Marshall 1987X "plexi" Reissue

1997 Marshall 1987X 50W "plexi" reissue w/ standard controls & two channels (4 inputs) bought used in 2000. I play rhythm and lead in a two-guitar "classic rock" band that gigs regularly & covers everything from Grand Funk, Bad Company & Lynyrd Skynyrd through to AC/DC & Van Halen. I bought this amp specifically for this type gig and also to check out the Marshall reissue series.

Since I was looking for the "features" this map had it gets a 9:)

I Primarily use a '61 SG reissue, a Les Paul standard (both w/ '57 classisc p/u), or a Les Paul Special w/ P90s w/ this amp.

When I first got this amp and really had the chance to run it up (through a THD Hot Plate: the "keep it down" music store did not have a power attenuator available when I demo'd the amp) I was a bit disappointed in the tone which seemed to be very mid-focused w/ no top end even when only using Ch 1 high input (not at all like other early non-MV Marshalls that I had played). I messed around w/ it for a few weeks and tried a variety of different settings, pedals, and preamp tubes in an attempt to get a tone I was happy with but with no luck. Eventually I opened the amp up (I also run a small audio repair business and maintain all my own gear) to see how it was setup circuit-wise and to bias a new set of output tubes. I was a bit suprised to find the circuit was from a late era ('74-on) amp that Marshall had used for the "68 plexi reissue". Since I really liked the overall vibe of the amp (looks cool, small-box head, etc.), and had just read the ToneQuest report on the Peter Stroud Marshall conversion to "plexi spec", I decided to mod the amp back to the '69-'71 era version. Essentially, here's what I did:

-Changed the OT to a Mercury Magnetics O50JM
-Changed the PT to a Mercury Magnetics P50JM which gives the "correct" 390V B+ for a '69 era amp.
-Changed the preamp filter caps to 32/32UF JJ can
-Changed the presence cap to a 0.1uF (was 0.68uF) & the prescence pot to 5K.
-Used the old prescence cap to bypass the 1K cathode resistor on V2 for more gain
-Added a 4.7nF cap on Vol1 pot (none was present originally)
-Changed the Ch1 V1 plate coupling cap to a 2.2nF (was 22nF)
-Retubed the amp w/ JJ EL34 (15W dissipation) and NOS RFT ECC83.

After the mod, this amp sounded totally different. Big crunch sound (almost bordering on high-gain) with good top-end, mid-range balls, and a solid bottom end was available w/ CH1 & 2 patched and the CH1 vol on 6 and CH2 vol on 3-4. Everything else is set at 6 except the prescence which is set on 3. Rolling back the guitar volume brings on a semi-clean tone w/ a bit of bite to it (there's no real "fender clean" in this amp when the volumes are set over 1). Note that I always run this amp through a THD Hot Plate set on -12 or -8dB because it's too loud for practical use otherwise.

So, pre-mod I give this amp a 5 and post-mod it's a 9:)

The original amp was very well made, particularly when compared to "modern" amps. It's never failed in over 4 years of use and the only maintenance I've ever done (post-mod) was change the power tubes.

Even so, I never gig w/o a back because of the Murphy factor:)

Bought the amp used so never had to deal w/ Marshall (the website is pretty good) or even the music store. Since I do my own maintenance, lack of a warranty or factory support is not a big deal.

Been playing for 20 years in and out of bands. Also own a Marshall 1959SLP 100W reissue, '74 Marshall 1987 50W, Marshall JCM900 Model 2500 50W, a Mesa Stiletto Deuce, and a Peavey Revolution (for late night quiet practice;) along with a dozen pedals.

In it's original form this amp was ok but post-modification this amp rips and I'm really happy with the tones I can get for use in the "classic rock" gig. Tweak the guitar volume and semi-clean, big crunch tone, and, with a boost pedal, fluid lead tones are all available from this amp.

2005 plexi re-issue,
Simple circuit design, the usual 4 inputs
I am glad the amp has no features because they all rob tone.

