Marshall 1987X "plexi" Reissue

This amp doesn't have features it has TONE!!!.....and Balls, is that a feature? I guess it does have a few knobs for tone controls and presence and volume knobs but who cares it has BALLS!!!!! Oh yeah, when you daisy chain the channels and crank it up past 2 it makes your BALLS swing.(Nice feature)

I originally purchased this amp to jam at home but quickly realized I needed a power brake or the neighbors might come knocking on my door. After getting a power brake and playing a couple of chords I realized even quicker .....SCREW the neighbors this amp was designed to crank. And crank it can. This amp is so loud I wouldn't hear them knocking any way.

This amp is very reliable every time I play it , it makes my BALLS swing.

I have been playing for 14 years and this is the first amp that I ever had that made.......my BALLS swing!!! If it were lost or stolen it would definitely make my nuts upset. Ever heard the words TONE, BALLS, FEEDBACK, CREAMY, PUNCH, POWER, NUT, AGGRESIVE, SWEET, ATTACK, BONER, KILLER, BRITTISH, DREAM??? these are all words invented after playing this amp.

This 1973 manufactured head is as versatile as it needs to be. Think Angus. If it works, don't f#&k with it. It has tone controls but they don't have a large effect on the sound; the two volume controls have way more control over the bass and treble content than do the tone knobs. It bills itself out as a 50 watter but with both the volumes (input jacks linked) on 2 it drowns out a friend's 60w fender

The amp gets fed single coil snap and humbreaker hump from a variety of guitars, including a BC Rich Mockingbird, a G&L ASAT Classic and a Dean E'lite with Gibson P-94's. It eats them all happily, plain or with some distortion pedal sauce. I (honestly) played a jazz gig with this amp and a Guild hollow body, but luckily it didn't need to be loud, so with the channels unlinked and the bass volume under 2, we flew. That isn't its forte obviously but it can do it. Yes, this amp is noisy, the kind of noise that makes all your teeth stick out. The distortion is pure, loud and punchy, not a huge amount of sustain like a boogie, but more guts. If you must have more sustain at less than ear-bleed levels it'll take just about any pedal and make it sound better.

It's 27 years old, it occasionally needs tubes and it still roars. How reliable is that?

I've had the occasion to deal with Marshall with regards to one

This 1973 manufactured head is as versatile as it needs to be. Think Angus. If it works, don't f#&k with it. It has tone controls but they don't have a large effect on the sound; the two volume controls have way more control over the bass and treble content than do the tone knobs. It bills itself out as a 50 watter but with both the volumes (input jacks linked) on 2 it drowns out a friend's 60w fender

The amp gets fed single coil snap and humbreaker hump from a variety of guitars, including a BC Rich Mockingbird, a G&L ASAT Classic and a Dean E'lite with Gibson P-94's. It eats them all happily, plain or with some distortion pedal sauce. I (honestly) played a jazz gig with this amp and a Guild hollow body, but luckily it didn't need to be loud, so with the channels unlinked and the bass volume under 2, we flew. That isn't its forte obviously but it can do it. Yes, this amp is noisy, the kind of noise that makes all your teeth stick out. The distortion is pure, loud and punchy, not a huge amount of sustain like a boogie, but more guts. If you must have more sustain at less than ear-bleed levels it'll take just about any pedal and make it sound better.

It's 27 years old, it occasionally needs tubes and it still roars. How reliable is that?

I've had the occasion to deal with Marshall with regards to one of their newer products and they were very helpful, faxing required schematics and written help free of charge.

I have been playing seriously for about ten years and am an admitted hear hound. I buy amps, pedals and guitars on impulse all the time, and trade most of them shortly after. I'll never trade this amp. If it were stolen I'd hunt the bugger down, tape his ears to a 4x12 and play this head into his head for an hour on 10! I paid $400 Canadian for this amp (about $1.75 U.S.) and would gladly buy another. Find one, play it, grin.

basic late 60's-early 70's marshall conrtol panel layout
bought for sheer tone, not for versitility
(versitility in tone CAN be acheived by varying guitar and amp volume separately, even picking pressure adds pleasant tone variations)
All tube, PCB board wired

