Marshall 1959 SLP Reissue

i have a 59slp 100 watt head. 2005
this head is AMAZING!! Maybe i got lucky and got an extra good one.
Thru 2 boogie 4 12's and a THD hotplate. Holly grail reverb thru effects loop, and a mod. wah. that's it, with sometimes the mxr micro amp. If your a real player, and don't cover up your sound with prossessed crap. This amp is all you need. RAWNESS and REAL.

i use a 1976 les paul standard, 1990 les paul standard.
But the 68' strat sounds the best thru this rig. roll back the volume alittle and you have the sweetest clean sound.

haven't had it long enough to say how dependable it is.

don't need em

i have been playing for 20+ years.
and have had marshalls always. i still have my jcm's 900 & 800
and this slp blows them away.

1993 "Plexi" 1959SLP. It's got all the features it needs!

First off I love this amp! I had been searching for that old-school AC/DC-Thin Lizzy classic crunch for years. I've owned many (too many to keep track of unfortunately) Marshalls and other varieties, this is the best for classic tone. I say "best" because I don't think actually bringing a vintage Plexi-type Marshall to shows is very possible for most of us working musicians (most "real" musicians don't have the $$$ to do so anyways). Obviously the reissue isn't the real thing; however, it's close enough for my liking. I'm surprised how many people discredit this amp -- not sure why? It's definetely a player's amp, you can't "hide" behind a wall of distortion with it. That's the beauty of a non-master Marshall circuit in my opinion - if you can play this thing will demonstrate it.

I primarily use telecasters, one Am. Std modded w/a SD '59 in the bridge and the other is a '72 Deluxe with the big wide-range Fender hums. I don't drive the hell out of the amp, I personally like the bright channel with tone settings between 11 and 1 o'clock and volume 1 around 6 or 7, depending on what cab I'm using. I also use an Ibanez TS-9 (for a little dirtier sound & leads), Crybaby 535Q, Boss Graphic EQ (for slight boost), and a Guyatone tube tremolo unit. I then run the amp into a Weber Mass attenuator, then into either a 1960TV cab (w/greenbacks) or a 1936 2X12 (w/vintage 30's & modded semi-open back). The greenbacks really love this amp -- in my opinion this is the best way to go cab-wise, big and warm sounding.

The great thing about these SLP's is that you can really mod them, if you like, to get exactly the tone your looking for; they're simple and straight-forward. Bright caps C17 & C18 have been removed from my reissue -- I would suggest this if you find the amp overly bright. Mine has also been modded with dual post-phase inverter master volumes, this allows me to run one wide open for leads and the other at 3/4 volume for rythym. Post-phase masters work very well on these, but you still need to drive the amp hard. I use them just because I hate not being able to hear my leads. The more you crank the masters, the less they're in the circuit (wide open they're not in the circuit at all). This set-up works very well for as a solo/lead boost. David Bray did the mod for me -- his work is great.

I can't understand how you could not like this amp. They are very, very dynamic -- just using the guitar's volume control and your pick attack these clean up real nicely. And the crunch is to die for, not harsh, not britle, not too bassy, but just right. The biggest thing I will stress is that you ABSOLUTELY MUST run a powerbrake, or hotplate/attenuator for practice or most practical purposes. The Weber Mass unit is very cool. These amps, as indicated by everyone who has ever played one, are super loud. You should (as with any tube amp) run high quality pre and poweramp tubes and make sure they're biased correctly for best tone. Running the bias too cold definetely makes these amps sound pretty dull. I'm running JJ's in mine -- they seem pretty good.

Built like a tank -- very simple, not much to go wrong like most modern multi-pcb amps. Wish I could say this for all the Marshalls I've owned but....

Overall, I'm in love with this amp. I've been playing for about 14 years, and I've played many, many shows. I've owned or played shows/recorded with many amps including Marshall DSL's, JTM60, JCM900, SL-X's, Orange, Fender, and on and on... This is the best one if you're looking for old-school classic rock, Brit. crunch, blues tone. Like I stated earlier, it's somewhat of an unfair comparison to a true vintage late 60's-early 70's Plexi/metal face amp, but these sound pretty killer in their right. Plus, there are a lot of options that can be done to change the tone of these amps to your own personal preference, if you insist.

1993 Plexi SLP Reissue. It has the features it needs to have -- simple & straight-forward.

I've owned over 20 different amps and played through countless others. I absolutely love this thing. I'd been searching for that pure blues rock, classic rock, old-school AC/DC tone until I finally bought my SLP.

