I wish they would do more of these videos FINALLY straightening out their model numbers/series numbers and what they mean. I am no great fan of marshall amps but they have a rich history and i think it is really sloppy that most people haven't a clue what amps do/did what and what each designation means.
I really enjoy when Steve the engineer is there, THAT is the info I want. He was the first person that made me really understand the Vintage-Modern....15 years later...🙄 I wish Marshall would put that tech info in the amp descriptions rather than descriptive 'ad-speak'. Have a tech description under the normal copy. It's only going to help get the best out of an amp. 👍
If Marshall had done this sort of in-depth discussion of the amps and how to use them, I think certain models (the Vintage Modern, the JCM2000 DSL, the modern DSL, and the JVM410 line) would have done better from their introduction, rather than having to wait for up to two decades for each line to go from misunderstood to modern classics. Lovely elucidation by Mr. Dawson. Thank you, Marshall!
Never forget my JMP 50 Watt combo with Master volume, which I bought in 1979. From the moment I played this amp for the first time, I got a Marshall player until today. 2 by 12 now is too large for me today, but the sound of this amp was unmatched. Very interesting to hear the differences between the JMP and the JCM 800, especially for the Strat players. I can confirm that the JMP was the ideal amp for the Strat.
I’ve been playing guitar now for 24 years. And only in the last few years have I been getting hip to Marshalls…now I’m in love with the old custom color Marshall’s. I still love Fender amps, but my Bluesbreaker, and Class 5 running through a 1989 Marshall 4x12 1960a have really become my two go to amps.
I started in 1980. I only recently got a Ceriatone replica. In the past I had concerns about controlling the sound. I now regret not getting one sooner. It took a while to adapt my playing, but what a game changer.
I had a 2203, in 1978, I used a Yamaha SG2000, and was lead guitarist with Dave Berry and the Cruisers. We were quite loud, and covered clubs ,night clubs, theatre's and festivals. I remember having a really big clean sound, and just dug in for lead breaks. No pedals, except for a way wah. People always talk about overdrive sounds, but Marshall was used by many genres.
Great episode.I had the pleasure of meeting Steve as he has his own business and I've become a customer of his. Thoroughly knowledgeable and genuinely nice bloke. 👍
I definitely agree with Steve Smith, because I play a lot more Fender style guitars, that I like the JMPs better than the JCMs. I actually tend to prefer the Bass models over the Lead models, or a JTM45.
I love my '79 JMP 2203 full stack. Nothing barks louder!! I got a Legendary Tones Hot Mod in it now and it's as pissed off as can be. But without it's already glorious, and also on the low input. Beautiful cleans to be found there. I'll never sell it.
Can’t believe there’s not a version of this in the studio series yet. Dream amp. To my ears, the JCM 800 isn’t the same as these short lived Master Series amps at all. They’re much more articulate, warm and squishy (if that makes sense lol). My Brent Hinds Terror is supposedly based on these and comes super close through Greenbacks, but it’d be a dream come true if Marshall themselves did a 20 watt reissue of these.
3:06 the gentleman on the left explains "how" a treble booster pedal actually works when hammering the front end of these older amps. Not so much treble really, instead it would compress the amp tone. I never knew that and would stay away from any pedal with Treble in the name. Cool tip!
That’s how they work into the cranked amplifier. Use them within the headroom and they will make you cry. But used them into the cracked amp or into the drive pedal and you will get top end compression that sounds very nice.
For me the best marshalls ever made… there are differences with jcm800 series… please reissue!!!! I missed “the cascade mod” explanation… Really good video, and tones!!!
You guys failed to mention the big difference between the 2203 2204 as opposed to the older designs. It had a cascading preamp section. This did not exist on the old Plexi designs the old plexis had four inputs and they were going into two different halves of the 12 AX 7 in parallel the 2203 and 4 have an extra gain stage in the preamp because they cascaded one into the other. This gave it more gain.
Would be nice to see some re-issues of a lot of these heads in affordable combos sizes. Instead of gatekeeping these amps for doctors and rock stars. JCM 900 would be a nice start!
I have a 1976 2203. It is a sceamer! I play a 1976 Fender Statocaster and a 1980 Gibson Les Paul Standard. The sound is classic. I wouldn't change it for anything!
They didn't mention that they used a transistor gain as well as Valves on the second channel to get more high gain as an amp Tech who worked on my JCM 800.
Will never understand why these haven't been reissued. An exact reproduction of a '79 JMP 2203 would be gold. One of my favourites. The JCM800 cosmetics aren't to my taste.
