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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]
The amplifiers from this era are easily identifiable by their acrylic glass (a.k.a. Plexiglas) front panel, which earned them the nickname "Plexi". In 1967, Marshall released a 50-watt version of the 100-watt Superlead known as the 1987 Model. In 1969, the plexiglass panel was replaced by a brushed metal front panel.
The Marshall Major (Model 1967 [1]) was a bass guitar amplifier made by Marshall. It was introduced in 1967 as the "Marshall 200" (in reference to the power of the amplifier). It had a plexi panel and two inputs in one channel, but in contrast with the 100 watt heads made by Marshall, the first series had split tone controls similar to the ...
It is a 50-watt, class-AB amplifier, meant to “create an idealized (Marshall) ‘Plexi’ tone". [20] As a “subtle homage” to the Plexi, the Flexi's faceplate is gold Plexiglas. [20] Like its predecessors, the Flexi-50 was designed to take the same range of vacuum tubes that the UniValve and BiValve-30 can. However, the Flexi is not self ...
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Trower uses between one and three 100-watt Marshall heads with four to six cabinets on stage. While he usually uses two JCM 800s and a JCM 900, he also links 100-watt Marshall Plexi heads. In studio sessions, Trower uses a mix of amplifiers, such as a Fender Blues Junior and Cornell Plexi Amplifiers models to acquire different tonality.
The wristbands were also checked for 20 different types of forever chemicals. Based on the findings, PFHxA was the most common, appearing in nine of the 22 tested wristbands.
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