I've had this amp for a long time. Tried to hate it, as I have or still have pretty much all the original and iconic Marshalls made. The DSL40 does a really good job of replicating the originals. Replaced the speaker with a Celestion G12-T75 from 1996. My most used amp as it is loud enough and sounds like pure great Marshall. Convenient to me in an opposite way to digital modelers and such. Just carry in the one small amp and no laptop, rats nest of wires and shit. Just pure good tube sound. Once in a while thouy, it will just blank out and go sound dead. Flick the switch on/off it will usually come back to full sound. Heard about this a lot from many other dsl40 users. What's up? I've got experience repairing amps and a decent knowledge of troubleshooting with resistors, capacitors,etc. Fixed a couple of cold solders and such, but can't find any logical reason the sound just cuts off. Doesn't run very hot snd and have it biased a little on the cold side.
I don’t know. I’ve heard about this problem but none that have come in have had it. So… I think for the price it’s a very good choice. Whatever that issue is has to be something relatively minor. Maybe in time I’ll see it, and then I’ll post a fix.
Just an FYI about the cathode wiring and the 1 ohm bias monitoring resistors that Lyle removed. (I write this for other folks, not for Lyle, who I'm certain already knows this). I noticed that pin 1 of the tube socket (suppressor grid for an EL34, being a true pentode) is jumpered to the cathode (pin 8), as it's supposed to be. This is fine, as long as you're using EL34's, which most Marshall owners prefer sonicallyanyway ---- but be aware that if an owner of one of these amplifiers gets tired of cheesy EL34 tubes blowing up and decides to put in a set of 6550"s in hopes of achieving better reliability, or substitutes any KT- series tube that has a metal band on the tube base, that metal band is invariably tied to pin 1 internally because 6550's and KT88 aren't actually pentodes, theyre tetrodes and don't have a suppressor grid. Anyway, if the 1 ohm bias monitoring resistors blow and go open, and you happen to have something other than EL34's in the sockets, the metal base at the base of the tube will have nearly full B+ on it ( tube is heated but essentially unloaded, and looking for a path to ground,) This might not be a very likely scenario in a Marshall, unless somebody swapped out the EL34's for 6550's or similar, but I've seen some expensive audiophile amps, designed for 6555 or KT88, which had similar, fusible, bias monitoring resistors between the tube cathodes and ground, and if a shorted tube took out the fusible resistor, the jumpers on the tube socket from pin 8 to pin 1 meant that the metal band at the base of the output tube would have high voltage on it!. Just something to keep in mind for future reference.
I bought a new one back in 2016 and it lasted good for 5 months. Mines never burned anything but makes a massive noise that cancels out any notes played while it's doin said noise. Got too many other amps to even care honestly lol
Regarding the previous tech's work, I don't have anywhere near the training and experience that you have, but I do take pride in my work. I would never send anything back out with that type of sloppy work. It looks like the amp is well made, with the PCB mounted solidly on metal standoffs and it appears to be good quality. As always I love your videos and learn something from each one. Keep up the good work.
Your right about the shared tone stack. i have the cr ver. it has a wonderful clean . If they made this amp in an actual 2 channel it would be pretty darn good. thanks for the video.
this reminds of the days of my youth (ah, the bliss of ignorance). back in the very early '70s I had a Marshall 100 head. Glorious thing it was. I was quite ignorant then of things like the need to match the impedance of an amp to the speakers. I knew that my two cabs, which each had two 8 ohm speakers wired in parallel were each 4 ohm cabs, but I was kinda fuzzy about what I should do with the impedance selector switch on the back of the Marshall when I used both cabinets. I think I set the switch to 8 ohms when I used both cabs, thinking that two 4 ohm cabs = 8 ohms! While rocking out one day like that, I smoked one of the power tube sockets. In retrospect I was probably lucky that was the only thing that got smoked. I was good enough with a soldering iron to be able to repair the damage myself, and I quickly sold the head after repairing it. Only years later - after a year of community college studying electronics - did I understand exactly how I had smoked that amp. The amp however lived a long and fruitful life even after I sold it. It ended up in the hands of an acquaintance of mine, and he used the amp for many decades afterward, although he used actual Marshall 4x12 cabs with it. I even modded it for him at one point - adding a master volume pot on the back panel in place of one of the four speaker jacks - since he only ever used two of them.