That's because the JCM 800 is far more popular and has far longer legacy than the very brief JMPs. Limited edition JMP reissues do exist though they're usually the artist grade
Yes, they should reissue a 2204 with the pre '75 Toggle switch cosmetics. They already make the JCM 800 2203 reissue so a 50W M.V. amp would be good. In Purple Levant! I had a near mint 1979 made 2204 50W for 25 years. Great amp. It was one with the lower plate voltage, 385V thereabouts. Still plenty loud and sounded fantastic.
I bet these amps would sell like hotcakes if Marshall reissued them. I’ve got a JCM800 4104 which is basically a 2204 in a 2x12 combo. The JMP combos and heads just sound a little more forgiving as they’ve got a bit more low end than the JCM800 era amps. I play strats and telecasters so the extra high end of a JCM800 is a bit much at times. I’d sell my JCM800 for a reissue JMP I’ve got a Marshall 2150 from 1978 I use way more than the 800. It’s an oddball amp very few have heard of that also has a master volume but 4 inputs like an older JMP. Marshall only made them for a year or two in 1978 and 1979. Kind of a shame when it was also a pleasant sounding amp
The key to these vintage Marshall amps is their ability to work with your favorite boost pedal without it sounding raspy or brittle Small changes yield massive results, surprisingly the 4holer heads yield substantial amounts of gain with said pedal Test both low gain/ high gain and normal/Bright channel Remove bright cap and test. prefer the boost pedal over having a stand alone Marshall that sounds like a fuzz box If it takes a boost pedal well you are on to something!!
so cool somebody give the to greatest marshall ever made 2204 100w master..dont be fooled kids jmt are cool and who dosent love 80's metal jmc 800...but the cream tone with over drive this is the amp too own..great job
They keep referring to the JMP Marshall of the 60s and 70s and how people mistakenly call the 2203s of the mid70s JMPs…I think this further confuses. Why not just refer to these big logo, master volume amps by their real name? The first 2203s were called: Mk2. Master Model 100w Lead And the first 2204s were called: Mk2. Master Model 50w Lead
So much incomplete information here. There was a huge difference between the 2203 and 2204 in the beginning since the 2204 didn’t have the cascaded gain stage in the beginning. Also the jcm800 was introduced in 1981 and jmps were still sold in 81 as well. Also the jcm800 in the first years were just JMP amps with another housing, although I believe transformers changed as well at some point. Later jcm series were quite different from the early ones. I have bought my JMP2204 brand new in 1980. I still have that amp and today I also have a JMP 1987 ( 1979) and a JMP 2104 combo from 1980.
So what are the real differences between a Master Model 2203 and a JCM800 ? Because by looking at the schematics available online they seem the same. How is it possible that Mr Dawson says the 2203 were less brilliant?
@@geordieofficialbandchannel344 If you look at the unicord schematics of 2203 and compare them to the later JCM800, it actually seems that the JCM800 has a "bigger" presence range, so it should manage to make the amp darker sounding when dialed ccw. I'm really scratching my head about this. JCM800 used a 25K pot giving a bigger treble attenuation at minimum settings, while Unicord schematics report a 5K presence pot, which at low settings should allow less high treble cancelation.
Jcm 800 accounts for a lot of models with the 80s facelift since 1983 or so I think, including the 2203/4. There were also the split channel 4200 and the 2205/10 series if I remember correctly
@@geordieofficialbandchannel344 I have experimented today with my JCM800 circuit, and placing the 2203 presence circuit in place of the stock one didn’t do much difference to be honest. The amp is still very bright. Probably it changed 1%, but it’s very hard to tell! I am starting to get very puzzled and I truly wish I could understand how is possible for the 2203 to be darker sounding
I've got a 1976 1959 that's a little strange. It has three toggle switches still, no JMP or MKII labeling, gold piping still, and I think the bigger logo. I've read 76 was kinda transitional and that old parts were getting used up around that time. The coolest part about it, though, is that it has a Nippon Gakki (yamaha) sticker on the back displaying the hz, wattage, and voltage. It's US spec in that regard but I think it was made for import to Japan via Yamaha based on an old Nippon Gakki ad I found from the late 70's. They were clearly selling 1959's at the time over there. I've spoken with someone in Japan who has the same amp and they say they just run it off their 100v wall outlets instead up using a stepping transformer. Half of Japan is on 60hz so on that side it would safely work like a variac I suppose. The amp had a Japanese toggle switch that acted as a 50w switch installed in a non original hole in the back. I've kept the switch but have not yet dated it. Marshall, if you know anything about the anachronistic stuff or the Yamaha connection, I would love to hear about it.