I use strats with dimarzio hs-3 pups,
I actually bought this amp after many weeks of reading reviews on this site!
I can tell you that i was;nt dissapointed when it arrived,
If tone is what you want then thats what you get with this amp, great dynamics, can be sweet or nasty all at the turn of your guitars volume knob,plenty of power on offer as this is 50w rms, its about the most anyone who isnt playing stadium gigs will ever need for most applications. I gig with it using two overdrives to boot and use the volume knob for clean passages, really works well.
This amp has nowhere near the amount of gain as say a jcm-900
If you want heavy overdrive youre gonna have to use a booster as the power amp distortion on offer is classic rock old school.
I have since compared it to the new dual and triple super leads and must say I really dont like the 2000 series at all,
The amp is so good that its really quite hard to find anything to compare it to apart from the obdvious.

The only thing thats happened so far is a burnt out valve,
The output transformer gets unusually hot so i had a box fan installed it runs smooth now.

Marshalls support in australia is very bad,
I once waited for a power transformer for 6 months, this is the norm in oz.

I have been playing for about 18 years and have owned played quite a few high end amplifiers in that time, I especially like the vox ac-30 which i think has some of the same characteristics as the 1987.
I reckon i would buy another one if it were stolen or something.
I just love everything about this amp, it even looks cool!
I ended up choosing the 1987x because i love Yngwie and think he has the best tone around now i do too.
The amp responds particuarly well to preamp effects, which most of todays makes really dont work too well because of the amps gain stages,
If you want a clear, warm, dynamic amp that has the ability to shake your balls then look no furter, you wont regret it.

Newer model with bypass-able effects loop. 4 inputs, 1 high and 1 low for each channel (hi-treble and normal). Nothing fancy-It's an old school guitar amp, with a simple circuit design, that can be as versatile as your imagination and ability will let you be. For what it is supposed to be, I'll give it a 10, but for the real world where there are channel switching, multiple voicing, rectifer, effects loops, I'll have to go lower.

Whew! where do I start. OK here it goes.
When I first plugged my SG into the channel 1 high input, volume on 2...HOLY CRAP it's loud!!! Bright and loud. I used a jumper on the channels and brought the other channels volume up, hmmm, more low end. Anyway, after playing around and getting some volume up, THIS IS THE CLASSIC MARSHALL SOUND, once above 3 or 4, it's not any louder, it just adds bloom and sustain, controlled feedback, and an AWESOME clean tone at the roll back of the volume knob. This is THE sound. I ended up getting a hotplate to tame it for gig levels (yes, 50w will overpower a 5kw PA system!!). All those classic tones, that are classic because they sound good, and are still viable today! With a little help from a pedal you can have brutal distortion, but you can play 99% of the rock songs from hendrix to van halen to judas priest to ??? without any pedals. This is the sound other amps try to copy, for a good reason. I hate to gush and give a 10, but, anything less and I would be in denial.

So far, so good (knock on wood). 5 year warranty. I own 3 other marshalls and have never had anything other than a tube or fuse go. I guess that's why you see all years of Marshall amps on ebay, fetching good money.

5 year warranty, we'll see!

Here goes the life story...
Been playing pro and semi pro since 1982, went through the 80's with a 78 master volume 50watter, still have that amp, still love it, it is the standard of tone in my book. I also have a 1986 jcm800 2205, and a 1998 TSL, a block letter 5150, and a Budda SD30II. I have used the TSL for the last 6 years as my main gigging amp, and before that, the jcm800. They are fine amps, but the 1987x is more like my old 78, there is a tightness and tonality to those amps that nothing else has, once you can play with those sounds, it's hard to go to something compressed and dark. I call myself a "reformed" shredder, I started out when rock covered everything from sabbath to pat travers, then went the metal route for a while, still like metal, but I play in a classic rock cover band, and enjoy it. This is the amp I like playing on most now, I'll muzzle it with a hotplate...-12db for practice, -8db for recording, works great for me. If I lost all my amps, I would replace this one FIRST. This is the quitessential marshall sound.