I had one of these with the 6 button switch. It failed on me twice in a gig setting. It wouldn't switch from the dirt channel to clean channel. I had to turn off then on and all was good...until it happened again within a few minutes and then many times while practicing. I returned the amp under warranty and received another - the same thing happened again! As well, the reverb might not activate when first turning on. If you turned off the amp and on again, the reverb was now activated. Both brand new amps! I loved the tone so much but it had to go 😞
I had a DSL40c and the 40cr . It's a great budget Marshall and I really liked mine but I happened on a JVM 215 and it's like a DSL but waaaaay better! Needless to say, DSL got sold and I'll probably keep this JVM till it dies or I do.
Lyle, in the previous video you said that the preamp tubes the owner bought were good for the phase inverter, but not for v1 or v2 because they had noise/microphonics issues, but you never got around to saying what tubes you'd suggest for v1 and v2. I was hoping it would be in the follow up. Maybe I missed it.
Between Marshall DSL20CR and DSL40CR what you prefer and why? I wait for your answer to decide wich I will buy for home and for gig sometimes in a small place (for at leats 50 people) like a coffe shop or a bar.
So I bought a DSL40CR a couple months ago. I had it for a couple weeks and noticed the clean channel had super low to zero head room. It came on gradually where it had less and less head room until it had none at all and the amp was sounding obviously broken. I returned the amp and grabbed another DSL40CR they had in store. After a couple weeks I was in the middle of playing it and the volume cut and half and it had the same fuzzy distorted output on the clean channel. I returned that amp and they sent me another. I have had the third one for a month with no signs of any problems. I am just wondering what could have happened with the first two amps they sent me. I have had a Blues Deluxe for a couple years and have had no problems with it. I really liked the sound I was getting from the DSL40CR that’s why I kept trying and honestly if guitar center wants to ship me a new amp every two weeks for the rest of my life that’s their business.
@@PsionicAudio Interesting, that makes sense. It's strange it would happen after two weeks on two brand new amps. But at least I know what's going on if it happens to the third amp. I was worried something was maybe wrong with outlet/power in the house or something.
If I may ask, was this amp worth the cost of the repair? From your description, it would seem like the bench time would be substantial. Maybe a better question to ask would be, when is it not worth the repair. Invthus case, it seems to have been repaired twice.
I can’t say how much the previous repair cost. I can say that if it had been done properly this latest repair would have been unnecessary. I charged two hours labor, $10 parts, and the $95 for the EL34s with shipping/tax. I have a little over three hours in the amp, but some of that was because I recorded video (I don’t charge owners for additional time filming), and I ordered the parts while having coffee in the morning. So I didn’t charge for that time. So I think the repair was very justifiable. It was either this or landfill and a new amp purchase. Really wasn’t any in-between option.
I need your opinion PLEASE? 1994 Fender Evil Twin Amp or a newer Fender Hot rod Deluxe for around the same money? Or 3rd actually a 2 ten 1990 Vibrolux with the cream knobs. All are same price but don't know enough about the guts to decide which to get? I know you're a busy guy but I respect and value your opinion I watch all your videos. Thanks for any help.
I'm curious about the role of the added diodes. Is it so they'll short out if the voltage goes above their 3KV rating? Because I'm having a hard time understanding when the tube would have a cathode voltage higher than the plate - or why that would cause a problem. I'm trying to understand the electronics theory behind them.
Some people have no right to call themselves “techs” after seeing some of the crap you have to fix and clean up. Just…wow! I know you love what you do, but I imagine it can get pretty frustrating fixing others “fixes”.
When you teach everyone to have high self-esteem that can sometimes translate into ridiculous confidence in your own ability to do everything. So not surprising some techs have confidence way beyond their competence.
