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The changes gave Marshall amplifiers a more aggressive voice, which quickly found favour with players such as Eric Clapton, who would sit in Jim's shop practising. Clapton asked Jim Marshall to produce a combo amplifier with tremolo, which would fit in the boot of his car, and one of the most famous Marshall amps was born, the "Bluesbreaker ...
The MG100HDFX was one of the cheapest solid state amps made by Marshall during Static's touring time with Static X. On tour, Static could easily and cheaply get a replacement if the amp broke. Amps breaking wasn't a common problem as solid state amps like the MG100HDFX are less prone to breaking than tube amps, another reason for its selection.
The JCM800 series (Models 2203, 2204, 2205, and 2210) is a line of guitar amplifiers made by Marshall Amplification.The series was introduced in 1981. Although models 1959 and 1987 had been in production since 1965 and the 2203 and 2204 had been in production since 1975, they were redesigned and introduced as JCM800 amplifiers in 1981.
From 1960, Marshall owned a moderately successful music store in Hanwell, West London, selling drums and then branching out into guitars.His many guitar playing customers (including Ritchie Blackmore, Big Jim Sullivan and Pete Townshend) spoke of the need for a particular kind of amplifier, with Townshend wanting something "bigger and louder", and Marshall saw the opportunity, [2] [6] founding ...
The amplifier was reissued for the first time in 1988 (the 1959S), and again from 1991 to 1993 (the 1959X) and from 1993 to 1995 (the 1959SLP). [1] The SLP continued after 1995 but in 2000 Marshall added modifications to lower the noise floor (hum balance pot), reverted the negative feedback resistor to the 1968-69 value of 47 kΩ, and added an effects loop.
The Marshall Bluesbreaker is the popular name given to the Models 1961 and 1962 guitar amplifiers made by Marshall from 1964/65 to 1972. The Bluesbreaker, which derives its nickname from being used by Eric Clapton with John Mayall & The Bluesbreakers , is credited with delivering "the sound that launched British blues -rock in the mid-1960s."
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