Marshall JCM 800 2204

I own a 1982 vert input JCM 800 2204 head with the matching cab. I knew what i was after so i didnt buy it for it's versatility, I just wanted a raw multi-dimensional tone that i could manipulate with my fx. I play mainly rock and with this amp, it doesnt get much better. No channel switching, just high and low gain inputs, no reverb, no fx loop, just master volume, pre-amp volume, presence and the obligatory three tone knobs. I play live every weekend in a venue that seats approx 1800 and power is no prob!! This amp isnt designed to be played quietly. 50watts can be deceiving, this thing roars!! I give it a 5 only to be true although I cannot stand these digital multipurpose, multichannel things that parade as amplifiers.

I play a Les Paul Custom with the stock Gibson pickups and the tone is incredible. Very warm and yet still transparent enough to allow the guitars character to emerge. The low gain channel is whisper quiet and the high gain only really starts hissing from 7 onwards but by that stage everyone is deaf so who cares? Besides the much vaunted drive tones that this amp oozes on the high gain channel, when the low gain input is used, pre-amp turned full with master around 8 with a warm compression in front, the sound produced is a creamy, rhythm that goes on forever. This amp sounds small and thin at master levels below 3. It is not designed for brutal death metal distortion and if thats what you're after then buy something else. There arent enough of these things still around to have some metalhead sticking a square-wave pedal in front and claiming grail tone. I have learned a whole lot about using my volume pots on my guitar as gain controllers. The 2204 is very responsive to guitar volume changes. It is surprisingly bright even with a Les Paul and I often play with the presence quite high to round it out a bit.

This amp has been around since 1982. It still sounds amazing. Enough said. Obviously it needs a regular service and tube changes but besides that it is older than most of the guys I gig with and sounds better to! I cant find a backup so I gig without one. If it brokedown at a gig, I would probably be too distraught to play with a backup anyway.

I live in South Africa and so customer service is a bit ropey on most products. However, the Marshall agents here in SA are really helpful and have always been helpful and contactible via phone.

I have been playing for 11 years. My signal chain is Les Paul > TU2 > Crybaby > Dynacomp > Wampler Pinnacle 2 > Nova Delay > CE-2 > Deluxe Electric Mistress > Voodoo Labs Trem > Ernie Ball Volume > DD-3 > Hardwire RV-7 > JCM800. If my amp was stolen.....hmmm....I would have a memorial service and then either buy another if i could find one (fat chance) or buy a Vintage Modern. I love the tone and breadth of sound, I hate the weight of the thing. It's a lot to lug around every week. In my humble opinion, if it's all about native best tone, the 2204 slaughters the JCM900's, the tsl's, the dsl's and the JVM range. Only the Vintage Modern is comparable in terms of raw tone and dynamics.

Made in 1987, surprisingly versatile for my style - cover band from A-Z, 60/70/90/90/2000. It's a two channel 50w lead series head with reverb and effects loop. I've used the amp for several live gigs ranging from 50-500 people. We mic the amp, so I can only push it in larger and open door settings.

Utilize Customer LP's and Strats. Suits my musical style and tastes well. It's not a metal sound, but more for hard rock and below. I've read some reviews, my amp is VERY quiet, even at larger volumes. I mic the amp, so any down time between tunes is very quiet. I utilize Celestion G12-75 speakers in a closed and open back, very punchy, the clean never distorts with those speakers, but I can set the clean to do so as needed. Again thought, the distortion is not brutal.

Not had a problems gigging with it, but I do bring backup fuses and tubes, and a small backup amp based on the venue location.

n/a - take mine to a local amp tech, they're easy to find on these amps. In fact, when I tell them it's a JCM800, they seem eager to maintain on them.