The transition time was quite long really. In 1976 they started migrating from toggle switches to rocker switches. Logo could be small or large, piping and box itself could be old style or new. Even in later years you could find small logos on the amps. Also the script at the back,of the amp changed from block letters to script even later ( 1980 I believe, since I have a 1979 model with block letters and a 1980 model with script MKII designation. In 1979/ 1980 piping became thicker as well .
Mmmm... I still hold a torch for the Super Lead non master volume. The Holy Grail is still output tubes being pushed into oblivion. Preamp gain is good for some, but the breakup is totally different. Long live the #1959 and #1987 JMP Super Leads.
My first Marshall amp was this weird looking 100 W transistor head. It was as wide as the modern 4 x 12 cabs but it was only about 12 cm (5 in) tall. I wonder if someone knows anything about it?
The JCM800 are a series of amps. Under the JCM800: 2203, 2204, 2205, 2210, 1959, 4010, etc. A JMP is also a line of amps. The JMP and JCM 800 both share the 2203 circuit. The JMP 2203 more filtering, maybe a bit lower preamp voltage due to more dropping resistor, different power trans voltages too.
Marshall company went from what could be best described as boutique company to international industry giant. Their amplifiers defined man genres of music. Marshall leaders, true the years were changing amplifiers and company to fit the current player's needs as well as to ensure company growth. Middle 70's and then in 80's, Marshall switched into the fifth gear. They were already established as iconic companies, and demand for their amplifiers were huge. They have established them self with awesome turret board based amplifiers with toggle switches. Bulletproof design that can be repaired forever. When the ST-I board came in, it was the best PCB quality you could see in the consumer market. It was a modern thing that allowed faster production. Rocker switches and cabinet redisgn made them look contemporary. Everyone wanted a Marshall amplifier. Hair metal kicked in. Girls loved it, so boys went after the girls, and it became huge. Meanwhile, hard-core bands also went up with the gain. So win-win for Marshall. 80-ies and 90-ies made huge money for Marshall company. I was always into electronics, starting with building HiFi amplifiers when I was a kid. I have always loved music. Always wanted to play electric guitars loud. No wonder I loved Marshall amplifiers. ST-I PCB was really good. They kept chassis mounted potentiometers and tube sockets. That was very clever. They kept decent size components, and that was awesome as well. They kept using mustered caps until those ran out. Amplifiers were really good despite using PCB and cheaper components like rock switches. These switches made it possible to reduce one hole, and they looked modern and awesome at that time. To mount those you needed just to push them in. First, they were soldered as well. I personally thought that ST-I PCB was bulletproof. Though nowadays, after up to 50 years of lifetime and possible modifications done by people and everyone who was preparing them in the meantime, those ST-I PCB's are just nightmare for me. They are still better than more modern ones, though. Heat from working hard doesn't help. Heat from being repaired doesn't help either. Traces separate. Cables break. Components reach the end of life. I have shipped a repaired amplifier, and it came in broken after 500 miles of transport despite being packed well. Amp came in, and first, I did was to check my work. Everything was still good. Took me longer than I would like to admit just to find out that two wires broke. One ground wire and that introduced noise, easier to find. The second wire was way harder to find, and it looked OK. I have had to pull every wire hard to make sure it will stay on. I hit nightmares from that amplifier. So nowadays, I really do not want to repair these amplifiers because something new can happen, and it's always your fault because you were the last man in. They are simply old. They are not designed to be repaired forever. Once potentiometers came to the PCB, it was game over. It sped up production but lowered quality a lot. Sound was almost the same, but amplifiers became even more fragile. In 90-ies, I would have taken JCM over "old" Marshall amplifiers. I was a young man. Nowadays, anything with the turret board is a real deal for me. The funny thing is that those amplifiers sound better as well for me. There is no need for high gain over here. Even as clean amplifiers, early Marshall amplifiers are awesome. Though these amplifiers are often misunderstood. People expect that epic sound at room level. But those old JTM45 and Plexi amplifiers require full blast to overdrive. Those were amplifiers for professional musicians. Made to sound best at the venue sound levels without going true the PA. The same stayed true for all Marshall non master volume amplifiers. Even later, models sound better at full blast. They are made to cut truecthe mix and sound better at the full volume. The power stage starts to overdrive as well. That part is an important part of the Marshall sound. Those brighter amplifiers smooth out when pushed hard. Bright caps are not in the circuit when the potentiometer is at 11. The Treble part is already compressing, like there was a built-in treble booster. Amplifiers just cut true the mix no matter what. Then they have understood that there is a huge market of the people who want 1 million options on the amplifier. They wanted a 100-watt tube amplifier with fullstack that can be displayed and played in their living room. 100 tube Watt's while at 10 Watt volume level was too loud but impressing guests. They understood that people with money and even no time for hobbies like to have stuff. So amplifiers became designed for buyers, not necessarily for the musicians. They kept the possibility of playing loud. They are not as robust and roadworthy as they were. But now they are in the living room or music room. They do not travel. So why overbuilding them? Marshall is a company that, as any other company, is in business of making money. They are not charity for musician's. They tend to their buyers and their wishes. They still listen to real musician's as well. They try to cover every angle and every market they can. Some could say they are victim of their own success. To be able to sell millions of amplifiers and cabinets, you can be handwiring them one buy one. You need a high efficiency China factory to make/meet numbers and price. Hand wiring costs more time, and that means more money. All my own amplifier designs are point to point. I do not want to be Marshall. One man operation with full control. Making amplifiers for people who live music. There is no need for mass production and profit by numbers. I do not do it to get rich. I just love music, that's it. My love to Marshall amplifiers will stay forever, though.
