Search results
Results from the WOW.Com Content Network
Power-tube distortion is required for amp sounds in some genres. In a standard master-volume guitar amp, as the amp's final or master volume is increased beyond the full power of the amplifier, power-tube distortion is produced. The "power soak" approach places the attenuation between the power tubes and the guitar speaker.
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.
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.
These amps were made from May 1982 to December 1985. Serial numbers started with 0100 and ended on 2390. This was Mesa/Boogie's first attempt at having a reissue of the Mark I. It had two cascading gain inputs and its controls were Volume(gain) 1, Volume(gain) 2, Master, Treble, Bass, Middle, Limit or Presence (depending on the version).
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.
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]
Get AOL Mail for FREE! Manage your email like never before with travel, photo & document views. Personalize your inbox with themes & tabs. You've Got Mail!
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 ...