Been playing for 30+ years, live for the last decade. I've owned Bogner (ecstacy 101b), Peavey Classic, Mesa (Maverick - still have), and other Marshall. I love this amp because its simple to use, and has a reliable sound - extremely simple to dial in. The effects loop is surprisingly good, does not sap the tone. I loved the Bogner, but this has the sound Bogner is tries to emulate. The Bogner had a more compressed sound, this amp is more open that the JCM900 and later marshalls. Feel free to contact me to discuss.

This is a 1982 2204 model that has been outfitted with 6550s. Straight forward; only six knobs to deal with. No effects loop. The only thing I've thought about doing is modding it so I could AB the low/high sensitivity inputs.

The main guitars I use with this amp are a Les Paul Classic and a Telecaster with a Hot Rails. I play mostly rock and metal. There are VERY under rated clean tones hidden in the low sensitivity output. The high sensitivity output gets a little buzzy when you run the gain at max, but I don't normally use that much gain. This amp shines when you run the gain just past half way with the master at about 4. I typically run the treble pretty low and the presence about half way up. Lots o' mids give this amp crunch to die for. The lows can get kind of tubby, so be careful at high settings.

She can be noisy in a club where the power isn't grounded, but in an ideal setting this beast rocks. ANYONE who says 50 watts isn't enough should go back to guitar school.

If it doesn't have enough gain for you, try boosting it or getting an attenuator. I've found the attenuator to retain the character of the amp whereas overdrives help with cut, harmonics and sustain.

This amp is fine in the fore mentioned ideal setting. If you are playing where the power isn't grounded, however, bring a spare amp or some spare HT fuses. You'll pop one almost guaranteed if the power isn't grounded or the venue can't supply enough juice for a band and a PA system.

Who cares? This amp is 26 years old. Do you REALLY think they'd service it if I called them? Luckily I have four local (and very reputable) techs to handle such things for me.

Upon reading this review, it doesn't look like I'm rating this amp too highly, however it is exactly what I wanted. It is what it is; a stripped down, classic sounding amp. I've owned a few Boogies, which have all sounded great, but had too many bells and whistles that went unused. If you want a good, classic, hard sound, find one of these. I know a local guy who even plays jazz through one of these bad boys and makes it sound good.

Keep in mind that this would be an excellent studio amp. You don't have to access sounds on the fly. You can really take time and dial in good sounds. This amp works well when boosted too. I've noticed that the fewer pedals you use, the better this amp sounds.

One last caution: be selective about what year you shop for. The older ones have more of a classic Marshall sound whereas the mid eighties models are a little more modern sounding. I've found you can boost the earlier models for a more modern sound but its harder to get a classic sound from the later models.

If this amp were stolen I'd look for another one. It is by far the easiest amp to dial in that I've owned. They are very mod friendly (although I chose to keep mine stock).

I bought this amp new in 1991, but not sure how long it had been in the music store. It is a 2204, 50 watts, and sits on a matching 1960A
4X12 speaker cabnet. Now, call me crazy, but I use it for all kinds of music. I work in a "bar band" and we play lots of covers, PLUS originals. We cover classic rock (ZZ Top, Skynyrd, G and R), Blues (SRV, Clapton), to all kinds of country. This amp does it all!
It has 2 channels, but I only use the "clean" channel, running through a digitech multi effects. Although it's only 50 watts, I've never had a power problem, normally running the volumn at the 9 o'clock position.

As for my guitars, I use a 1968 Fender Telecaster, 1986 Gibson Les Paul (both with stock pick-ups), a Fender SRV Statacaster, and a few other guitars. Gotta match the sound with the song...LOL. I have absolutely no complaints with the sound of the amp...it's bright when I want it, and those tubes give it the warmth it needs...even on country. The amp is not noisy at all, at least in my opinion. As for the distortion, it's pure Marshall.

Very dependable amp. I never have needed to use a backup except for a couple of times, but it wasn't the amp's fault. You MUST be "earthed", for it doesn't work well on an ungrounded circuit. Also, I blew the bottom 2 speakers at a party one night. I was using an early NADY wireless system outdoors and got some static...and blew the speakers. The only other work I've done on the head was to replace the tubes. I used Groove Tubes, and made it sound the same as brand new.