@Sdmf Bls Yeah, that's what I was thinking, but Kiss is spelled with two S's, not two Z's, which is why I had to ask. You haven't really helped me at all, but thanks anyway.
I wish Marshall would do reissues of those JMPs
Was just about to say the same!
Amen
Please 🙏
They are next in the studio series
I wish they would do more of these videos FINALLY straightening out their model numbers/series numbers and what they mean. I am no great fan of marshall amps but they have a rich history and i think it is really sloppy that most people haven't a clue what amps do/did what and what each designation means.
I really enjoy when Steve the engineer is there, THAT is the info I want. He was the first person that made me really understand the Vintage-Modern....15 years later...🙄
I wish Marshall would put that tech info in the amp descriptions rather than descriptive 'ad-speak'. Have a tech description under the normal copy. It's only going to help get the best out of an amp. 👍
If Marshall had done this sort of in-depth discussion of the amps and how to use them, I think certain models (the Vintage Modern, the JCM2000 DSL, the modern DSL, and the JVM410 line) would have done better from their introduction, rather than having to wait for up to two decades for each line to go from misunderstood to modern classics. Lovely elucidation by Mr. Dawson. Thank you, Marshall!
Great video and tremendous technical details and memories provided by Steve Dawson. More please.
Love my 77 JMP 2204, great with a boost as recommended in the video
Aaah at least! There are differences between the JCM 800 und the JMP 220Xs. So many guys called me nuts about this, but here it is!
Never forget my JMP 50 Watt combo with Master volume, which I bought in 1979. From the moment I played this amp for the first time, I got a Marshall player until today. 2 by 12 now is too large for me today, but the sound of this amp was unmatched. Very interesting to hear the differences between the JMP and the JCM 800, especially for the Strat players. I can confirm that the JMP was the ideal amp for the Strat.
God I wish they would reissue these! The best sounding Marshall in my opinion.
I’ve been playing guitar now for 24 years. And only in the last few years have I been getting hip to Marshalls…now I’m in love with the old custom color Marshall’s. I still love Fender amps, but my Bluesbreaker, and Class 5 running through a 1989 Marshall 4x12 1960a have really become my two go to amps.
I started in 1980. I only recently got a Ceriatone replica. In the past I had concerns about controlling the sound. I now regret not getting one sooner. It took a while to adapt my playing, but what a game changer.
What a great video, chaps!
I had a 2203, in 1978, I used a Yamaha SG2000, and was lead guitarist with Dave Berry and the Cruisers. We were quite loud, and covered clubs ,night clubs, theatre's and festivals. I remember having a really big clean sound, and just dug in for lead breaks. No pedals, except for a way wah. People always talk about overdrive sounds, but Marshall was used by many genres.
I have a JMP 2203. Mine says "Marsnali" on the front. Some people have emotional support pets. I have an emotional support amplifier. 😁
Awesome stuff love Red Marshalls and White. Nice playing. Marshalls Forever 🔥🤘🤘
I have a red one identicle to this, but all the lettering is there. A truly great amp! It's a 78 I bought new for $550.00
Great episode.I had the pleasure of meeting Steve as he has his own business and I've become a customer of his. Thoroughly knowledgeable and genuinely nice bloke. 👍
Legend
I definitely agree with Steve Smith, because I play a lot more Fender style guitars, that I like the JMPs better than the JCMs. I actually tend to prefer the Bass models over the Lead models, or a JTM45.
