Dating vintage marshall amps dating owen sound ontario
Another player that acquired some of those was Eric Clapton, who used them to tour with Cream.The change to EL-34s The change to EL-34 tubes resulted in the increase of power. This is when the confusing model numbers started being used I believe. This amp had a more edgy sound than the JTM-45, due to the EL-34s.Please note the “Black Flag” JTM marking that was used at that time.The JTM-100, now with four EL-34s too, also gained a proper 100w transformer. It was called Marshall Super Lead 100w #1959 (Although they still didn’t have the “JMP” mark on the front, In my view, this amps are already into the JMP territory, because they have all of the JMP characteristics). This early “Plexi” versions (up to 1968) are really articulate and have a real nice “roar”.Introducing the Studio Classic and Studio Vintage; 20W versions of the legendary JCM800 and JMP 1959SLP amps that are set to modernise true British tone.Manufactured in the Marshall factory in Bletchley, England, these two new amps along with the renamed Studio Jubilee form a formidable range that have captured the hearts and imaginations of countless guitarists worldwide.The JTM-45/ 100 (JTM-100) The JTM-45/100 with the “block” logo Pete Townshend and John Entwistle of The Who needed amps that could overpower the noisy and energetic crowds.Marshall then “hot-rodded” the JTM-45 using four KT66 and two 50w output transformers to handle the extra wattage. The result was the JTM-45/100 (JTM-100, for short).
It was basically a copy of the 1959 Fender Bassman. In 1965, the plexiglass faceplates were introduced.Eric Clapton used a JTM-45 combo on the legendary (Now you know why this amp was called “Bluesbreaker” : P) He used his Les Paul through the Normal Channel of the amp. The then “horrible” distorted and saturated sound turned into what we know today as the “rock tone” (maybe not yet… Another example of this amp can be heard on AC/DC’s This is a confusing era, with lots of changes and new models. 😛 The transitition from the JTM to the JMP amps happened, in my view, with three steps.He discovered that, by playing really loud, it would start to “break up”. The first one was the creation of the first 100w amp.This is the reason why Marshalls of this early era (up to 1968) are known as “Plexis”.The sound of this amplifier is “creamy” and “warm”. This amp is more suited for blues players, with a smoother sound.