens web site.