Marshall 2555 SL Jubilee

The Slash Marshall was built in 96-97; not sure which year mine's from but it's probably irrelevant. I play rock n roll and punk rock mostly, and it's perfect for me. While it may SEEM like a 2 channel amp; not so much - the switching just kicks in more overdrive, so you're really not going from clean to overdrive. If you have the gain pushed, it'll still be there in channel 1. The 50/100w switching is awesome. I could play Madison Square Garden with this thing.

I play this 90% of the time with my Gibson LP Deluxe with Fralin P90s, and it sounds absolutely amazing. The killer subtleties of the P90s come through just as they should, and it's as dirty and raw as you'd expect. This guitar through this amp is 100% pure rock n roll. It just doesn't get any better. I've played this guit through all sorts of Marshalls, Fenders and a couple others and no where else does it have the warmth, drive and face-smashing tone as it does through this amp. I can't imagine ever wanting to play through a different one.

Never a single problem.

Not had to deal with Marshall at all, so I can't say.

Overall, I can't think of any other amp I'd rather have.

Mine also includes the matching cab with Vintage 30's installed. This amp is pristine. It's been sitting in a local shop on consignment for a few years and finally I said to the guy I need to look inside the amp and the head TODAY and he gave me the screw gun and let me have at it!

I walked out of there with them both loaded up in the back of my truck and brought her home.

This is a very low serial number let's just say it's below #70.

However I want to pint out that these amps were NOT hand wired as some believe. If you don't believe me, pull your chassis out, see the little PC Board there?

If you're reading this and don't know the features on this amp, I don't know what to add that the others haven't except for the 'hand wire' misnomer caveat.

I like the fact that it's got push/pull and 100/50 power switch.

This is where this baby shines. As already mentioned this amp has a distinctive raw-open-organic sound/tone. Definitely sounds better cranked but sounds sweet down low too. Nice cleans and drive tones, Very much GNR thing happening.

With the matching cab loaded with V30's I'm in heaven.

It's 21 year old and is in excellent shape. Not a ding or tear anywhere!

The original plastic control panel cover is till on it as well as the stock tubes!

Looks great, sounds great but I never gig a valve amp without a backup.

Don't know, I can't get them to reply to emails on new stuff!

If it had a reverb that would have been nice. I could think of a few other things but that's being nit picky. It's a legendary piece because of how it's made, how it looks and how it sounds!

I owned a BRAND NEW 2555 half stack when they were first released!

I was such an idiot for selling but who knew?!

Limited run, only 2000 pieces Worldwide, 2-Channel with gain boost.

Playing Gibson Flying guitars and Gibson les Paul Standard, box Mesa Boogie Rectifier 4x12 or MARSHALL 1960 AV/BV. HUGE Sound. The best Marshall crunch ever !! Bigger sound than JCM-800, not harsh as JCM-900.

It is handwired Marshall, selected parts.

No needs, no problem.

Playing prof. for about 15 Years, owned all of thoese: MESAs, ENGLs, VHTs, BOGNERs, PEAVEY 5150. This Marshall is working horse with individual falavour. Big sounding. Prices going up so if you want one do NOT wait.

PAID $1800.00 WITH SHIPPING OFF E-BAY AUGUST 2005. Supposedly mint condition, after some effort and a retube job, now it's mint. Not the amps falt. I like it pretty well. this amp seems to only sound like the amp it is supposed to be when it's cranked up. Pretty simple lay out, with the clipping control. Neat.

It definately get that organic raw tone if that's what you are after. I would consider this more of an overdrive amp than an distortion amp. My les pauls seem to like running into this amo more so than a strat. From blues to calssic and hard rock, you can get it with this amp.

I would not be worried about this amp getting through. Mine quit working 20 minutes after I got it. but it was because I got it from a liar off the E-bay. TUBES WERE SHOT..ONCE AGAIN NOT THE AMPS FAULT.

I will tell you this. the people at Korg USA, in other words Marshall USA, ARE NOT HELPFUL IN THE LEAST. THEY WERE VERY CONTRITE AND DISRESPECTFUL TO ME IN THE FEW TIMES I have ever called for help. I have actually talked to two people there that were great, but once passed down to their next in command. FORGET IT. This is why I am no longer a MARSHALL PRODUCT BUYER OR SUPPORTER, ATLEAST FOR ANY NEW PRODUCTS.