I love my '79 JMP 2203 full stack. Nothing barks louder!! I got a Legendary Tones Hot Mod in it now and it's as pissed off as can be. But without it's already glorious, and also on the low input. Beautiful cleans to be found there. I'll never sell it.
Can’t believe there’s not a version of this in the studio series yet. Dream amp. To my ears, the JCM 800 isn’t the same as these short lived Master Series amps at all. They’re much more articulate, warm and squishy (if that makes sense lol). My Brent Hinds Terror is supposedly based on these and comes super close through Greenbacks, but it’d be a dream come true if Marshall themselves did a 20 watt reissue of these.
3:06 the gentleman on the left explains "how" a treble booster pedal actually works when hammering the front end of these older amps. Not so much treble really, instead it would compress the amp tone. I never knew that and would stay away from any pedal with Treble in the name. Cool tip!
That’s how they work into the cranked amplifier. Use them within the headroom and they will make you cry. But used them into the cracked amp or into the drive pedal and you will get top end compression that sounds very nice.
Great demo with strat, classic tones rules!
That 70s strat (judging by the headstock) sounds INCREDIBLE. And on the bridge pickup even!
I have a 2204 since 1978 and a vintage modern. Happy days
Me too, they both kick ass
I love my good old JMP. I have some videos on my channel about it :)
For me the best marshalls ever made… there are differences with jcm800 series… please reissue!!!!
I missed “the cascade mod” explanation…
Really good video, and tones!!!
Oh dear these sound good!!! 😲
Very cool series. We want more of this!
We need a reissue 🤘🏼
Great playing and info! Nothing beats a Marshall 🤘!!
We need a Reissue of these amps. ;-)
You guys failed to mention the big difference between the 2203 2204 as opposed to the older designs. It had a cascading preamp section. This did not exist on the old Plexi designs the old plexis had four inputs and they were going into two different halves of the 12 AX 7 in parallel the 2203 and 4 have an extra gain stage in the preamp because they cascaded one into the other. This gave it more gain.
Would be nice to see some re-issues of a lot of these heads in affordable combos sizes. Instead of gatekeeping these amps for doctors and rock stars. JCM 900 would be a nice start!
I have a 1976 2203. It is a sceamer! I play a 1976 Fender Statocaster and a 1980 Gibson Les Paul Standard. The sound is classic. I wouldn't change it for anything!
Best series and to see Steve play was great
Fantastic! Steve Dawson belongs on the Mt. Rushmore of amp designers along with Dudley and a couple others.
Did I hear a Studio JMP coming up…?
😅🎉❤
We can dream!
Wow, that's one of the best bridge strat tones I've ever heard at 4:55. I'd love to know what those pickups are.
Yeah that sounds amazing!
Kinman Woodstock set. Not the version with the higher gain bridge pickup.
1959 SLP, JMP 2203 and Silver Jubilee are my top three favorites Marshall amps. And not just Marshall amps actually.
Blues,rock,metal Marshall has an amp for that.
I have a JMP and can confirm they are brilliant. Only thing is mine is missing its Marshall badge, do you sell them?
Hi, I would like to know why the JCM 800 2203x is so expensive in USA and Canada ? Thanks.
They didn't mention that they used a transistor gain as well as Valves on the second channel to get more high gain as an amp Tech who worked on my JCM 800.
Will never understand why these haven't been reissued.
An exact reproduction of a '79 JMP 2203 would be gold.
One of my favourites.
The JCM800 cosmetics aren't to my taste.
That's because the JCM 800 is far more popular and has far longer legacy than the very brief JMPs. Limited edition JMP reissues do exist though they're usually the artist grade
@@eyedunno8462 It is crazy though, amongst musicians the 79 JMP is the holy grail.More so then the JCM800, It has more soul?
JMP and JCM800 the best in Rock Tones!!!
What about also using single cut, mahagohny body, rosewood fingerboard, humbucker guitars? what was the brand again?
Still got my 2203 1979 in great shape - home use in perfect condition ...
As my other modern JCM Slash
This is GREAT content guys! PLEASE PLEASE PLEASE keep Marshall history alive with more videos like this! Rock on!
I was at The Winery Dogs at The Belly Up tavern in San Diego. Ritchie Kotzen played through a vintage 100w plexi full stack. I was deafened.
