![]() That’s “despite some significant changes” even if analyzed against the big picture these changes might appear relatively slight or at least far less significant, say, than the changes wrought by Fender between the tweed Bassman of 1960 and the blond Bassman of 1960/’61, or by Gibson between the Les Paul of 1960 and the Les Paul/SG of ’61. Let’s take a look at a gorgeous plexi-panel JMP50 from around 1968, by which time the archetypal plexi formula had been firmly established. As hallowed as the 1962-’66 Marshalls might be, and as desirable as those later metal-panel heads might still remain, the late-’60s plexi is undoubtedly the pinnacle of Marshall amps for the rocker and typifies what we think of as “the Marshall sound” more than any other product the company has ever produced. Marshall amps of the company’s first 10 years are interesting for having thrown up classics of different eras – from the original JTM45 to the plexiglass-panel JTM50/JMP50 of 1966-’69 (from whence the “plexi” nickname is derived) or the metal-panel JMP50 of 1969-’72 – that all bore the Model 1987 Lead Amp designation, despite some significant changes. Kids wanna rock? Plug into your plexi and bow to the mighty crunch. Output: 50 to 60 watts RMS into a 16-ohm load. Speakers: four 20-or 25-watt Celestion G12M “Greenback” speakers, wired in series-parallel, in closed-back 4×12 cabs. Output tubes: initially two E元4 Class AB, fixed bias.Ĭontrols: Vol Normal, Vol Bright, Treble, Bass, Middle, Presence. ![]() ![]() Preamp tubes: three ECC83 (12AX7) for first gain stage, cathode-follower tone stack, and “long-tailed pair” phase inverter.
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