Only used warranty once, and it took quite a while, but they covered my speakers.

I have been playing for 35 years. I also own a tweed Peavey classic 50 that I like (all tube, Fender twin copy), but it just doesn't have that Marshall sound or warmth. This actually is the first Marshall that I ever played. The store owner was trying to sell me on a couple of Hiwatt amps, but I liked the sound of the Marshall better, even though it was 50 watts compared to the 100 watt Hiwatt amps.

features are simple and straight foward,the way a good amp should be
basic tone stacks were and always will be the best

sound quality contrary to a lot of hype that this amp can only produce one good sound is suprisingly versatile using the volume pot on the guitar and backing the pre amp volume off somewhat tone can be enhanced a heel of a lot with mods to the brite cap which can cause a thin sound at low volumes

this was a re issue amp and when i took delivery of it the choke was not bolted on!!! 12 months later the out put tranny blew
the amp was being used every day for about 2 hours
and was driving 2 8 ohm cabs
it was by no means working overtime
quality control issues need to be adressed

not good in my opinion
i could not raise a response from marshall what so ever!!!!!!!!!

i have been working as a proffessional muso for 30 years and played guitar for 45 years
before this amp i used mesa boogies because of their versatility
i will say that i love this amp barring the quality issues

1981 50 watt. This is a great amp. It is versatile enough even for the cover band circuit I have been using it it for the last 2 years. Everything from Anthrax to ZZ top. The Beatles to Yes. and even some country. the amp doesn't truly emulate tones very well, but it has enough tone to sound good in any application.
I have the vertical inputs. I only use the top one, the bright one.

My Effects: (phase90, ts-9, EB Volume, Line 6 delay modeler) it takes the tubescreamer wonderfully, I set the screamer's overdrive on 8. A lot of people turn the presence down low, I use it at 5, treble mid and bass around 5. Pre-amp at 7-8 and master at 3-4. It's really loud at 4 for my purposes, but that's when this amp starts to sing. I use a Fender American Stratocaster with Tex-Mex pickups in the neck and middle, and a Seymour Duncan Pearly Gates in the bridge. It can sometimes be a little bright, but you can't say it doesn't cut through. I also use a Gibson Les Paul Standard with Burstbuckers. It's super meaty and compressed. I always run it through a 1960a 4X12 cab. I've been meaning to get a better cab or speakers but it hard to justify when it sounds great now.
It is a bit noisy especially with the single coil pickups with the pre on 8, the tubescreamer on and no noise gate. But I use a volume pedal to avoid icy stares from bandmates.

It is a dependable amp. I got it 2 years ago, and have used it for about 50 gigs. Nothing has ever gone wrong with it. When I bought it it had just been overhauled, and had the tubes all replaced. I transported it for hours in the back of a trailer, dropped it straight on the concrete with no cover, left it running over 24 hours. I have used it 10 or so times with no backup amp, but I wouldn't recommend it; it is still a tube amp and over 25 years old after all.

I only contacted Marshall once about another amp I have, and never received a reply. But maybe they never got the email, so I will give them the benefit of the doubt.

I've been playing guitar for 12 years. I have a 70's Park 2X12 100 watt combo. It's always a toss-up for which amp to bring to the gig, but usually the JCM-800 wins. If it were stolen I would try to replace it with the same amp or an older one. In my opinion it is the last great amp Marshall made. Maybe I'll get a nice '65 Fender Blackface someday, but other than that, I think I have THE amplifier.

It has all you really need, although this is kinda limited.

The JCM800's 1983 and before w/ vertical inputs sound amazing!!

Mine's from 1982, never really had problems w/ it.

I give it an 8 just because these things are getting more and more expensive. Although still amazing amp, and well worth the money.

