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Compared to the earlier "Master Volume" series, they offered some advantages, including the possibility to be patched internally and linked with other amplifiers. [3] The first JCM800s were in fact Master Volume amplifiers (Models 2203 and 2204, at 100 and 50 watts respectively), repackaged in new boxes with new panels.
In late 1975, Marshall introduced the "Master Volume" ("MV") series with the 100W 2203, followed in 1976 by the 50W 2204. This was an attempt to control the volume level of the amplifiers whilst maintaining the overdriven distortion tones that had become synonymous with the Marshall brand.
The 1959 (Marshall's identifying numbers are not years of manufacture), produced from 1965 to 1976 (when it was replaced by the 2203 "Master Volume"), [1] is an amplifier in Marshall's "Standard" series. [2] It was designed by Ken Bran and Dudley Craven after The Who's guitarist Pete Townshend asked Marshall for a 100 watt amplifier. [3]
It was designed to act as a type of master volume control for tube-based amplifiers, without sacrificing the distorted sounds such amplifiers make when they are played at full volume. The concept started in the late 1980s as a way to in-house test the company's amplifiers without the technicians’ suffering hearing loss. [14]
Master volume was added after 1972, and pull-out boost circuit added in 1975. Line Out jack socket and a 3-band equalization for the Normal Channel added in 1978.) Silverface amps made between '68 and '72 were emblazoned with "Super Reverb-Amp" with a tailed amp logo in the grille cloth.
While people around the world have been doing things like adding a master volume control, bright cap and drive stages to their plexis and/or gain boosts, mid boosts and tight switches to their ...
The amplifier's master volume control restricts the amount of signal permitted through to the driver stage and the power amplifier. When using a power attenuator with a tube amplifier, the master volume no longer acts as the master volume control. Instead, the power attenuator's attenuation control controls the power delivered to the speaker ...
In 1973 CBS changed the "tailed" Fender amp logo to the modern-looking "tailless" style (which was first introduced in 1967 on the student Bronco amp). A master volume knob and a pull-out "boost" pot were added on some amplifiers, followed by ultralinear output transformers and a "scripted tailless" amp decal featuring a "Made in USA" script in ...
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