Made in 1997, gets me all the blues, classic rock and hard rock tones I want. The only downside is that so much power must be managed properly or else alienate everyone within 1000 feet.

I have a Les Paul Standard (Jazz/JB) and an SG Special (490r/490t) and can cover all the styles listed above. It is loud but not noisy, as long as the pre-amp tubes are in good shape. For me the best settings are on Channel 1 (top left input), pres 5, bass 3, mids 5, treble 7, vol 2 for blues and 5 for rock - no effects are used, as the amp always sounds better without them. Think of the volume knob as a gain control, as there is no master.

I can depend on it, but there's always a backup at practice and for gigs.

n/a

I've been playing seriously (in a gigging band) for 6 years. This is the ultimate rock amp, especially through my 4x12 Marshall cab, and it would be hard to find something better to get that ultimate tone. Portability and loudness are somewhat of a problem and the only thing I need to make things better is to get a smaller tube amp for practice and smaller gigs. Mind you, I use a Dr. Z attenuator and a speaker shield and am able to tame the beast enough to play at 5 in the basement and not have the police knock on my door. Price was a bit of an issue, especially that 4x12 cabs aren't cheap, but I have yet to hear a better amp.

Brand new 2004. Simple. Basic. Two EL34 tubes. Very loud 50 watts. Bridge the two inputs for best sound and versatility. Guitar volume plays a HUGE part in the sound on this amp.

Loved it from the day I brought it home. Gets better as I get to know it better and mod my style to the amp. I play Strats and Teles. Sounds great with both. Classic rock distortion, not metal. Chunky at max distortion, but not brutal and metallic like a maxed out Mesa. Bass gets mushy at max distortion. Very loud for 50 watt. Great clean sounds if you roll back guitar volume. I use a 16ohm THD Hotplate and it sounds GREAT. Highly recommend the hotplate for this or any Marshall head.
I've had Mesa's and Fenders, great amps, but this is THE rock sound amp. No pedals needed. Makes you want to be a better player to get the sounds you want. VERY responsive to guitar volume/tone settings and your picking style. Super expressive, you hear every string. Only a 9 for the mushy bass at very high distortion.

So far so good. I think these heads have a strong reputation. Marshall combos seem to have lots of problems.

Never used them...

I bought this amp based on reviews in this forum. Totally satisfied. You cant judge these things until you've played them for hours at all volumes. 45 days to return if not satisfied made it worth paying retail cost. If I knew what to look for, I'd buy a used one....Great amp. After many amps/pedals, finally got a great sound.

I have one made in 2001. Ironically, what makes the non-master volume amps so versatile is their lack of superflous features. Input, EQ, presence. 'Nuff said.

Marshall did a decent job on recreating the vintage look. However, if you want real Plexi vibe get one of the gold plated Marshall logos for the front like the original plexis had. They can be scored on Ebay brand new for around $20 and make the amp look $1 million better.

Once properly biased this amp roars in its own right. One thing to point out here is that on the 1987x Marshall didn't give you a plexi circuit inside. Rather, you have a circuit than can be simply described as plexi preamp section combined with a later "metal panel" power section. If you like it as-is great! However a few minor tweaks can correct this and give you the proper spec. None of these require you to remove the circuit board. WARNING: if you are not familiar with the safety issues of working on an amp, take it to a tech. What I have listed here is probably a few bucks in parts and should take less than an hour time.

If you want a '70-'74 type metal panel lead amp, replace the 0.022uF cap that sits diagonally at C15/C16 with a 0.0022uf cap. Your done. Don't change anything else. Go play you amp and enjoy your metal panel reissue and play like Yngwie.