The main reason I hadn't purchased one previously was because I needed an amp with a solo/boost/lead channel to get my leads above my four-piece band. There's nothing worse than watching a guy playing the hell out of a guitar and not being heard; an effect pedal just usually isn't enough for me. This is especially true for most smaller clubs where the sound guy sets your level and then lets it be at that. So, I had my amp modded with dual footswitchable post-phase inverter master volumes by David Bray - I highly suggest you check him out: www.davidbrayamps.com.

Post-phase inverter master volumes are the best choice for this amp. They sound very natural and when set wide open they are completely out of the circuit and don't affect the tone of the amp at all. I should note that the amp still needs to be pushed hard to sound good. I set one master wide open and the other at about 3/4 or 3 o'clock. I then run the amp through a power attenuator/hot plate and wow does it sound killer! I'm running JJ's in the power amp section, and Svetlanas in the preamp. Also, should note that bright caps at C17 & C18 are removed from the circuit.

My set-up is like this: Fender American Telecaster (with SD '59 humbucker in bridge) or Fender '72 Deluxe Telecaster(dual over-sized Fender humbuckers) >> Dunlop Crybaby 535Q >> Ibanez TS-9 reissue (for dirtier sound) >> Boss GE-3 Equalizer (for slight boost) >> Guyatone Tube-powered Tremelo >> Boss TU-2 tuner >> Plexi input 1 >> Weber Mass power attenuator >> 1960TV cab (w/greenbacks) or 1936 2x12 cab (w/vintage 30's & modded semi-open back).

I'm not going to knock anyone's opinion on here, but I really can't understand why people are bashing these amps. If you're looking for a warm crunch, dynamic, LOUD, sound for old-school rock you simply can't go wrong. This amp also has a decent clean sound when set properly, but the crunch is beyond anything else out there. As others have stated on this forum, you ABSOLUTELY have to have some type of attenuator/powerbrake/hotplate to use this thing. It is simply deafening without one and one most stages it's way, way too much power. I personally like plugging directly into channel 1 but some people claim it's too bright, my amp has had the bright caps at C17 & C18 removed so that might be why mine doesn't suffer from this problem. You can get a little heavier sound by patching the channels. Like I said I shoot for an Angus Young/Thin Lizzy Jailbreak-era tone and this amp has got it. The wonderful thing about this amp is how well it responds to pick attack -- they are very, very, very dynamic. It's awesome how you can go from clean to crunch just by digging in.

Built like a tank, can't say that for all Marshall amps I've owned, but this is a very simple circuit layout. Not much to go wrong.

I've owned or gigged with a Marshall DSL, TSL, JTM-60, JCM900, JCM900 SL-X, various Fenders, Oranges, and a lot of other amps. This thing is simply the best in my opinion. I know the reissues aren't as good as the real deal, but you can't really drag around a ridiculously priced '67 or '68 Plexi out to gig with. That being said my reissue is pretty damn good. I plan on swapping out the PCB in the future for a point-to-point, and I may change the output transformer and choke to a vintage-spec one just for that extra vintage sound (I'm never completely satisfied). It does seem that the older reissues might be better than the newer models, judging by comments on this forum. All things taken into consideration, these are wonderful amplifiers.

2003 Marshall 1959SLP "Plexi Reissue" w/ standard Super Lead controls plus a bypassable effects loop that I bought new. I play rhythm and lead in a two-guitar "classic rock" band that covers everything from the James Gang, Bad Company and Lynyrd Skynyrd through to Van Halen. Since I was looking for this amp specifically the features get a 9:)

I use a '61 SG Reissue or a Les Paul Standard (both w/ '57 Classic pickups) or a Les Paul Special w/ P90s with this amp. My rig is set up as follows:

Guitar->Voodoo Labs Sparkle Drive->Seymour Duncan Pickup Booster->EH Small Stone->Marshall 1959SLP (w/ Midiverb 3 set for reverb in the loop. Mix is set nearly dry for just a touch of verb)->THD Hot Plate->Marshall 1936 2x12 or 1960A 4x12 both w/ 12T-75s.

The amp is set up as follows:
Vol1->6 Vol2->6 Treble->5 Mid->6 Bass->6 Pres->3
Ch1 low is patched to Ch2 high input

Hot Plate is normally set on -12 or -8dB depending on the size of the gig.