I just feel bad for the player who got taken advantage of. There are guys in town who think I’m overpriced and take too long. They’re always looking for someone cheaper and faster. Cheap. Fast. Good. You can only choose two.
It’s the same in the luthier field. I’ve been a luthier for over 40 years. I frequently have new customers come in with their guard up having been burned by a hack prior. Now it’s MY job to earn their trust. 🤦🏻♂️ Regardless, I convert them into loyal return customers each and every time. 👌🏼
@@PsionicAudio I agree -= cheap and Fast or Good and correct price. In the end, competence wins and builds a lasting business that grows. Say what you can do - admit what you can't and find someone better to then do the jobs you can't do. In a year or two you become the go-to guy because everyone trusts you to do good work and when you don't know you know someone who does. Why would you run a business any other way? It's what I used to do and I always had a complete roster of between 50-75 guitar students AND a waiting list. I wasn't a genius - I just followed those rules above. And there's no stress in only doing what you can do - and terror in trying to do the stuff you can't
Quick question; 77 super reverb UL model, has a perfectly working vibrato channel, but very weak, quiet normal channel, i’ve tried a lot of the usual troubleshooting things but nothing, what would you suggest?
@@PsionicAudio I don’t. In fact I’m growing suspicious of the whole Marshall thing. The Germino Classic 45 sounds like the sort of amp I’m looking for.
I owned a DSL40C for less than a year, it had to go, it was the most shrill, awful, harsh sounding amp I've ever owned. Strat was unusable, Gibson works OK through it, but being unable to dial in a good dirty strat tone forced me to sell it. Even with treble and presence both on zero, it still had way too much of that nail-through-the-eardrum-straight-into-the-skull sound. Good riddance to that thing, I do not like these amps at all. The "green" channel was usable, but why bother with a 2-channel amp when one channel is basically useless due to how awful it sounds? On the other had, I own a DSL5CR that's more recent, and it's a *wonderful* sounding amp, especially with the strat. And the red channel on the 5 watt has that glorious mountain thunder god sound that Marshalls are known for. I don't get how 2 amps in the same line can be so radically different sounding, where one is one of the best tones I've ever had, and the other sounds so bad it's unusable.
It might be instructive for us to understand how you ended up owning a Marshall that was the "most horrible-sounding amp" you've ever heard. Did you buy it online without playing through it first, simply because of it having gotten "great reviews"? Or simply because you assumed a Mashall, any Marshall, would always sound good? Was it new, or used? Did you have a tech look at it to make sure it was operating correctly? I am a tech, not really a player, but I've never quite understood how it is that many people seem to end up with an amplifier that they really don't like the sound of. Perhaps if it's their 1st or 2nd amplifier that they've owned, and they had to scrounge whatever they could on a minimalist budget, but by the 3rd or 4th amp I would think one would be able to play through an amp and recognize if it will work for them and fit their style of playing, or not, as the case may be.....
Ok. Wait. You can't say "it's a reliable amp", then correct yourself by saying "No, it's not. It's a reliable amp, at this price point". It's either reliable or it isn't. Idc how much it costs, nobody is saving money, if they have to service the damn thing every 5 minutes
@@kmajor44 , haha. If we’re talking about grammar; you don’t know anything about Marshall amps. Lyle has gotten comments in the past people saying he didn’t know anything about them. I just try to keep it alive.
All good K Mic!! I was not privy to the insideness of your comment. J Marshall - I think he fairly observes and conveys knowledge appropriately. You watched the above video so you know he also complements Marshall.