If you want a late '68/'69 plexi, 3 minor changes will get you there:

a. replace the 4700pf capacitor that straddles the top of the pot for "Volume 1" with a ceramic 500pf cap (470pf is fine).

b. solder a 0.68uF cap piggyback on top of the resistor at location R9. This will add some gain and was a stock value for this period.

c. plexi amps of this period had a 47k NFB resistor. The 1987x reissue come with 100k which is from the "metal panel" era. Easy peasy fix for 25 cents. Get another 100k resistor and solder it piggybacked to the existing resistor. When resistors are combined in parallel they decrease value (rather than additive) so two 100k in parallel gives you 50k which is close enough to the stock plexi value for late '68/69.

d. Get some mullard EL34s and 12ax7's. The budget route for this step is Svetlana El34s and the new Groove Tube Mullard reissue 12aX7m which is a great sounding match.

Thats it your done, don't do anything else but play the amp and enjoy your late '68 plexi reissue.

I will pass on posting other earlier plexi-period variants since they are too involved here and can be found elsewhere online.

Seriously, don't fall into the hype for new trannies and "poitn-to-point" boards. You will incur a significant expenditure with not as much effect as the items I've listed so at least try those before you tinker with anything else.

One last thing, in stock form you may notice that you only have "clean" tone up to about 1 1/2 to 2 on the volume. This is due to the 4700pf bright cap on the volume pot noted above which allows high frequencies to pass sooner on the volume dial. If you would like to have some VERY nice clean tones (or at least spread out the range a bit) try the 500pf cap. Alternatively MANY users swear by a 100pf cap (which is a stock plexi value for pre-mid '68). To get an idea of the difference just remove the cap and try it without one then adjust to your taste. Keep in mind that the cap value doesn't matter once the amp volume is cranked on 10.

I have my amp setup with the '68/69 config (have noodled alot with various but thats my favorite). I get great clean tones. Turn the volume to around 5 and I have AC/DC on hand then crank it up more and you find Micheal Schenker, all the way up and you have early Van Halen tone. Want more?? Slam it with a pedal like SD-1 and hello Zakk Wylde.

If someone tells you a 1959/1987 is one-trick pony....they either don't know anything or they don't know how to setup the amp.

As awesome as the amp is in stock form, I only gave it a 9 here because I think if it is a "plexi reissue" it should have came stock with one of the plexi-period circuit variations. It didn't and it really is its own variant itself.

Rock solid.

See above. Its rock solid so who needs support?

I have other "vintage" non-master volume Marshalls. The 1987x is a great amp in that tradition. I am very happy with it. Especially after some minor tweaks. A cranked 50watts Marshall can really roar so I HIGHLY recommend some type of attenuator (THD Hotplate, Weber MASS Marshall Powerbrake, etc.). An attenutator will allow you to crank the amp to levels that give the classic power tube distortion but yet control the overall volume to whatever level you need for the situation.

These are a FANTASTIC value when and can be found at reasonable price used.

2003 1987XL, 50 watt non master volume 2 channel BEAST!
With the right approach, this amp is very versatile. I dont use any effects apart for certain passage accents, ie. flange or phase for solos. This amp can be clean as a whistle and very bell like in tone to flat out heavy rock raunch with the simple twist of the guitar's volume knob - if you use a suitable medium output pickup and guitar.
For the stuff our band does, this amp suits 150%!!!
I have dicked around with various high gain and channel switching you beaut amps, but this one kicks their ass hands down.
We do hard Rock and this amp rocks!!!
I have had/used a 5150 half stack, 5150 combo, Woogie (Australian Mesa Boogie clone) 100 watt head and a Marshall 100 watt valvestate half stack and this plexi reissue kicks all their asses. For me, it is simply the most rockin' and versatile amp, not to mention tonally perfect, i have ever had the pleasure of using.

I use an EBMM EVH signature guitar basically straight into the amp. For any kind of rock, be it light to hard this combination is hard to beat. I use flange and phasing very sparingly and, since my bias-rite arrived and i biased the amp properly, the MXR 6-band EQ i used to use for lead boosts has been mothballed. No need for reverb or delay, this baby sounds so full and musical i have found my old addiction to effects has completely been cured!
Fully cranked, (everything on ten) this amp is surprisingly quiet, and smoothly transitions into the sweetest harmonic feedback i have ever heard.
After proper biasing, this amp simply cannot be beat. I CANNOT STRESS THIS ENOUGH!!!!!!!!!. Do not judge these amps from a showroom demo, no matter how loud you play! If these are biased cold, as they tend to be from the factory, there is little gain, and the sound is cold, hard and brittle - DO NOT LET THIS PUT YOU OFF!!!!!! For a few dollars, get a tech to properly bias your amp (or do it yourself if you know how, or even better, do what i did and get a Weber Bias-Rite and do it yourself, just dont fry yourself) and you will unlock the magic in these beasts. After biasing, I had early Van Halen and AC/DC on tap without even trying!
Simply the best for classic rock tones available and very, very dynamic and touch sensitive.