This set up give a good semi-clean (no Fender clean but good enough for what I need!) w/ the guitar volume rolled back, a great crunch tone w/ the guitar volume max'd, and a good, fluid lead sound w/ one of the boost pedals kicked in and the guitar volume dimed.

Couple of the things to note about this amp (and the Marshall 1987X 50W reissue which I also use):
-These amps are LOUD so a power attenuator is a necessity for practical use at a gig or at practice. IMHO THD Hot Plates seem to work better than the Marshall Power Brake (I've got both).
-The choice of cabinet and speakers really makes a difference in the overall sound of the rig, so be prepared to try a few different cabs and speakers to dial in your sound. I tried 12T-75s, Vin30s, Greenbacks, and Eminence Legend V12s in both the 2x12 and 4x12 before coming back to the 12T-75s.

Other tech stuff about the amp:

Power Tubes are JJ EL34 biased @ 15W dissipation.
Preamp tubes are normally NOS RFTECC83 (which I like for a big crunch sound in 100W Marshalls). New JJ ECC83S (medium gain, darker tone) or Ruby 12AX7A-C (higher gain tone) also work well.

As an experiment earlier this year, I changed the OT to a Mercury Magnetics O100JM and the choke to a MC10. As compared to the original sound w/ the factory OT & choke, the overall tone got a bit darker and crunchier which I liked:)

When used in this rig for the "classic rock" gig, this amp works really well. Overall I give it a 9 (since I'm never 100% satisfied w/ my tone!)

Amp is very well built. I do all my own maintenance and this type amp is very easy to work on. That being said, it's never once failed in over two years of use. Of course, I never gig w/o a back-up amp:)

Never used Marshall customer service. Website seems to be prety good.
Local shop (Rainbow Music in State Colleg PA) is very good should there ever be a need for assistance.
Warranty is 5 years.

Been playing for 20 years in and out of bands. Also own a Fender Strat and Tele in addition to the guitars mentioned above. Other amps are '74 Marshall 50W 1987, Marshall 1987X 50w "plexi" reissue, JCM900 Model 2500 50W head, Mesa Stiletto Duece (for the heavy modern rock), and a '98 Peavey Bandit combo (for late night practice:)

Overall I give this amp a 9 for use in a "classic rock" rig. Decent clean, big crunch, and a great lead sound are all available w/ the twist of the guitar volume or a stomp on the boost pedal.

2003 Marshall 1959 SLP 100W "Plexi" Reissue w/ standard tone & volume controls + effects loop which can be bypassed via rear panel switch. When compared to more modern amps this amp has "basic features" which are very useful nonetheless!

Since it had pretty much everything that I was looking for feature-wise in this type of amp it gets a 9:)

Primarily used w/ either a '61 SG reissue, a Les Paul standard (both w/ '57 Classics) or a Les Paul Special w/ P90s. I play rhythm & lead guitar in a two-guitar "classic rock" band that gigs regularly & covers eveything from the James Gang, Grand Funk, Bad Company, & Lynerd Skynerd through to AC/DC & Van Halen. For this type of gig the 1959SLP works really well when used in the right rig. I typically set up as follows:

Guitar->Fulltone OCD or FD2->Duncan Pickup Booster or Voodoo Labs Sparkle Drive->EH Small Stone->1959SLP (w/ Midiverb 3 in the effects loop for just a bit of reverb. Effects mix is set pretty dry w/ just a touch of effect for some ambience)->THD Hot Plate (typically -12dB or -8dB setting)->Marshall 1936 2x12 or 1960A 4x12 w/ Celestion 12T-75s.

The amp is set up like this:
Vol1->6 Vol2-6 Treble->5 Mid->6 Bass->6 Pres->3
Ch 1 low is patched to Ch 2 high input.

Everything from semi-clean (no Fender clean but good enough for what I need), to big crunchy rhythm and lead sounds can be obtained with the twist of the guitar volume knob and/or a stomp on one of the boost pedals. It did take me a while to "dial in" the settings on this amp (particularly the presence, treble, and the two volume controls) to get the overall tones that I was looking for in this setup.