Classic control layout, if you're reading this you know what the knobs are. Occasionally I run into the low gain input with a fuzz to see what the JCM can do with a ton of volume and not much drive working on an already-fuzzed-up signal. Answer: it can do a lot of cool tones working that way, but it always seems contrary to what the amp is really meant to do. I"m not going to rate this category because versatility is not what amps are supposed to do, at least not if they're really cool amps that I'd actually want to own.

Crunch crunch crunch. This thing lives and breathes rock and roll. I'm sure some of you can get it to sing real nice and pretty for your bluesy stuff, but for me it's just pure Marshall grind. With my Les Paul running burstbuckers (repros of classic 50's hb's) I can get a great sound for anything all the way up to Slayer levels of gain. Other people might make you think you need some crazy boutique amp, preamp mods, or hotter pu's to get that kind of sound, but it's right here as long as you get the power tubes working. I've got some very nice pedals (SIB varidrive, Monsterpiece fuzz) and my favorite sound I get from this amp is just running the guitar straight in. I sometimes find myself unsatisfied with the tone, then just yank the cord out of my pedalboard and run it right to the high-gain input on the amp and voila, beautiful dynamic sound. That basically sums up what this amp is all about: straight up heavy, but QUALITY heavy. If you want cookie monster vocals and way too much bass in the mix, this isn't for you. If you want the just-right heavy overdrive that brings out the best in your guitar, this is your amp. Responds to picking dynamics really well too.

Listen to Ian's parts on early Fugazi, that's the sound you'll be getting.

Owned it for four years. Once upon a time, I turned it one and saw a big flash from the back of the amp. It didn't make any sound or light up after that. Turns out it was catastrophic power tube failure, like blowing out the filament on a lightbulb. Had it retubed, and it hasn't even hiccoughed since then. Wish I could say the same for my Fender amps. Supposedly Hendrix used Fenders in the studio because he liked the sound, but was famous for using Marshalls since he used them on the road for their reliability. When an amp is simple and well-made, not a lot can go wrong.

No idea, wouldn't dream of bugging a company about something they built 25 years ago unless it's a nuclear reactor. I think there's liability attached to those things.

Been playing about 15 years now. Also own two SF fender amps, love them both. I can crank some serious rock and roll out of the fenders, but they can only offer an imitation of the sound I get out of the JCM. There's no replacement for displacement, and there's no replacement for good ol' fashioned Marshall tone.

I bought my amp back in the 80's, from a moron who needed the money quik, so I think I did a bargain... I bought the JCM-800 2204 with a 1960A cabinet for just 500 USD!!!
OK, it's very basic... That's a good thing. Very easy to handle.

Superb sound quality!!! I use it in combination with a Boss Super Overdrive SD-1. Screaming metal, dirty punk or subtile blues, the 2204 can handle it with charm!
I play a Gibson SG standard and a Fender Strat USA '79 and it sounds like a solid wall... Always using the high gain input, mostly with the preamp at 10, full bass, treble and mid at 12 o'clock, presence at 2 o'clock...
The distortion is the fattest, most natural distortion ever heard from an amp... I used to play with other guitar players with all kinds of amps, but my JCM blows them all away... And with a superb sound!!!

I play this amp for almost 20 years mow, and it served me at 100's of gigs... It has dropped (even while playing!!!), banged from left to right, and it still keeps on playing... MADE FOR LIFE...
After 15 years, I had to replace the tubes, but that's the only thing...

When I had to replace the tubes, I went to a pecialist in tube amps, in my hometown... And he does a superb job! At a very fair price!

As I mentioned, I play this amp for almost 20 years and I would'nt trade it for any other. If it was stolen, I would chase down the dumbass, and make eat him his own genitals...
I can't compare my 2204 with any other amp.
Only a VOX amp is my next purchase...
An JCM900 sounds too flat, less body. A Mesa is only muscle, no soul. And any other valve amps are just (bad) imitations...
Only the JCM-800 2204 has the true rock 'n roll soul and body!!!