I play this amp through a celestial creamback boosted with a Timmy and it sounds better than my Friedman runt 20 on the BE channel, $900 dollar Marshall sounds better than my $ 2000 dollar Friedman Canadian dollars, go figure
I put a creamback M65 in My DSl 40 CR and have a closed back 1 by 12 with the M65 and the 40CR sounds, amazing with that speaker. Pushed it more in the vintage direction and the amp punches above its weight . People say it's a great amp for the price but not a great amp general which is cool because everyone has their own taste but I disagree that it's only great for its price .. I preferred it to quite a few more expensive amps . I liked it better then the mini Jubilee I used to own as well a Traynor YCV 50 JCM 800 studio classic and a JVM 1 by 12 combo . Also liked it better then several orange Amps I tried. Over the last 5 years I have had many Amps come and go but My DSL 5CR and 40 CR are the only ones that have stayed. Had an origin 20 for about 3 weeks and the DSLs blew it away. I could get better vintage tones by far from the DSLs with the right speaker and cabs. I basically use the 5CR as a head and the 40CR as a head half the time and the other half I run the internal combo Creamback M with a closes back 1 by 12 . I love how it sounds when combining the open back combo with a closed back cab,. I love the mids with that set up .
I've had this amp for a long time. Tried to hate it, as I have or still have pretty much all the original and iconic Marshalls made. The DSL40 does a really good job of replicating the originals. Replaced the speaker with a Celestion G12-T75 from 1996. My most used amp as it is loud enough and sounds like pure great Marshall. Convenient to me in an opposite way to digital modelers and such. Just carry in the one small amp and no laptop, rats nest of wires and shit. Just pure good tube sound. Once in a while thouy, it will just blank out and go sound dead. Flick the switch on/off it will usually come back to full sound. Heard about this a lot from many other dsl40 users. What's up? I've got experience repairing amps and a decent knowledge of troubleshooting with resistors, capacitors,etc. Fixed a couple of cold solders and such, but can't find any logical reason the sound just cuts off. Doesn't run very hot snd and have it biased a little on the cold side.
I don’t know. I’ve heard about this problem but none that have come in have had it. So…
I think for the price it’s a very good choice.
Whatever that issue is has to be something relatively minor. Maybe in time I’ll see it, and then I’ll post a fix.
Just an FYI about the cathode wiring and the 1 ohm bias monitoring resistors that Lyle removed. (I write this for other folks, not for Lyle, who I'm certain already knows this). I noticed that pin 1 of the tube socket (suppressor grid for an EL34, being a true pentode) is jumpered to the cathode (pin 8), as it's supposed to be. This is fine, as long as you're using EL34's, which most Marshall owners prefer sonicallyanyway ---- but be aware that if an owner of one of these amplifiers gets tired of cheesy EL34 tubes blowing up and decides to put in a set of 6550"s in hopes of achieving better reliability, or substitutes any KT- series tube that has a metal band on the tube base, that metal band is invariably tied to pin 1 internally because 6550's and KT88 aren't actually pentodes, theyre tetrodes and don't have a suppressor grid. Anyway, if the 1 ohm bias monitoring resistors blow and go open, and you happen to have something other than EL34's in the sockets, the metal base at the base of the tube will have nearly full B+ on it ( tube is heated but essentially unloaded, and looking for a path to ground,)
This might not be a very likely scenario in a Marshall, unless somebody swapped out the EL34's for 6550's or similar, but I've seen some expensive audiophile amps, designed for 6555 or KT88, which had similar, fusible, bias monitoring resistors between the tube cathodes and ground, and if a shorted tube took out the fusible resistor, the jumpers on the tube socket from pin 8 to pin 1 meant that the metal band at the base of the output tube would have high voltage on it!. Just something to keep in mind for future reference.
Your repairs are very good and reliable. And your explanations are spot on any informative!!
Mission accomplished. Ready to Rock On.
I bought a new one back in 2016 and it lasted good for 5 months. Mines never burned anything but makes a massive noise that cancels out any notes played while it's doin said noise. Got too many other amps to even care honestly lol
Regarding the previous tech's work, I don't have anywhere near the training and experience that you have, but I do take pride in my work. I would never send anything back out with that type of sloppy work. It looks like the amp is well made, with the PCB mounted solidly on metal standoffs and it appears to be good quality. As always I love your videos and learn something from each one. Keep up the good work.
Your right about the shared tone stack. i have the cr ver. it has a wonderful clean . If they made this amp in an actual 2 channel it would be pretty darn good. thanks for the video.