Yes, they should reissue a 2204 with the pre '75 Toggle switch cosmetics. They already make the JCM 800 2203 reissue so a 50W M.V. amp would be good. In Purple Levant! I had a near mint 1979 made 2204 50W for 25 years. Great amp. It was one with the lower plate voltage, 385V thereabouts. Still plenty loud and sounded fantastic.
Steve Grindrod designed the 2203/2204 in 1975. It utilizes a cathode-follower style Master Volume to isolate the pre-amp.
You all thinking of doing any future commercial amp models with the #34, #36, and #39 modifications?
are the frets scalloped on that strat?
I bet these amps would sell like hotcakes if Marshall reissued them.
I’ve got a JCM800 4104 which is basically a 2204 in a 2x12 combo. The JMP combos and heads just sound a little more forgiving as they’ve got a bit more low end than the JCM800 era amps. I play strats and telecasters so the extra high end of a JCM800 is a bit much at times. I’d sell my JCM800 for a reissue JMP
I’ve got a Marshall 2150 from 1978 I use way more than the 800. It’s an oddball amp very few have heard of that also has a master volume but 4 inputs like an older JMP. Marshall only made them for a year or two in 1978 and 1979. Kind of a shame when it was also a pleasant sounding amp
Do more Tone Tutorials for Studio Vintage
I still have my 1977 JMP 2204 and still my favorite. What speakers where in that cabinet?
That Anderson sounds amazing!
the only Marshall amp I need, Marshall please reissue this
The key to these vintage Marshall amps is their ability to work with your favorite boost pedal without it sounding raspy or brittle
Small changes yield massive results, surprisingly the 4holer heads yield substantial amounts of gain with said pedal
Test both low gain/ high gain and normal/Bright channel
Remove bright cap and test. prefer the boost pedal over having a stand alone Marshall that sounds like a fuzz box
If it takes a boost pedal well you are on to something!!
so cool somebody give the to greatest marshall ever made 2204 100w master..dont be fooled kids jmt are cool and who dosent love 80's metal jmc 800...but the cream tone with over drive this is the amp too own..great job
They keep referring to the JMP Marshall of the 60s and 70s and how people mistakenly call the 2203s of the mid70s JMPs…I think this further confuses. Why not just refer to these big logo, master volume amps by their real name?
The first 2203s were called:
Mk2. Master Model 100w Lead
And the first 2204s were called:
Mk2. Master Model 50w Lead
They were still JMPs until 1980. You can see it on the front panel of the amp in the video.
@@geordieofficialbandchannel344yes but mkII series. Also it seems the first MK2 series didn’t have the cascaded gain stage on the 50 watt models
The red levant on the JMP2203 is iconic and super sexy.
So much incomplete information here. There was a huge difference between the 2203 and 2204 in the beginning since the 2204 didn’t have the cascaded gain stage in the beginning. Also the jcm800 was introduced in 1981 and jmps were still sold in 81 as well. Also the jcm800 in the first years were just JMP amps with another housing, although I believe transformers changed as well at some point. Later jcm series were quite different from the early ones. I have bought my JMP2204 brand new in 1980. I still have that amp and today I also have a JMP 1987 ( 1979) and a JMP 2104 combo from 1980.
Release a Studio Classic with JMP styling.
Love the white!!
So what are the real differences between a Master Model 2203 and a JCM800 ? Because by looking at the schematics available online they seem the same. How is it possible that Mr Dawson says the 2203 were less brilliant?
Right, they are exactly the same amp with different cosmetics
In the video I explain that the negative feedback network on the JCM800s was changed to extend the treble range.
@@geordieofficialbandchannel344 If you look at the unicord schematics of 2203 and compare them to the later JCM800, it actually seems that the JCM800 has a "bigger" presence range, so it should manage to make the amp darker sounding when dialed ccw. I'm really scratching my head about this. JCM800 used a 25K pot giving a bigger treble attenuation at minimum settings, while Unicord schematics report a 5K presence pot, which at low settings should allow less high treble cancelation.
Jcm 800 accounts for a lot of models with the 80s facelift since 1983 or so I think, including the 2203/4. There were also the split channel 4200 and the 2205/10 series if I remember correctly
@@geordieofficialbandchannel344 I have experimented today with my JCM800 circuit, and placing the 2203 presence circuit in place of the stock one didn’t do much difference to be honest. The amp is still very bright. Probably it changed 1%, but it’s very hard to tell! I am starting to get very puzzled and I truly wish I could understand how is possible for the 2203 to be darker sounding
These sound lovely
I've got a 1976 1959 that's a little strange. It has three toggle switches still, no JMP or MKII labeling, gold piping still, and I think the bigger logo. I've read 76 was kinda transitional and that old parts were getting used up around that time.