As a note, I've also used this amp in an A/B setup w/ my Marshall 1987X 50W "plexi reissue". In this setup I use an A/B/Both switch to select the path through one amp (w/ its own effect chain), the other (w/ its own effect chain), or both. Each amp is run into it's own THD Hot Plate and then into one half of the stereo cabinet's speakers. The 1959SLP 100W amp is used for the semi-clean & crunch rhythms and the 1987X 50W amp is used for the higher gain rhythm sounds. For solos, both amps are switched on which gives a nice volume boost and a solid lead tone. Overall this setup is very versatile, although its a bit much to drag around to live gigs!

Other details of the amp set up for the tech-minded folks:

The circuit Marshall had reproduced in this amp is really not from a early '66-'68 plexi (even though the front and rear panels say otherwise!) but rather is from a metal-panel amp (circa late '69-71). As such, it's got the metal-panel era tone which is brighter with more gain than the earlier amps. I've left the circuit in the factory configuration since I like the tone of the metal-panel amps

Wrt tubes, my amp is set up as follows:

Power tubes are JJ EL34L (biased for 15W dissipation).
Preamp tubes are normally NOS RFT ECC83 (my favorite for a big crunchy tone). New JJ ECC83S (darker medium gain sound), Ruby 12AX7A-C (darker higher gain sound), or EH12AX7s (brighter higher gain sound) also work well in this amp although IMHO the EH can be pretty bright!

The output transformer was changed this year (as an experiment) to a Mercury Magnetics O100JM "plexi reissue OT" and the choke was changed to a MC10H. Overall the sound of the amp was a bit darker and chunkier after the change as compared to the original. I liked the end result of this change and have subsequently changed my Marshall 1987X 50W reissue OT to a Mercury Magnetics O50JM.

My overall rating for this amp in this rig for use w/ this type of music is a 9 (since I'm never 100% satisfied w/ my tone<G>)

The Marshall 1959 SLP appears to be extremly well built and has been very reliable to date. I do my own amp maintenance and also run a small audio repair shop and in comparison to many "modern" amps it's built to last!

I always take a back-up amp to gigs since Murphy can strike at any time!

It gets a 9 because nothing is perfect;)

Never needed servicing that I couldn't do myself.
The local dealer (Rainbow Music) is very easy to work with if needed.
5 year warranty.
The Marshall website appears to be pretty good.

I've been playing for 20 years. Currently own the guitars mentioned above plus a Fender Strat & Tele. I also own a '74 Marshall 1987 50W, a JCM900 Model 2500 50W, a Mesa Stiletto Deuce, and a Peavey Bandit.

The Marshall 1959SLP is a great amp for getting a classic rock sound. It's got the classic big crunchy sound associated w/ 60s/70s/early 80s rock. It's also VERY LOUD which necessitates the use of a power attenuator for all my gigs.

If it were stolen I'd definately look for another Marshall 1959 100W amp (either the SLP or perhaps a HW).

I have two of these 1959 amps. One was made in 1988 and is not really a SLP, but the first superlead Marshall manufactured. The USA only imported 100 of these amps and it is fashioned after the 1973 metal face superleads. I think the model number is a 1959X.

The second amp I have is the standard reissue SLP and it was built in 1997.

I am not going into all the details of what these amps do and can't do .... most of you already know that..... so on to the problems and issues.

Out of the box, both amps were ice pick harsh. Harsh Harsh Harsh ! Whoever designed this circuit must have gone out drinking while the prototype was being built, then stopped back in for two seconds to sign it off. These are NASTY out of the box !!

I quickly learned which two bright caps to cut out of the circuit and WOW .... what a different amp after that! The SLP sounded better than the 1959X for some reason. I installed JJ ECC83s preamp tubes in both amps and JJ EL34L power tubes biasing them up to 36 mA. The tubes improved things noticably over the junk Sovteks that came in it.

I compared the SLP to an original 74 superlead and the 74 just has more beef !! Just sounded fatter and fuller no matter how the EQ was tweeked. I ordered a Obsolete Electronics output transformer and installed that in the SLP. Bingo..... that brought the amp around to truly sounding like the real thing!!

The amp that I REALLY wanted to sound good just isn't there yet. I was thinking since this 1959x was manufactured in 1988, the output transformer may still be of decent quality, so I decided to install a set of Sozo caps. They take a long time to break in and the amp still doesn't sound nearly as good as the SLP yet.... so I don't know what to do next. I would kind of like to keep that amp as original as possible seeing that there were only 100 imported.

