Other Amps

Are Marshall amps uncool/passe now?


I’ve seen writhing masses of people dancing madly to techno, pop, and myriad forms of synthy dance “music,” and not a glowing tube anywhere to be found.

Pipples didn’t dance when Creedence Clearwater played?

In these cases, however, the programs were LOUD. Loud is a thing.

I like tubes, but they’re not mystical alchemical bottles transmuting current into good dance vibes. If they were, maybe my not-entirely-unrhythmic music would entice folks to the dance floor.


Yes none of the studies I read mentioned tubes.

And solid state can sound great. Credence and also dr feelgood

The study that I half remember was ,I think , called the corporeality of music. Middleton and Sheppard.

I do imagine a wave form at a volume coming out of a twin with jbls and a 5e3 with a p12r at a a volume difference that may not be that noticeable audibly would look, sound and feel very different . Both great with the right player...

Thought I’d post dr feelgood


Yeah, tubes are probably a detour from the original topic of the thread, a tangent we all went off on when we naturally associated Marshall with stacks, and all flashed back to classic rock’s glory days, and extrapolated from there to other big iron and its associated weight.

Birdman’s original observation was specifically that he doesn’t see as many MARSHALLS as in the past. (And that would presumably include both solid state and combo Marshalls.) That’s another line of inquiry.

BZ had one typically acerbic and pithy explanation: Marshalls ain’t what they used to be, and haven’t been for decades.

I can’t speak to that, but it’s worth noting that Marshall had the crunch-and-scream market much to itself when it made its reputation - and that market has since been colonized and Balkanized by a wide array of perhaps-initially-inspired-by variations which let every player find just the tonal contour and gain structure he wants. Mesa early on, and since then Soldano, Friedman, Peavey, ENGL, and so many other balls-to-walls rock amps have to have taken big bites out of Marshall’s pie. That’s been going on for decades.

Also, the pure classic rock late-60s-70s-80s thang (no matter how formative for many of our tonal tastes) is arguably no longer the prime driver of gainy amp demand. All the fragmenting permutations of hyphenated forms of metal, each with its particular tone-n-gain cliche, have found their voices in other brands.

Some people want to play their fathers’ (and grandfathers’) amps; more probably don’t. Tradition is honorable, but out at the sonic extremes those forms of music explore, rebels still want to offend with the rudest weapons they can find.


Has anyone here tried the new Origin Marshalls -- 20W and 50W heads and combos?

– Dave_K

Bought the Origin 20W head and liked it so much I sold my handwired 1959SLP Plexi on Reverb. It's not the exact same sound. But I could not get a bad tone out of the thing.


Marshall amps will always be cool. I never owned one but I grew up with friends who did and they all sounded great. They will always be amazing from my perspective.


So true, Proteus.

I guess my world is slowly being pushed off the edge to make room for a new one.


Marshall amps will always be cool. I never owned one but I grew up with friends who did and they all sounded great. They will always be amazing from my perspective.

– BuddyHollywood

Yep. Marshall, Fender, Vox for amps. Gretsch, Tele's, and Martins for guitars, with a little RIC on occasion.

That's my little old world, and I'm just fine with it. Lol


People dance to the bee gees and ABBA still. That's not the point. I could do a research project on this, as I've been through it again and again. There is no 'bloom' with solid state (or at least I have not heard it yet)--and it's important in the classic rock, and I would argue, rockabilly setting. Maybe it does matter less if solid state is going through a big (and well-heeled) pa, although I am still not convinced. We gig two to four times a month now and I use a fender deville, but my lead player uses two (!) Marshalls. He is a monster player and we are loud as hell even when I don't bring my gear, but (I believe) in a good, blooming, enveloping way, and we always have work because people react. I've seen several bands lose their gigs, following a switch to solid state--and I would say two of these bands were phenomenal and had shared our gig space for years. When they switched it reminded me of going from vinyl to cds. Maybe the sound was more pristine, but I could listen to vinyl all day. To cds... well. And their live sound became the same. Meh. Meh in this day and age will not get you gigs. I had a guitar player in a retro band switch on me. We went from rocking to Meh in an instant. No bloom, no envelopement. A wall of sound became a slap in the face, etc.

I would also argue that the proof is right before our eyes--our 'heros' (for me, the rev, setzer, trucks, etc.) Generally use tube amps. Part of this may be just an affinity for old school and part of this may be it's what fans like me want to see, but really, at that level you are facing a biz decision. Do you want to deal with the cost, the weight, the sheer pain of tube amps? Is it worth it with so many solid state 'advantages'? Those guys (who are still successful and making money) are proof to me that the answer is yes even though they defo have the benefit of pa's, great soundmen, etc. Personally. I cannot imagine a solid state Horton heat sound. I'm sure he would still be the rev, but his concerts are not only loud, but the bloom is real.