Not many features but a good selection of tone-altering controls, including the high and low inputs presence, low, mid high, preamp volume and master volume. No opinion because there are not a myriad of features, but this is definitely not an amp I would want a ton of features on anyway. I get effects from boxes before going into the amp and have always loved the sound. Ohm switching on the back panel.

Through a Les Paul or other Gibson humbucker, you'll instantly recognize an AC/DC tone, which I think is one of the all-time best rock guitar sounds, though I like Judas Priest's sound but Glenn Tipton's and KK Downing's sounds are a bit heavier (more saturated) than Malcom and Angus. Very recognizable early Aerosmith tone(Adam's Apple, Walkin' the Dog) and early Van Halen as well, though Eddie has tone that is really hard to nail "out of the box" unless you have an Echoplex, waxed humbuckers in a strat, and can play the style, but just as importantly the NOTES, he does like a modern-day Mozart. That is just what the tone of the amp sounds like probably because these bands like use some variation of older Marshall.
Clean the amp can sound great. I like a Fender Super Reverb or Twin Reverb as a personal preference for clean amps, but the Marshall can do a nice one as well. No channel switching to get it, though. You need to plug into the low input and crank the pre down and turn the master up a bit to get it, but it can be found. I found an A/B box between my Super Reverb and this along with my stompbox array worked well when I used to play out live. A little bit of hiss when you drive it, sure, but nothing that cannot be worked around. Play an Am. Stratocaster, LP Std., '89 Jackson Custom Soloist for electrics.
All of them sound great through the Marshall. It's an '82 head and cab, bought it used in new condition in '84. I would never give up this amp for anything. The tone is the best to me.

I absolutely depend on it. It went out at a show in '91 due to power tube failure. They were the original tubes and had lasted from '84 until then. I play it intermittently sometimes just to jam, most often to record, since about '94 or so, and it has been stored for some of that time until recently. I think it needs a new set of power tubes at this point. Other than something like tubes, which are just a regular replacement item for tube amps, the light in the power switch has gone out (getting ready to replace it), and one of the fuse holder black plastic flanges on the back broke (getting a replacement at the same time as the switch). Neither affects operation, but they did happen. Surprisingly nothing more because the amp has a good history of use playing live. I'd have to give it a 10 because the power switch is really the only thing that has gone bad on this. Tubes don't count because they are a maintenance item and the fuse holder flange was inflicted by me during regular gigging 15 years ago.

Customer support I've found to be a little vague in answering questions in the US, as it is provide by the distributor, Korg. They recently responded to a question I had about original tube brands used in these via e-mail in two days and had an answer of "it is hard to say because so many different types of tubes were used in the same model of the same year, but it could have been Siemens or something similar." Not a terrible answer, at least they named one of the tubes that were used of the many, but I would have liked to know a little more in the response. Not a bad experience and somewhat helpful, just nowhere near impressive.

My first high school band was assembled in '83 and I've been playing ever since. I played live quite a bit from about '86-'94, and then lost interest in playing live. I record in a home studio now, but may do a weekend setup sometime in the future.
Everything about this amp I love, and I do believe it is one of the best rock guitar amps ever made. I haven't played the reissue 100 watt version 2203, but would expect it may be close in tone, but probably not exact when compared to an original 2203, the 2204s 100 watt brother.
If you want pure, rich, rock and roll tone reminiscent of Aerosmith(A Night in the Ruts, Toys in the Attic, you know the good, early Aerosmith before they broke up and reformed), Judas Priest(you'll have the tone basics, but need to overdrive your preamp more to get the saturation of priest...I have a BK Butler tube drive that works nicely), AD/DC (especially Back in Black and the earlier Bon Scott era albums) which are the first that come to my mind evertime I plug in, this is the amp.