These amps with a Gibson SG and P90 pickups are just magic !! Play the amp with your pick attack and there are amazing tones to be discovered. A lot of people don't get it, but all the great players of the past sure did and I am glad Marshall was good enough to recognize true tone and reissue these amps. ....maybe their quality control guy is deaf now instead of drunk, and that explains the bright cap issue?

Never had one break down. Hand soldered connections are pretty hard to beat.
Take a look at any modern Fender or Marshall DSL with all the ribbon cables and PCB mounted power tubes ...... they won't last 15 or 20 years, let alone 35 years like many of these Superleads have.

Never had to deal with them. I do all my own work.

I own a Mesa DR, Soldano SLO, Hiwatt DR103 and a few Fender amps. Nothing sounds quite like the Marshall. The SLO on the crunch channel can kind of get close, but the Marshall just has something about it .... maybe those Drake transformers ( or the OE ).

I would buy another if anything happened to it. Actually, I would probably find a broken original and fix it.

2004 100W Plexi Super Lead.

Standard 4 channel w/ effects loop which I haven't figured out how to run anything through it yet, so I don't use it, neither on the TSL. Next learning curve.

I want for no additional features except to find the idiot who designed channel 1 causing permanent hearing damage and frightened dogs. Caps 17 an 18 are going out immediately!!! I am keeping (taming) the 4 power tubes or I would have bought a 50 watter. I suppose at 9 am in 1969, when you really had to wake up a crowd, Ch. 1 at a setting of 10 would have done it for Mr. Hendrix. I am not, nor ever will be, him.

I use all the features now that I patched in and can tailor to single coils or humbuckers. Love the presence control.

Power? Yep. Too much? NO, not exactly. Mystified why a 300 Watt cabinet would turn to muddy crap when really cranked. The 1960A 4x12 distorts to (bass) mud in Ch.2 which really pisses me off, because when I connect this head to my Crate V30 single 12", or TSL 602 dual Ventage 30's 12's, or Fender Blues Jr. 25W Greenback 12" it sounds like God has visited.

I use this amp with a practice band from metal to '70's cover with Mr. Halen in the mix. 2 original Marshall Plexis and 1 RI (mine); no combos except for vocals. AMPEG '70's era sealed back 4x12's + '70's Peavy 2 x 12 & 240 Watt head + 1969A cab and drum machine (drummer drank all the red bull and couldn't chill for the blues...or our version of it).

I am using a mint vintage '63 ES 125 TCD dog-eared P-90's (a-la George T-good), a original '65 Jazzmaster, an original '71 strat and '72 tele thinline, a '05 Ibanez JS 1200 shredder, an original '59 es 335 and a '76 LP gold top with mini humbuckers which seem to have the most feel through this setup.

It suits my style because I go from all out max shred 10 to Clean Santana with sustain, but kick back a little to Johnny A's clean diverse licks I'm trying to learn (Texas local). On a rainy day I go virgin clean through my '65 super reverb.

The amp is whisper quiet, only hisses to let you know you forgot to connect something.

The amp will (should) distort the right speaker... but no freakin way the GT-75's so I got a Boss MegaDistortion which gives it just right sound. Boss Heavy metal MT2 is a must-have but used very conservatively or you will not hear for days... maybe weeks. May change to 25 W Greenbacks or put in a attenuator I guess. 75's are made for Nugent or the Ramones? Amp doesn't fart, pop, growl, blow fuses or overheat. A 12 hour straight burn it today at 3/4 volume didn't burp. Previous threads mention getting the 1960 AX with Greenbacks and I may do it.

The clean channel distorts when my ears do, above 4 or 5. All other settings at 12 o'clock..presence at about 6, bass at 3, normal volume at about 4, but through a CD player with pre-amp. Without the CD player I had it cranked up to 10 on channel 2 with the bass down but the cab was muddy-ear-piercing crap....tube distortion was forced, not rolled..maybe I have something else out of whack, impedenced was matched. No comments please, I let 'er rip and that's what I got. More breakin or amp mods may be required.

I would not hesitate to gig alone with it (+ cab), but would bring along my Crate V30. Either head plugs right in and has medium / maximum venue volume potential if miked through a PA.

Never broken down and I'm putting it through a tough breakin. My TSL 602 never broke down the past 2.5 years of heavy use either.

Never dealt with Marshall direct.

Factory warranty.