Just my opinion, but keep your gigs, trust the bloom and... yes, pull out the vinyl.



One thing I know is that I love JTM45s and I wish I had one. I did a record with Los Pirata at Excello Studio (in Brooklyn, NY) using my Jazzmaster ( https://soundcloud.com/los-... ) and their JTM45 and it’s one of my best sound guitar so far.

I don’t know what to do with those JCM800 or JCM900... not my sound, but I don’t mind to tweak the 2000s if I have to, in some big festival with only those as backlines.

Sergio Dias, from Os Mutantes, has a cool 4x10 combo, with a gold and white logo, that I remember having a pretty cool sound, but it was something rare (at least here in Brazil) and I don’t remember the model.


The big giant stacks are out, that's for sure. They're too loud and too cumborsome.

A band that rehearses in my room has a JCM 2000 TSL. It sounds horrible. My little Peavey Classic 30 can actually produce a better metal tone. A buddy had a JVM; too big, too loud, too complicated.

Another buddy has a single channel JCM800 2X12 combo and that thing is brilliant. Not just on it's own but also as a canvas for your effects.

I see alot of these 'haze' series being used too.

So, I think it's mostly certain types that growing out of favor. At least that's my opinion.


I have to say that I still prefer Fenders, but in the classic rock setting--well Marshall can be killer (if in the right hands, through the right guitar, which, IMO, for a Marshall is usually a Les Paul).



I don’t believe Marshall’s are “uncool.” In fact they are incredibly “cool.” Are the “passe’?” Yes, they are out of date with modern playing environments. That is to say they are audio dinosaurs. Would I want one? Hell ya! Would I be able to use one, no. I find for the venues I play and the modern sound equipment I have access to, my 10watt Vox is more than enough. Many times I can’t even “dime” my 10watt amp.
...And by “Marshall” I’m referring to the classic Marshall stack.


Most of my early guitar heroes were Les Paul/Marshall men.

I'm shocked I never fell prey. I never bought a Marshall, or ever wanted one.

My first amp was an unknown British KMD tube amp, and I still have it.

My second was an '84 Roland JC120, probably my fave ever.

Marshall amps? I'm sure the "rawk" crowd still buys'em up, along with hoards of other good amps.



Not enough pictures in this thread...


Not a fan but at one gig, with rented back-line, I got to play through a full Marshall stack. I have to admit it was quite enjoyable.


I jave a 1975 JC120, a '65 blackface twin reverb, a couple of lower wattage heads on a marshall 1960ahw (mesa transatlantic, fender, vox nighttrain) and a 1x12 boss katana.

There is a reason.

the JC has the original boss CE1 chorus ensemble circuit built-in. It's completely different to all modern chorus and when you dig in on the strings it gets righteously crunchy. It is a serious part of many 80's sounds and is nigh-on impossible to recreate with later gear.

the '65 twin is there for a reason. There is no better clean. People can argue till they're blue in the face over it, but again, the facts are the amp is the solid backbone of rock n roll for several decades.

the Marshall 1960ahw 4x12 is present for the eq response of the 12" G12-H greenbacks. Subtly different from other 1960 cabs, the response is far more 'marshall tone' accurate than the later 1960 cabs. It is the speakers formost, but the cab internals are a little more 'hand finished' if you know what I mean

As a pedal platform, the amps all behave differently. the twin and the vox head are the most 'responsive' to my pedal preferences.

if I want my clean jazzy tones the twin or the JC120 handles the situation.

When I want to fan a fire, I crank the mesa into the marshall 4x12. Or the solid state fender head if I want to kill small animals 3 blocks away.

I use the 100w katana as a practice amp and for those times when I just want to plug straight in and use preset buttons for sound profiles. It's as close as I'll ever want to be to a modelling setup - something I am simply not a believer in. Kemper fans? meh, I couldn't give a toss.

If it's too loud, you're too old.

When I find a vintage plexi, I'll put it on the 4x12. They are not easy to find in australia - fenders were far more popular, and the jcm800 was the marshall of choice in the hard rock scene - and it's not a sound I am that fond of to be honest. I prefer the older 60's 70's marshall tone.

so there's always going to be a market for marshall, it's just going to evolve for them. They will continue to make the big guns, because noone can make a stack look as good as Jim Marshall did.


ElectroTastic: rock on, buddy, I know where you're comin' from!

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