I like this amp sure enough. I am not sure it is REALLY WORTH ALL THE PERCIEVED HYPE. IF I LOST IT OR IT WAS MISPLACED I PROBABLY WOULD NOT BUY ANOTHER ONE. IN BASICALLY THE LAST YEAR OR SO, THERE HAVE BEEN SOME GREAT AMP BUILDERS PUT OUT SOME MUCH BETTER PRODUCTS. For an amp that only 3000 were built you sure do see alot of them for sell. HHHMMMM. I wonder. I do like mine alot, but I think the hype drove up the price and that's the reason for the lower score here.

All features listed previously, but I want to make one thing clear that only one person has before me. DO NOT TREAT THIS AS A DUAL CHANNEL AMP!!! This is a SINGLE channel amp, it has one preamp and one poweramp and 2 "modes," which in Jim Marshalls marketing genious makes this "effectivly" a 2 channel amp, read the manual. If you treat this as a single channel amp you will get a LOT more out of it.

Basic spec's - 3000 made in 1996, it IS a handwired PCB and transformer. 100/50 watts etc.

Treat it as a single channel amp, you wont get as many features but you get a lot more tone :)

Right, WOW! Before this amp I owned a Fender Bassman, 1992 Blackface Dual rectifier, Marshall TSL, Vox AC30 etc, and this knocks them all out of the water. Im using the Marshall Jubilee for my dirty tones. I've got it set up so unboosted, its a cranked Plexi tone, then with a boost I can get up to those saturated appetite FD tones, and rolling back my guitar's volume for cleans (note not changing amp "channel" for cleans. It just roars! Real grindy distortion, not that soft marshall distortion found in the TSL or JVM. Its a very middy amp and you cant really push the mids past 1 o clock without it getting honkey, so keep that rolled to about 12ish. This isnt a metal amp, being suited much more to hard rock or blues.

Im using it with a Silverburst Gibson SG Standard and a Fender Stratocaster, and I can get all the tones i want.

The reason I say treat it as a single channel amp is because, to get the best dirty tone, you have to keep the output master at a high level. This means that switching to clean will be super loud no matter how high the lead master is set. So basically, set output master to 7 or 8, and use lead master as your master volume. Get a seperate amp for cleans or roll off your guitars volume!

Hmmm, when I bought it it had some issues. The volume would go up and down and up rapidly, but it turned out to be a dirty loop. Now im using a G-force in the loop (so the circuits complete) it works great. Im still using the original tubes as well! I swapped out all the Marshall tubes for some JJ's a while back and it just lost all its sparkle, so I stuck them all back in! I would gig without a backup, but im keeping an eye out for a backup anyway.

Im in the UK, so marshall rock. Emails returned within the hour during work hours, prices reasonable. Im an hour from the factory so I can just drop it by whenever/ I wouldnt count on them outside the UK however.

Amazing amp, I wouldnt ever try anything else! Im set on this amp for my tone and anything else is just experimentation!

I got this amp in 97
it's a 2 channel amp and pretty simple to operate
it has a gain pot that pulls out to add extra gain in the clean channel
the only feature I wish it had is a footswith for the extra gain in the clean channel
This amp suits any style of music and is loud or soft enough for any venue

now for the sound - There is nothing else that I've ever played that comes close to the lead tone of this amp.
it has a perfect balance of thickness , sizzle , mids and bottom end
The amp is really quiet when on.
I use it with a PRS Santana two any play lead mainly on my neck pickup.
The only way I can Describe the lead tone is as follows - THE BEST LEAD TONE AVAILABLE
I own the following amps and they're all gathering dust cause I keep on coming back to the Slash
Mesa MK4 simul class
Maeshall JCM 800
Mesa Dual Rectifier ( 2 channel )
Alessandro English
Fender Bassman RI
Mesa Quad Pre-Amp + Stereo simul Class 295 PWR amp
Gibson GA 15 RV

I have own and still own many Great amps but no matter how good they are there's no amp that holds a candle to the Slash for Lead tone.
The Clean channel is also good but there are other amps that have better cleans - Although for that "Marshall: type clean the Slash is really good.
This is the only amp I've ever played that "ALWAYS" delivers and has never let me down.

I've had it since 97 ( 10 years ) and have only changed tubes once. I think it's built to withstand a nuclear explosion.
Rock Solid and never any sign of problems.

I've never had to deal Marshall as this amp is built to last a lifetime

I've been playing for about 35 years as a pro and own a pro recording studio
If this was stolen or lost I'de trade in my wife and sell my house to get a new one.
I love everything about this amp and cannot say anything bad.

40 reviews in front of mine outline the features. In my opinion, to get the best sound, treat it like a one channel amp. More later...