I have been playing for 2.5 years. Own 52 guitars (too many to list), Crate V30 class A, Blues Jr., Marshall TSL 602, 59 plexi RI + 1960A cab, '65 super reverb (get one), Crate 15W practice amp, Fender G-Dec + boss effects + old ME33.

If the Plexi was stolen I would buy a lower power 50 watt version, but no multi channel confusion crap, or non-tube amp.

I did not compare this to anything- Big Crates, Krank, B-52, Ibanez-d Satriani, Mesa Boogie, Hughes and Kettner, Recent RI Fenders, Line 6, Lane, Roland, Rogue, Behringer, Rivera, Randall, Vox, Epiphone, Peavy (still one of my favorites for loud & reliable) Gibson et all are just posers. Marshall is KING.

I'd like to clear up some of the arguments regarding the re-issue 1959slp...
I own a 1968 plexi, a 69 superbass, a 67 50 watt lead, and a 66 plexi park. I have also built my own amps and restored many cheezo
Modded 70's marshalls.

The reissue amp is a resissue of the 69-75 lead amp circuit. This is a stadium amp, is very loud brite and cutting, I personally find it offensive.

here's the scoop Hendrix used 66-67 amps for his GREAT studio albums
van Halen used a 66-67 amp for his recordings (filter caps under the chassis)

Prior to the final evolution 68-69 of the plexi circuit earlier amps were
a. warmer
b. smoother
c. more user friendly

Early amps (the best ones) had
tied cathodes on the first tube ( both chanels were bassy )
a lower value briteness capacitor or no briteness capacitor on the volume pots
early amps had HUGE 2 watt mil spec potentiometers
early amps had way less power filtering, caps inside the chassis
(lower values 32 & 16 mfd) this yeilded sweeter smoother compression earlier on the volume know (less head room)
early marshalls were biased VERY HOT from the factory most american techs won't bias your amp this hot !!!

the spl reissue plexi can easily be modded to sound killer
remove the 5k brite cap on the brite volume
rebias the amp very hot
replace the 50-50 can caps with 32-32 can caps
tie both cathodes of v1 to the bass side for the hendrix thing

The new factory issue Marshalls are biased cold as
modern el34's are just not Mullard units

Further tube oriented techs are just not as common as they once were.

used Marshalls share this problem because most amp "techs" re bias the amp even colder than Marshall does ...

I have a 69 50 watt head that sounds outrageous it is mint and still has its factory mullards, its never been serviced
the guy I bought it from was singing thru it !!

its biased at 40Ma per tube ... ask your tech to do that and he'll get upset ... most bad sounding Marshalls are biased 12 to 20 ma per tube ...
as an amp is biased hotter, even a brite amp it gets fatter and fatter

of course If you skimp on crappy tubes you will have reliabilty issues...
but this Ultra Hot biasing is what made the old ac30's and marshalls so killer and so touchy !!!

modern details like better screen resistors and some other stuff solve these problems now ... but try and get a tech to set an amp up this hot

At the recent namm show Jim Marshall now in his 80's signed autographs each day for 6 to 8 hours ...
a typical autograph session lasts 30 minutes

at the namm show there were two jtm/45 100 resissues
the interior of the heads were marked DUMMY but we can always
hope and demand the real reissue's we deserve

Any year marshall reissue or 70's MOD DOG can be made to sound right like the records with enough attention to detail...

That the reissue amps don't GIT IT right out of the box is totally frustrating to many, and unfortunate for those who don't want to play at full volume all the time ... set up right a great marshall sounds killer at a low volume without a power break

currently I own 10 pre 75 Marshalls and have rebuilt many others...
the right knowledge is out there but many an "old amp" has been rebiased cold or modded to "LEAD" specs by well meaning techs just adding to the mess...

Basic settings.
Distinct to this amp is the Loudness 1 & Loudness 2. which are linked to input 1 & 2. Basically Treble booster for channel , and some muffy bass thing for channel 2.

Not overly versitile - but it's standard Marshall shelved tone shaping. Not a massive amount of scope, but does the job for the sound you buy.

1958 Les Paul Reissues, Std Tele, Std Strat - all stock pick ups and electronics. No effects except the occasion VOX wah (true By-passed).

I like this sound. Pure cranked Marshall. I ahve owned a few and normally get my guy to rip out the pre-amps and handwire them pointo to point, throw in a negative feedback switch and CLASS A switch then they are ready to rock... Otherwise they pretty crappy out of the box.

This things come close and may need a bit of whacking but not much. Very good juice maker.