Extra points for 'immolation'!
this reminds of the days of my youth (ah, the bliss of ignorance). back in the very early '70s I had a Marshall 100 head. Glorious thing it was. I was quite ignorant then of things like the need to match the impedance of an amp to the speakers. I knew that my two cabs, which each had two 8 ohm speakers wired in parallel were each 4 ohm cabs, but I was kinda fuzzy about what I should do with the impedance selector switch on the back of the Marshall when I used both cabinets. I think I set the switch to 8 ohms when I used both cabs, thinking that two 4 ohm cabs = 8 ohms! While rocking out one day like that, I smoked one of the power tube sockets. In retrospect I was probably lucky that was the only thing that got smoked. I was good enough with a soldering iron to be able to repair the damage myself, and I quickly sold the head after repairing it. Only years later - after a year of community college studying electronics - did I understand exactly how I had smoked that amp. The amp however lived a long and fruitful life even after I sold it. It ended up in the hands of an acquaintance of mine, and he used the amp for many decades afterward, although he used actual Marshall 4x12 cabs with it. I even modded it for him at one point - adding a master volume pot on the back panel in place of one of the four speaker jacks - since he only ever used two of them.
I had one of these with the 6 button switch. It failed on me twice in a gig setting. It wouldn't switch from the dirt channel to clean channel. I had to turn off then on and all was good...until it happened again within a few minutes and then many times while practicing. I returned the amp under warranty and received another - the same thing happened again! As well, the reverb might not activate when first turning on. If you turned off the amp and on again, the reverb was now activated. Both brand new amps! I loved the tone so much but it had to go 😞
The 40c is a great sounding amp for 800 and goosed 800 tones. Feed it into a 4x12 and smile. I didn’t care for the 40cr that came after it.
I had a DSL40c and the 40cr . It's a great budget Marshall and I really liked mine but I happened on a JVM 215 and it's like a DSL but waaaaay better! Needless to say, DSL got sold and I'll probably keep this JVM till it dies or I do.
? I git a deal on a Blackstar HTV 50 head. It is wired for 220. What is necessarily to convert to our US wiring? Thanks
Lyle, in the previous video you said that the preamp tubes the owner bought were good for the phase inverter, but not for v1 or v2 because they had noise/microphonics issues, but you never got around to saying what tubes you'd suggest for v1 and v2. I was hoping it would be in the follow up. Maybe I missed it.
That was in the 1959 SLP RI. I used a Mullard RI 12AX7 for V1 and a Psvane 12AX7 for V2.
Between Marshall DSL20CR and DSL40CR what you prefer and why? I wait for your answer to decide wich I will buy for home and for gig sometimes in a small place (for at leats 50 people) like a coffe shop or a bar.
So I bought a DSL40CR a couple months ago. I had it for a couple weeks and noticed the clean channel had super low to zero head room. It came on gradually where it had less and less head room until it had none at all and the amp was sounding obviously broken. I returned the amp and grabbed another DSL40CR they had in store. After a couple weeks I was in the middle of playing it and the volume cut and half and it had the same fuzzy distorted output on the clean channel. I returned that amp and they sent me another. I have had the third one for a month with no signs of any problems. I am just wondering what could have happened with the first two amps they sent me. I have had a Blues Deluxe for a couple years and have had no problems with it. I really liked the sound I was getting from the DSL40CR that’s why I kept trying and honestly if guitar center wants to ship me a new amp every two weeks for the rest of my life that’s their business.
Sounds like you returned two amps that just needed new tubes.
@@PsionicAudio Interesting, that makes sense. It's strange it would happen after two weeks on two brand new amps. But at least I know what's going on if it happens to the third amp. I was worried something was maybe wrong with outlet/power in the house or something.
If I may ask, was this amp worth the cost of the repair? From your description, it would seem like the bench time would be substantial. Maybe a better question to ask would be, when is it not worth the repair. Invthus case, it seems to have been repaired twice.