This amp is IT. Its just a matter of learning how to use the controls. The way to make this amp shine is to use the Output Master. The balls of any Marshall are the output tubes, and unless those things are cooking, you're not getting what you paid for.

The reason I said this needs to be treated as a one channel amp is because to get the output stage sounding right, you need to ignore the Lead Master control (turn it to 10 and forget its there), and crank the Output Master (5-6+). This will destroy any balance between the rhythm and lead channels. But oh, the sound! With the master volume below 5 or 6, it sounds thin and buzzy. Get a Hotplate...this thing's loud.

I'm using it with a 1960BV cabinet, and like one of the other reviewers stated, the speakers really do have to be broken in first.

And for what its worth, the Gn'R sound is far from the only sound this thing does well!

11 years old and running strong. It gets a 9 because it has tubes, something is bound to happen some time.

Not under warranty anymore, but about a year ago I emailed Marshall concerning an out of print owner's manual, and had a .PDF in my mailbox within hours.

Been playing for about 15 years. I've tried different amps (Fender, Marshall, Park, Crate [way back when...] and different stompboxes. Even with all the different combinations, it was never quite right. This thing nails it, just a Les Paul, cable, wah pedal, and the Slash. Simple as it gets.

I'm talking about a 1996 produced, limited edition Slash Signature Model. Only 3000 were made... It features two channels. They share the same 3 band eq. It also has got a presence-knob, a lead-channel volume, a master and a preamp-gain controller. On the clean there is a clip-mode, which, when engaged, produces a mild overdrive. Otherwise the clean on the amp is pretty damn good. Notify, that it's a Marshall (crunch in rivers)! 3 ECC83 tubes (or valves) and 4 EL34 in the powersection. The 100 watt can be reduced to 50 by the switch on the front panel. Also, you can toggle between 4,8 and 16 ohm and different values of volt.
Because of the lack of independent eq, I will (only) rate it for a 9.

This is where the bastard shines like a goldfish in a silent lake in the summer time. I use a Epephone Standard Les Paul with stock Hum's. No pedals. It goes through a 1936 cab with 75 watters. The ize is a bit wrong, but the sound is right in the eye! As said in the section "features", the clean is very useable and suitable for most kind of music and styles. For me it is perfekt, and it takes med back to the Guns n' Roses-days. BUT! Listen to the overdrives channel and pass out. This is the real thing 100% valves - and they are used in the best way I've ever imagined. The amp is, even at low volumes, a killer-machine. And, when cranked in the 100 watt mode, it blows your brains out. In my opinion it is the best sounding distorted sounds in the world - I really love it! Many say that it isn't a high gain amplifier. In a sort of way, they are right. But there isn't a lack of gain for what it is - a hardcore rock and roll-amp. If you play nu-metal kind of stuff - forget it. Or try with a pedal. If you are into Guns, AC/DC, early Metallica, Led Zeppelin, Sabbath and such music, well - what are you waiting for?
Anyway - it is very tough to find one. I was so lucky to find one in a store in Denmark. But it was SO lucky. If you find it - buy it. I haven't regreated or douted at one single moment. I love it.

So far no problems!

I've never needed to..... Guess it's good in itself.

I have benn playing for about 5 years. In the past I have had one other amp only (still got it). It is a Roland Cube 30. It was okay, but I went very serious about my guitarplaying, when i got into a band. In my search for the ultimate Marshall, I tried the JCM 2000 TSL. And it sounds to fizzy cmpared to this one. Though, the DSL 100 sounds better, it isn't quite the same rush to play that.

My ultimate amp. Do I need to say, that I worship Slash???

clean/lead channels, 4 output valves, 3 input valves, effect loop, D.I. input, 100/50watts switch, presence,bass,mid,treble,lead vol, input vol, master output. Lots Of RAW power!!!
All i need from an amp!
Slash signature, 3000 made in 1996!
I've seen slash using one of these in a recent gig with Velvet Revolver!
Brilliant!

I use a Gibson Explorer, Ibanez Js 1000, Fender A series strat, Jackson RR5, They all sound good, i always use the amps natural overdrive, it just sounds the business...actually, anything will sound good through this amp!
I play Heavy stuff and i also play lighter stuff, i play in two bands and i have 2 diferent settings, either 2 it's really good sound quality i get!
It's not noisy at all!
I've played through lots of amps before and you can tell the difference! I'm very happy with it!

Lot's of gigs, travelling, always used it without back up! NEVER LET ME DOWN! change the tubes once a year!

Never had to repair it, i know a good tech and we can get all the parts if necessary...

i've been playing for 16 years, i had lots of amps, i love everything about this amp, compared it to lots of other heads...and i'm glad i bought it!
i hope and i think it will lasts a lifetime!