I see some twats woffling on about to bright this to bright that. Roll some treble down past 11 O'Clock, presence up, mid half, bass high and PATCH LOW INPUT 1 To HIGH INPUT 2 - For God sake.

I am at loss as to why they have two shitty channels in this amp - and yes, you're an ass if you haven't patched ya channels. This should be a switchable option. It just runs to bright or to murky muff puddlish not patched.

PATCH EM! Sound great. Then blend Loudness 1 with Loudness 2 - you can strick a great balance of highs and lows this way. It only cranks when both channels are engaged.

Yeah it a tank. But 4 Marshalls in and 2 have suffered sever heat damage - and 1 just keep blowing a fuse.

This amp - Well had it for about 18 months and it is solid.. My JCM900 took a spill on stage when I fell on it, lost a jug of water inside in and it was still cranking when it flat on the floor... go figure - when they're on they're on, when they not - i'd chuck em these days.

This one seems ok so far

No Idea - I am in Australia - We don't have support. Lucky we have some top chop shops.

Those who say this amp suck :
1. either got (not likely) a real Freak'n lemon
2. Need to buy boogie Dual Recto or an old Peavy Bandit
3. Or just have no idea how to dial a sound or ask someone how to.

If it was stolen,yeah i'd replace it. Not overly expense. My Dual Recto got stolen after 8 months - I replace it with a second hand JCM800...

PC boards a cheap shitty option for money grabbing sluts. A guitar amp should only have a board to hold components - not run copper tracks. I am looking at my old JCM900 preamp as I write this... a bit of heat damage there and it was fuked! cost me a penny to fix.

Also the two wanky channels suck. This amp really needs a bridge or patching switch. Again, It only cranks when both channels are engaged.

My amps were made in 2000. I use one for most club gigs, and two for concert situations. I'm playing Rock, Jazz, and Blues and the only complaint I have is that I can't get them to break up at lower volume levels, but I have a MKII 50 watt Lead 2x12 combo that I run through a 1963 4x10 cabinet for those situations. One of my SLP heads was new and the other one was used but they both have great tone and TONS of volume. These are not my first "Plexis", my very first Marshall was an original "Super Lead" that I got in 1970 and there is very little difference. I just wish the new heads had the removable plugs for changing impedence and voltage settings. The heads have no effects loop or channel switching, just the "High" and "Low" inputs that I run bridged all the time.

I use a Cordoba RCWE Gipsy Kings model nylon string, a 1966 ES335TD, a 1979 Stratocaster, a 1968 Telecaster, a 1957 Les Paul Special, a 2002 Gibson 67'Flying V re-issue, a 1998 Takamine Santa Fe acoustic and several other guitars depending on the gig and or the song. The amps are very flexible when it comes to tone at volume, but when I ues either of the two acoustics I find that I use the E.Q.s one the guitars to control the tone more than the amp. I love the way SLPs distort, it just kind of blossoms like an atomic mushroom cloud! The sweetest thing about the distortion is that you can control it no matter how loud you get.

I have never had an SLP let me down. I trust them to the point that my contracts for festivals and concerts where a back line is provided stipulates that I have a "Plexi". I've had them dropped and they still work. The bottom line is, if you keep your amp clean, change tubes regularly and have it serviced on a regular basis depending on how much you use it, these things will last almost forever.

I've never had a problem dealing with Marshall and they are always very helpful. When I take my amps in for service I use a guy in San Francisco who always gives me a loaner. What more could I want? I never had any repairs done under warranty, just the service check-ups that they get each year.

I have been playing for over 40 years and I also own a Carvin SX-200 combo, an Acoustic Model 117 combo, a Yamaha G100-115II combo, a Marshall G MKII Practice Amp, a Marshall MKII 50W Lead 2x12 combo, two 1959 SLP 100W Heads, a Marshall 1963 4x10 cabinet, a Marshall 1960A 4x12 300W cabinet and a Marshall 1960BV 4x12 280W cabinet. As for guitars I own 25 various models, most of which have "Humbuckers" for pick-ups except for the Stratocaster, Telecaster, and a Hohner Les Paul Custom copy that has the EMG Zakk Wilde pick-ups with an EMG "Afterburner" push pull tone pot. The only other amp that I've owned that I would stand up against the Marshall was an Orange 125W stack I owned for awhile in the late 1970's, but they are just too expensive and hard to find now days.