When Marshall Amplification unveiled the new JVM Series 100-watt tube head at this year’s winter NAMM convention, most people were impressed, but few were surprised. Even with its whopping four channels, 28 knobs, 12 possible gain voicings, and MIDI capability, the high-gain tour de force seemed a logical, even predictable extension of Marshall’s previous flagship—the three-channel JCM 2000 TSL-100. It seems the industry has grown to expect such full-featured triumphs of amp design from the iconic British amp builder. When Marshall Amplification unveiled the new JVM Series 100-watt tube head at this year’s winter NAMM convention, most people were impressed, but few were surprised.
Jan 02, 2013 Marshall Vintage Modern dusted off. I'm one of the few on this board I think who like the Vintage Modern. I had a 2266 with the 425A cab. Download >>Download Marshall jcm 800 model 2210 manualidadesRead Online >>Read Online Marshall jcm 800 model 2210 manualidades. La Vintage Marshall.
Even with its whopping four channels, 28 knobs, 12 possible gain voicings, and MIDI capability, the high-gain tour de force seemed a logical, even predictable extension of Marshall’s previous flagship—the three-channel JCM 2000 TSL-100. Hp Compaq Pdp124p Drivers. It seems the industry has grown to expect such full-featured triumphs of amp design from the iconic British amp builder. Refreshingly sparse by 2007 standards, the Vintage Modern’s brushed-aluminum faceplate has only eight knobs, two push-switches, and a throwback, early-’60s-style block pilot light that glows in calming indigo.
Yet despite its classic look, the amp boasts several contemporary features. These include a bypassable series effects loop (switchable between rack gear and stompbox input levels), footswitchable Dynamic Range and reverb, a powerful Mid Boost switch that’s perfectly voiced for adding mass to single-coils, and last but certainly not least, my favorite feature—the tandem preamp controls. Labeled Detail and Body, the former adds sparkle and sizzle by goosing the high-end gain above 400Hz, and the latter adds rumble and spine by boosting the low end.
A convenient, revoiced incarnation of “jumpered” Marshall Super Lead volume controls, this pair of knobs allows you to sculpt a wide range of sonic shapes, and the number of variations is quadrupled when you factor in all possible Mid Boost/Dynamic Range combinations. The real news flash with the Vintage Modern, though, is that it represents the first time since the very early ’70s that Marshall has released a production amp running on the big kinkless tetrode [ see Huh? Sidebar below] glass bulbs known as KT66 power tubes. Slightly raunchy at the core with plenty of tinsel around the edges, the creamy KT66 overdrive tone blooms beautifully the more you open the throttle on these bottles, and is less angry sounding (though a tad less articulate) than that of EL34s—the go-to output tubes of Marshalls for the last 30 or so years.
The result is a magically forgiving, warm ’n’ fuzzy grind evocative of Hendrix, Bluesbreakers/Cream-era Clapton, and, suiting the amp’s, ahem, deep purple Tolex exterior, early Ritchie Blackmore (not to mention other masters of ’60s-era KT66 Marshalls). Coupled with the matching cabinet’s four 12' Celestion G12Cs (the same speakers found in Marshall’s recent Super 100JH Limited Edition Jimi Hendrix reissue stack), these tubes have a charming sag—a natural compression—that makes overdriven guitar parts sit nicely in the mix. Set the Vintage Modern’s Dynamic Range switch to High, crank the Master and preamp knobs, and the amp foams over with heaps of organic distortion and musical feedback—all at fairly sane volume levels. It’s thrilling to conjure this Hendrix-like response without turning people’s skulls to pulp. (For a bump in power—and for an extra $200 retail—consider the 100-watt Vintage Modern head. The amp is also offered as a 50-watt 2x12 combo for $2,300 retail/$1,649 street.) One of the most satisfying guitar tones I’ve gotten in recent years was with this half-stack in a large rehearsal hall, facing slightly away from the band, and echoing off the walls.
It filled the room with a magnificent 3-D rock roar. Every lick I threw at it seemed like it was written for this amp—from Van Halen’s “Unchained,” to the Stones’ “Honky Tonk Women,” and U2’s “Beautiful Day” to cleaner fare such as Zepp’s “Ramble On.” The big bonus on the Vintage Modern is while it’s officially billed as a single-channel amp, the footswitchable Dynamic Range option makes it, in effect, a one-and-a-half-channel amp. Kicking the Range from Low to High adds an extra 12AX7, and, consequently, a volume boost and significant gain increase. If Marshall had given this hot-rodded setting its own level control, the amp could easily pass as a two-channel rig. Every other page of the Vintage Modern’s manual, it seems, reminds you to use your guitar volume to control the tone and distortion level—and for good reason. Dynamically, this touch-sensitive tone machine is among the most responsive of high-gain amps on the market. Its sounds are extremely tactile, as the amp reacts differently to variances in picking/plucking attack.