These are pretty standard Marshall features. Passive tone controls, two gain controls and a master volume. Technically this is a sort of channel switching amp, although it isn't truly channel switching (more on this later). Scores low on marks because of the somewhat nonsensical choices Marshall have made, see below.

Ok, what gear do I use? Gibson - '77 Les Paul, '65 SG Junior. Squier - Beefed up Affinity Strat with new bridge and pickups (similar to Highway One Fender sound now). Aria Pro II - model with two humbuckers. Sounds like a cross between an SG and LP. Ran through one of four 4x12 cabs - a Laney with 70w Vintage 30s, the reissue 1960AX Marshall with 25w greenbacks or a 70s Sound City with 40w Fanes (an underrated favourite of mine).

Firstly, a small point - these Silver Jubilee circuits are not, repeat NOT, true all-valve circuits. People criticise the JCM900s for having diode-clipping as a way to increase gain in the preamp stage, well guess what so do these ones. Although the integration of the diodes is superior on the 2555 and 2555SL.

Firstly what isn't so strong about the amp:

The rhythm channel - well, I've played two of these heads now and the first was a lot better and cleaner on this channel. Maybe it had better valves, I didn't have time to check. I think the best Marshall cleans at this time are provided by the TSL100 head, and I like the 'almost clean' sounds of my '77 JMP 2203 too. It doesn't come close to either of those sounds, but it is pretty good. What confused me is that the Rhythm Clip (which uses two diodes) is NOT footswitchable, and modding it to be such is a big job that makes it not worth doing. Just have to buy a booster pedal or use guitar volume control here.

The way Marshall have structured the gain on this amp is confusing. I generally like to run the lead channel with a lot of gain (around 3oclock). This means you have to crank the INPUT GAIN control up, which means when you switch back to rhythm your clean sound isn't even a little clean anymore even with Rhythm Clip off. Luckily the LEAD MASTER control, to balance the relative volumes of the two channels, works well enough.

Now what really makes this a top-notch Marshall:

The lead channel. This uses an unbalanced amount of diodes (I believe it's 3 normal polarity and 2 reversed polarity, but it may well be the other way round) added to the preamp valve gain to create something really special. This amp has, without a doubt, the smoothest and most playable rock/hard rock gains of any guitar amp I've ever used.

Even at stupidly low volumes the quality of the preamp structure is apparent. Then things really get serious when you add poweramp gain (ie crank up the MV). It really sings. Chords are tight and distinct, you can play full 6-string barre chords with maximum gain and still hear every notes definition.

Solos... well it sounds like every note you are playing has come straight off of your favourite 'Marshall sound' record (I'm talking Pagey, Clapton and obviously Slash here). All kinds of harmonics are very easy to get and squeal in a very satisfying way. The character of any guitar comes through, it's like the amp brings out all the best characteristics of your chosen instrument. Occasionally I have to turn round and stare at the amp, wondering 'How did Marshall do it?'

This is a very inspiring amp - but remember, it's still not going to cover up mistakes (less so than other Marshalls in some ways), however it will make you work hard not to make any!

I work in a shop which specialises in amplifier repairs, and the only time I ever see these come in is when they've recieved serious abuse, ie gone up in smoke thanks to user error, blown output valves because they have been gigged for years without being changed, or because some idiot dropped it.

If you're not a idiot - and if you own one of these fine amplifiers you shouldn't be - and you keep it serviced at least once or twice a year and don't abuse it, this thing will stand the test of time.

Marshall are a nightmare to get spares from unless you know someone in the business. I say nightmare because you can be on the phone for a very long time to a premium rate number on hold without success. But they are polite and I always get what I need - if I perservere! So can you if you live in England, if not you have to rely on Korg.

Despite some obvious flaws in some aspects of the amps design, the smokin' lead channel is adequate compensation. Some might argue that it doesn't matter about the problems with the clean channel when you're never going to use it!

I'm not even going to bother to compare it to anything else, except to say a really good TSL100 head (there are plenty of 'average' sounding ones out there) comes very close and has a much better clean channel.

I've played a lot of Marshalls now (mostly heads, including old plexis, JCM800s, JCM900s, 6100s, master volume JMPs, Bluesbreaker combo original and reissue) and have owned a couple of JMPs including my current 2203. If you want to know why Marshall are the 'dukes of distortion' then buy one of these, kick in the lead channel with woman tone (a Les Paul on rhythm pickup with the tone rolled all the way off) and see what I mean. Unbelievable.