Fairly new so cannot really comment. Tried a variac to lower the voltage supplied to it. It took the lower voltage OK, but once running back on normal voltage developed a horrible breakup on the lead channel. Turned it off and went back to it after a few days rest and everything was back to normal. I think a cap was somehow affected by the variac, no matter - didnt like the variaced tone anyways!
Apart from carrying spare fuses and tubes, i would gig without a backup without a worry.

Too early to tell.ButPetefrom Holden Hill Music, Adelaide,knows his stuff - especially the older Marshalls. For those of you into the older gear, Pete really knows his stuff!

I have been playing for 12 years. I have previously bought or owned amps because "so and so" play or endorse them. I played a 5150 half stack for 3 or 4 years simply because EVH designed it! Shit, I hated the tone, but because Eddie played it, I had to as well! The last12monthhas seen me transition into finding the tone i ultimately loved and was after. I didnt even know EVH used to use Marshall plexis! I just happened to stumble across the plexi palace forum, listen to some clips from VHOLIC and i was sold. Shit, i can even nail AC/DC with the same settings. I friggin love this amp!!!
My 1959SLP RI is on its way as i type this!

2003 Marsahll 1987XL 50 Watt Plexi Reissue. Features 2 EL-34s and 3 12AX7s, solid state rectifier. I use the amp with a Gibson LPR-9 for classic rock from the 60's and 70's. It nails down the British sound beautifully. 2 channels which can be jumbered together for more tonal flexibility. Presense, Bass, Middle, Trebble and Volume 1 and Volume 2. There is an effects loop in the back which can be bypassed. Its beauty lies in its simplicity.

I use a 2000 Gibson '59 Les Paul Historic Reissue with the amp and it matches up perfectly. Presently the amp runs through a Marshall 1936 2X12 extension cabinet, but I will be upgrading to a Marshall 1960AX 4X12 extension cabinent very soon in order to achieve the authentic British rock 'n roll sound (Zepplin, Crank, Eric Clapton, Humble Pie, Jeff Beck, Jethro Tull, Blodwyn Pig, Deep Purple, The Who). The amp is very clean with a volume of 2-4 but gets into poweramp overdrive above 5-6 that results in increased sustain, touch sensitivity, and typical Marshall crunch and full fat singing tones. At home and small basements I run my guitar through a Boss SD-1 Super Overdrive to get great sounds at more reasonable sound levels. I run a Danelectro "Reel Echo" through the effects loop to spead the sound out a little (maybe 10-20 ms delay). This amp and guitar combination is the "Holy Grail" for achieving the vintage British "brown sound". It is very articulate and can make an average player sound much better.

Never had a problem with this amp although it's still rather new. I have a Marshall DSL 50 that has been trouble free as well. I would use either one without a backup.

N/A. No previous contact with Marshall. 5 year warranty.

I have been playing nearly 30 years. I own 3 Gibson Les Pauls, 2 Fender Strats, 1 Gibson Explorer, 1 Martin D-28, a Marshall DSL 50, a Marshall AVT50, and a Studiomaster Valveleadmaster 60 watt combo amp. Again, I consider this amp to be the "Holy Grail" of British tube amps for vintage and contemporary rock 'n roll. If I had to pick one guitar and one amp to play the rest of my life it would be the Gibson '59 Les Paul Historic Reissue, a Marshall 1987XL, and a Marshall 1960 AX 4X12 cabinent. Nuff said.