I can’t say how much the previous repair cost. I can say that if it had been done properly this latest repair would have been unnecessary.
I charged two hours labor, $10 parts, and the $95 for the EL34s with shipping/tax.
I have a little over three hours in the amp, but some of that was because I recorded video (I don’t charge owners for additional time filming), and I ordered the parts while having coffee in the morning. So I didn’t charge for that time.
So I think the repair was very justifiable. It was either this or landfill and a new amp purchase. Really wasn’t any in-between option.
Definitely a lot different from the DSL401C!
Man. I mis my Marshall DSL.
I need your opinion PLEASE? 1994 Fender Evil Twin Amp or a newer Fender Hot rod Deluxe for around the same money? Or 3rd actually a 2 ten 1990 Vibrolux with the cream knobs. All are same price but don't know enough about the guts to decide which to get? I know you're a busy guy but I respect and value your opinion I watch all your videos. Thanks for any help.
The Vibrolux. Not even close.
@@PsionicAudio thank you so much that’s what I’ll get then. Anything I should look for
So always use the proper fuses. And change the power tubes before they blow.
Always use the proper fuses and use techs who don’t cause more damage than they fix. Minor failure led to crap work led to major failure.
Well a fine pedagogical video on a Marshall Some rather shady cap choose there IMHO.
Just had to give you your 666th Thumbs Up🤘
I'm curious about the role of the added diodes. Is it so they'll short out if the voltage goes above their 3KV rating? Because I'm having a hard time understanding when the tube would have a cathode voltage higher than the plate - or why that would cause a problem. I'm trying to understand the electronics theory behind them.
Cathode is ground in this instance.
ampgarage.com/forum/viewtopic.php?t=14102
@@PsionicAudio Interesting. Thanks.
Some people have no right to call themselves “techs” after seeing some of the crap you have to fix and clean up. Just…wow! I know you love what you do, but I imagine it can get pretty frustrating fixing others “fixes”.
When you teach everyone to have high self-esteem that can sometimes translate into ridiculous confidence in your own ability to do everything. So not surprising some techs have confidence way beyond their competence.
I just feel bad for the player who got taken advantage of.
There are guys in town who think I’m overpriced and take too long. They’re always looking for someone cheaper and faster.
Cheap. Fast. Good.
You can only choose two.
It’s the same in the luthier field. I’ve been a luthier for over 40 years. I frequently have new customers come in with their guard up having been burned by a hack prior. Now it’s MY job to earn their trust. 🤦🏻♂️ Regardless, I convert them into loyal return customers each and every time. 👌🏼
@@PsionicAudio I agree -= cheap and Fast or Good and correct price. In the end, competence wins and builds a lasting business that grows. Say what you can do - admit what you can't and find someone better to then do the jobs you can't do. In a year or two you become the go-to guy because everyone trusts you to do good work and when you don't know you know someone who does. Why would you run a business any other way? It's what I used to do and I always had a complete roster of between 50-75 guitar students AND a waiting list. I wasn't a genius - I just followed those rules above. And there's no stress in only doing what you can do - and terror in trying to do the stuff you can't
Whatever happened to the OR 100?
Quick question; 77 super reverb UL model, has a perfectly working vibrato channel, but very weak, quiet normal channel, i’ve tried a lot of the usual troubleshooting things but nothing, what would you suggest?
Did the "usual" stuff include checking voltages? Because that is where I would start.
Voltages. Always voltages.
The voltages you measure on the healthy V2 should be about the same on V1.
Do you use "wirewound" screen resistors for all your repairs?
No, but most.
it was on fire
Out of curiosity, what did you bias it at?
55% idle per tube. Tons of preamp gain, so let’s let this have a nice clean output. This isn’t a 1987.
😎👍
How much do you have to spend on a Marshall to get an actual "fantastic" amp?
Whatever the current price for a pre-‘84 is.
Or some of the reissues with some reliability upgrades.
@@PsionicAudio ouch!
If you don’t insist on it saying Marshall then Germino, Friedman, and Metropoulos are better options.