The coolest part about it, though, is that it has a Nippon Gakki (yamaha) sticker on the back displaying the hz, wattage, and voltage. It's US spec in that regard but I think it was made for import to Japan via Yamaha based on an old Nippon Gakki ad I found from the late 70's. They were clearly selling 1959's at the time over there. I've spoken with someone in Japan who has the same amp and they say they just run it off their 100v wall outlets instead up using a stepping transformer. Half of Japan is on 60hz so on that side it would safely work like a variac I suppose. The amp had a Japanese toggle switch that acted as a 50w switch installed in a non original hole in the back. I've kept the switch but have not yet dated it.
Marshall, if you know anything about the anachronistic stuff or the Yamaha connection, I would love to hear about it.
The transition time was quite long really. In 1976 they started migrating from toggle switches to rocker switches. Logo could be small or large, piping and box itself could be old style or new. Even in later years you could find small logos on the amps. Also the script at the back,of the amp changed from block letters to script even later ( 1980 I believe, since I have a 1979 model with block letters and a 1980 model with script MKII designation. In 1979/ 1980 piping became thicker as well .
JMP 2204 should be reissued.
Weird hearing these without Gallows riffs blaring from them 😉
Mmmm... I still hold a torch for the Super Lead non master volume. The Holy Grail is still output tubes being pushed into oblivion. Preamp gain is good for some, but the breakup is totally different.
Long live the #1959 and #1987 JMP Super Leads.
Vintage Modern 🤘❤️🇵🇭
My first Marshall amp was this weird looking 100 W transistor head. It was as wide as the modern 4 x 12 cabs but it was only about 12 cm (5 in) tall. I wonder if someone knows anything about it?
You're probably talking about the JMP 2195 Lead & Bass Solid State amp
@sowhulljnr It wasn't that BUT you lead me on the right track and I found the model. My first Marshall amp was model 2098 Lead 100.
Can someone explain why people say the jcm800 is the same amp to me the 2203 sounds so much better. Circuit is the same is it the components ?
The JCM800 are a series of amps. Under the JCM800: 2203, 2204, 2205, 2210, 1959, 4010, etc. A JMP is also a line of amps. The JMP and JCM 800 both share the 2203 circuit. The JMP 2203 more filtering, maybe a bit lower preamp voltage due to more dropping resistor, different power trans voltages too.
I have been using a 1977 2203 in my studio and live since decades….a grrrreat amp…..I have a halfstack…..
I have a 1977 2203 and it is an incredible monster. Love it! But it is damn loud. Lol
I inherited a 1977 100 W super lead that just sits in my room inoperable. I live nowhere near any place that seems to be able to restore it 😢
PLEASE REMAKE JMP STYLE HEADS.
JMP master leads had lower plate voltages than the JCMs.
Reissue !
I want a jcm 800 2204 50w reissue
Hard to believe the interviewer didn't know that Marshall made 4-hole amps all throughout the 1970's.
have mercy!
Reissue the JMP master volume.
Marshall company went from what could be best described as boutique company to international industry giant.
Their amplifiers defined man genres of music.
Marshall leaders, true the years were changing amplifiers and company to fit the current player's needs as well as to ensure company growth.
Middle 70's and then in 80's, Marshall switched into the fifth gear. They were already established as iconic companies, and demand for their amplifiers were huge.
They have established them self with awesome turret board based amplifiers with toggle switches. Bulletproof design that can be repaired forever.
When the ST-I board came in, it was the best PCB quality you could see in the consumer market.
It was a modern thing that allowed faster production.
Rocker switches and cabinet redisgn made them look contemporary.
Everyone wanted a Marshall amplifier.
Hair metal kicked in. Girls loved it, so boys went after the girls, and it became huge. Meanwhile, hard-core bands also went up with the gain. So win-win for Marshall.
80-ies and 90-ies made huge money for Marshall company.
I was always into electronics, starting with building HiFi amplifiers when I was a kid. I have always loved music. Always wanted to play electric guitars loud. No wonder I loved Marshall amplifiers.
