And the amp, when needing just a bit more gain, takes very kindly to overdrive and boost pedals for those searing leads. It has sustain with mids and highs that cut through the mix – perfect in a band setting. In that respect, nothing’s changed and musicians today still need to have control over their levels.Ī 2203 Marshall half stack with a Gibson plugged in provides a fantastic driving rock and roll distortion tone with punch. But the volume in these amps is manageable and this is what musicians of the time needed when playing the clubs and bars of the day. The sound of a master volume Marshall is different since it relies on gain and distortion emphasis produced by the preamp stage and less so on the compression character created by the output tubes when turned up. Why? Well, they sounded great at more reasonable volumes which essentially made them more practical for guitarists who couldn’t always play at full volume and crank up a non-master volume Marshall inside a concert arena. The models 2203 (100 watts) and 2204 (50 watts) heads became instant hits, and quickly began to outsell the non-master volume versions by the late 70’s. It’s hard to argue against the amp that Hendrix, Page, Van Halen, Clapton and many others used.Īnd while I would agree that they are incredible amps, the REAL game changer in my mind for Marshall was when the company introduced its master volume series of amps in 1976. When people most often think of vintage Marshalls, the most highly regarded are the non-master volume series including the model 1959 100 watt head produced in the late 1960’s and early 1970’s.
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