Not many features but it doesnt need it. No effects loop, no reverb nothing to rob the tone. I'm a geezer you could say, 41 is over the hill I guess so I prefer the 70s and 80s rock. Its got everything I need. I think the only thing I'm going to wish it had was a way to get that grind at a lower volume. Havent gigged it yet but it sounds good at home and the real test is our rehearsal space. If it sounds good there..........

Les Paul, V, Ibanez all with EMGs. I also use a Strat with Texas Specials and a Pearly Gates humbucker which I think sucks but havent changed it yet. As stated above I'm old so I like the older music of the 70s/80s and this thing will do both in spades. I'll tell you something else, this amp has a very sweet glassy clean sound until you start cranking it and then all hell breaks loose. The intro to Highway Song never sounded better than on this amp and I've played it through Fenders, VHTs and quite a few other amps and the Marshall by far has the best clean tone of them all to my ears. With a reverb unit this bad boy would make a Fender cry and run for cover. Thin Lizzy to Slayer, (yes I went through the 80s metal scene)its all there and thats all you need to know. It isnt a one trick pony unless you keep it cranked or the volume down. Yes, I've owned Plexis and this amp if you get a good one will kick most of their butts. I use to be a PTP snob, not anymore and am now ashamed I was.

Yes its PCB but I dont care as it will still be easy to service as the pots and tubes are chassis mounted. I personally dont see the need to stick a PTP board in this thing as I would be afraid the tone would be ruined. I did retube it when I got it because it sounded very, very sick. I can count on it but will always bring a backup to gigs. I wont rate this yet because it hasnt been gigged but will update my post later.

Marshall U.K. is very cool. Korg sucks and blows chunks so I dont even acknowledge them. I have two very good techs I can turn to if I cant sort out the problem.

Been playing 20+ years. Been through the boutique stuff, the non-boutique stuff but always come back to Marshall. The only other amp I could think of owning again is something from Tatoo Amps or a VHT Pittbull 45 combo. If lost or stolen, I'd buy it again without hesistation. These reissues are worth the money used, I would pay the new asking price as I can get a handwired amp for about the same if not less. If you can find one of these for 600.00 or under, snatch it up. Dont be a PTP snob, these sound just as good.

96-97. prefer good tone to several interesting but ultimately unusable, Mickey Mouse 'emulations'. 2 channels, no switching, no loops. Impedance switch useful since drivers I use are 16 ohm.

Early 80s Squier Stratocaster Japan. Could do with replacement p/ups, but why bother. plus Gibson Marauder 1974-5, you have to know it to love it. plus bass: early Fernandes Precision copy . not as useful as a little Gallien-Krueger but better or as good as any bass amp i've used. Amp 'not versatile', but i play blues, funk, rock, fusion, latin, African, reggae, a little bebop; and it's OK all round with jumpering, fiddling and a pedal (Bluesbreaker 1). A little noise from s/coils, and stacks are impractical for mobility, period. I'm technically illiterate, but this amp is where it's at, soundwise

Many power surges, cuts, lightning strikes occur out here on the global perimeter. Recently acquired, so untested. Suspect it is pretty durable, backup not an option.

you've got be kidding. I live in Africa

I play various acoustic instruments. electric guitar tone has always driven me nuts, a matter of damage control most of the time and a lack of balls when the guitar is upfront. this is the best set-up I have had so far. Bandmaster was my only other tube amp; Cube 40, Carlsbro 45: practical but dead in the water. only pedals were Vox wah and DOD envelope filter (weirdfunkdevice), stolen, now use bluesbreaker 1 as pre-amp, line 6 pod for delay/reverb, but it ruins the tone. Surprisingly for a Marshall, it has a good clean tone, jazz no problem, maybe the 6L6s as opposed to EL34s help. Not much sustain, but with this tone, who cares? I I cannot imagine a better amp for blues/rock, it's definitely not for nu-metal (whatever that is). All those years getting the tone and vibrato that ate Chicago down finally pay off. Brand fetishism? Nope, I don't think so