@@PsionicAudio I don’t. In fact I’m growing suspicious of the whole Marshall thing. The Germino Classic 45 sounds like the sort of amp I’m looking for.
Is it an amazing amp no. Is it an amazing amp for under 1k yes.😆😆😆🌟🌟🌟🌟🌟
I owned a DSL40C for less than a year, it had to go, it was the most shrill, awful, harsh sounding amp I've ever owned. Strat was unusable, Gibson works OK through it, but being unable to dial in a good dirty strat tone forced me to sell it. Even with treble and presence both on zero, it still had way too much of that nail-through-the-eardrum-straight-into-the-skull sound. Good riddance to that thing, I do not like these amps at all. The "green" channel was usable, but why bother with a 2-channel amp when one channel is basically useless due to how awful it sounds?
On the other had, I own a DSL5CR that's more recent, and it's a *wonderful* sounding amp, especially with the strat. And the red channel on the 5 watt has that glorious mountain thunder god sound that Marshalls are known for. I don't get how 2 amps in the same line can be so radically different sounding, where one is one of the best tones I've ever had, and the other sounds so bad it's unusable.
It might be instructive for us to understand how you ended up owning a Marshall that was the "most horrible-sounding amp" you've ever heard. Did you buy it online without playing through it first, simply because of it having gotten "great reviews"? Or simply because you assumed a Mashall, any Marshall, would always sound good? Was it new, or used? Did you have a tech look at it to make sure it was operating correctly?
I am a tech, not really a player, but I've never quite understood how it is that many people seem to end up with an amplifier that they really don't like the sound of. Perhaps if it's their 1st or 2nd amplifier that they've owned, and they had to scrounge whatever they could on a minimalist budget, but by the 3rd or 4th amp I would think one would be able to play through an amp and recognize if it will work for them and fit their style of playing, or not, as the case may be.....
Nothing more frightening than a lazy or poorly informed tube amp repair.
Ok. Wait. You can't say "it's a reliable amp", then correct yourself by saying "No, it's not. It's a reliable amp, at this price point". It's either reliable or it isn't. Idc how much it costs, nobody is saving money, if they have to service the damn thing every 5 minutes
You don’t know nothing about Marshall amps!
Nice complement. Rearranging for grammar:
Nothing you don’t know about Marshal amps! 😊
@@kmajor44 , haha. If we’re talking about grammar; you don’t know anything about Marshall amps. Lyle has gotten comments in the past people saying he didn’t know anything about them. I just try to keep it alive.
He knows how to criticize them every chance he gets
All good K Mic!!
I was not privy to the insideness of your comment.
J Marshall - I think he fairly observes and conveys knowledge appropriately. You watched the above video so you know he also complements Marshall.
Mmm? Corrects the grammar but misspells 'compliment '. Or is that another inside joke? 😊
I play this amp through a celestial creamback boosted with a Timmy and it sounds better than my Friedman runt 20 on the BE channel, $900 dollar Marshall sounds better than my $ 2000 dollar Friedman Canadian dollars, go figure
I put a creamback M65 in My DSl 40 CR and have a closed back 1 by 12 with the M65 and the 40CR sounds, amazing with that speaker. Pushed it more in the vintage direction and the amp punches above its weight . People say it's a great amp for the price but not a great amp general which is cool because everyone has their own taste but I disagree that it's only great for its price .. I preferred it to quite a few more expensive amps . I liked it better then the mini Jubilee I used to own as well a Traynor YCV 50 JCM 800 studio classic and a JVM 1 by 12 combo . Also liked it better then several orange Amps I tried. Over the last 5 years I have had many Amps come and go but My DSL 5CR and 40 CR are the only ones that have stayed. Had an origin 20 for about 3 weeks and the DSLs blew it away. I could get better vintage tones by far from the DSLs with the right speaker and cabs. I basically use the 5CR as a head and the 40CR as a head half the time and the other half I run the internal combo Creamback M with a closes back 1 by 12 . I love how it sounds when combining the open back combo with a closed back cab,. I love the mids with that set up .