ST-I PCB was really good. They kept chassis mounted potentiometers and tube sockets. That was very clever. They kept decent size components, and that was awesome as well. They kept using mustered caps until those ran out. Amplifiers were really good despite using PCB and cheaper components like rock switches. These switches made it possible to reduce one hole, and they looked modern and awesome at that time. To mount those you needed just to push them in. First, they were soldered as well.
I personally thought that ST-I PCB was bulletproof. Though nowadays, after up to 50 years of lifetime and possible modifications done by people and everyone who was preparing them in the meantime, those ST-I PCB's are just nightmare for me.
They are still better than more modern ones, though.
Heat from working hard doesn't help. Heat from being repaired doesn't help either. Traces separate. Cables break. Components reach the end of life.
I have shipped a repaired amplifier, and it came in broken after 500 miles of transport despite being packed well.
Amp came in, and first, I did was to check my work. Everything was still good. Took me longer than I would like to admit just to find out that two wires broke. One ground wire and that introduced noise, easier to find. The second wire was way harder to find, and it looked OK. I have had to pull every wire hard to make sure it will stay on. I hit nightmares from that amplifier.
So nowadays, I really do not want to repair these amplifiers because something new can happen, and it's always your fault because you were the last man in. They are simply old. They are not designed to be repaired forever.
Once potentiometers came to the PCB, it was game over. It sped up production but lowered quality a lot. Sound was almost the same, but amplifiers became even more fragile.
In 90-ies, I would have taken JCM over "old" Marshall amplifiers. I was a young man.
Nowadays, anything with the turret board is a real deal for me. The funny thing is that those amplifiers sound better as well for me. There is no need for high gain over here. Even as clean amplifiers, early Marshall amplifiers are awesome.
Though these amplifiers are often misunderstood.
People expect that epic sound at room level. But those old JTM45 and Plexi amplifiers require full blast to overdrive.
Those were amplifiers for professional musicians.
Made to sound best at the venue sound levels without going true the PA.
The same stayed true for all Marshall non master volume amplifiers.
Even later, models sound better at full blast.
They are made to cut truecthe mix and sound better at the full volume.
The power stage starts to overdrive as well. That part is an important part of the Marshall sound.
Those brighter amplifiers smooth out when pushed hard. Bright caps are not in the circuit when the potentiometer is at 11. The Treble part is already compressing, like there was a built-in treble booster. Amplifiers just cut true the mix no matter what.
Then they have understood that there is a huge market of the people who want 1 million options on the amplifier. They wanted a 100-watt tube amplifier with fullstack that can be displayed and played in their living room. 100 tube Watt's while at 10 Watt volume level was too loud but impressing guests.
They understood that people with money and even no time for hobbies like to have stuff.
So amplifiers became designed for buyers, not necessarily for the musicians.
They kept the possibility of playing loud.
They are not as robust and roadworthy as they were. But now they are in the living room or music room. They do not travel. So why overbuilding them?
Marshall is a company that, as any other company, is in business of making money. They are not charity for musician's.
They tend to their buyers and their wishes. They still listen to real musician's as well. They try to cover every angle and every market they can.
Some could say they are victim of their own success.
To be able to sell millions of amplifiers and cabinets, you can be handwiring them one buy one. You need a high efficiency China factory to make/meet numbers and price. Hand wiring costs more time, and that means more money.
All my own amplifier designs are point to point. I do not want to be Marshall. One man operation with full control.
Making amplifiers for people who live music. There is no need for mass production and profit by numbers. I do not do it to get rich. I just love music, that's it.
My love to Marshall amplifiers will stay forever, though.
Sounds like early KIZZ ⭐
Who's KIZZ?
@@castleanthrax1833 KISS
@Sdmf Bls Yeah, that's what I was thinking, but Kiss is spelled with two S's, not two Z's, which is why I had to ask. You haven't really helped me at all, but thanks anyway.
@@castleanthrax1833 👍
😎👍
Oh and a also have hearing aids!
Johns Run
899 Emmy Circle
Schultz Burg
Tommie Greens
Seriously Marshalls, please reissue these!
What???
Orn Turnpike
People clamoring for a re-issue..lol you know what Marshall would charge, right? Plus they would use Vietnamese transformers.
Les Paul and Marshall, not Strats…
Don’t tell that to Hendrix
@@gwhiz3708 good point!
First amps to have master volumes were not Marshalls. Matamp and Orange had master volumes first.
Dawson strat sounded better than Smith strat copy, more bite and clarity.
Real Men don't need a Master Volume!!! #Marshall 100W #1959SLP Plexi or Bust
Show me anyone today who doesn't use an attenuator with a non mv amp?
All Marshalls sound the same.