Standard Les Paul setup with stock pickups.1960A cabinet(Note: I have heard that this amp "really shines" with the 1960x or 1960v cabinets, however i have not personally compared the models)
Amp will suit blues, "classic" rock (tone-deaf metalheads need not apply), and varying clean sounds that are warm - not as sterile as solid state amps can be.
One of the great virtues of this amp is the ability to move from clean to semi-distortion by varying picking pressure
One vice of this amp is the fact (this is true with all quality, pre-master volume tube amplifiers) that rich, overdriven distortion is acheived by increasing volume, Therefore, this is not neccisarily your "bedroom" type of amp. However, this is a wonderfully fresh sounding and beautiful amp that is built for tone, using the simple yet effective and highly regarded circuitry design of the late 60's Marshall "Plexi" Amplifier, the Designs that Clapton, Page, Townshend, Van Halen, and various others used as the core of their sound.

No Problems Yet (yet i have heard that ditching the stock tubes for new power tubes and rebiasing at around 70% dissapation adds greatly to the amp off the bat)

Built like a tank,great tone,easily repaired or seviced in need arises
this amp does not replicate the plexi sound exactly, but acheives a great sound and is easily modified to "Plexi" specifications (for those hardcore "plexi" enthusiasts") with new tubes, rebiasing, and (for those willing to spend $300-$450 for complete "plexi" authenticity)a new output transformer. For me however, this amp satisfies my Blues/Rock tone ambitions completely and allows me the sound i wish to create... When it comes down to the basics, TONE is the deciding factor, and with this amp, tone is what you get plenty of

because this is a standard fare marshall, you don't get "features". what you do get is a mashall amp at a reasonable price.

i have owned 9 vintage marshall heads over the last 20 years. when i bought the 1987x i had a '69 plexi. i put them side by side and kept coming back to the 1987x. believe me i really tried to tell myself that the plexi sounded better! itried this with a '53 goldtop, '52 goldtop, 1988 goldtop R/I with duncan '59's a classic 60 with antiquities , a '64 strat and a 335. depending on how you set the controls you can go from allmans to zeppelin to wheels of fire cream.
speakers tried were alnico blues,vintage 30's, real 30w greenbacks, r/i 25w green backs, and marshall vintage speakers.(all in slant and straight 4/12 cabs) the real 30w and the marshall vintage sounded the overall best, and the zeppelin sound came with the vintage 30's. not a metal amp but plenty of distortion for 70's rock and blues.

i havent touched this head for service in4 years.

if this were stolen or lost i could get another one. i've played 2 others that sound just as good as mine.

This amp features bright and fat channels, with low and high inputs. A total of four inputs. A master volume for each channel, bass, mid, treble, and presence. It's loaded with two EL34s and three 12AX7s.
That's about it. Not very feature rich!

I play a Gibson Nighthawk with either a Line 6 POD (which I'm thinking about trading in) or currently just a CE-2 chorus. This is the most beautiful sounding amp that I've heard in my 15 years of playing! I have it plugged into the 1960TV cabinet with 'Greenbacks'. I just wish it had a master volume and some channel swithcing! It's very limited that way. I'm currently trying to find a good compliment of effects and a power brake because this thing can get LOUD!!

Within the first year, I had the transformer go on me (was under warranty) and I've only had to replace the preamp tubes so far.

Haven't had to deal with them direct.

Like I've said before, this is the most beautiful amp that I've heard! I have thought about trading it in for something smaller, more versatile and quieter, but it just isn't going to happen!!! I have tried using a Line 6 POD with it, but it just doesn't cut it. I did have a Boogie V-Twin and they were a match made in heaven!!

This amp was made in 1997. It's actually a 1987xw (limited edition in white tolex), but they are the same circuit-wise. Thank God, no channel switching, efx loops, headphone crap etc. A little more gradual trim on the volume pots would help. It gets too loud, too quick. Also, the normal channel is a wee bit bassier than I prefer. However, I tend to like darker sounding guitars ('57 Black Beauty LP) so whadda ya expect huh? I do love the classic Marshall pres, treb, mid, bass, vol. I, vol II, layout. More amps should employ this no BS approach to eq-ing. I use this amp both at home for certain cleaner applications and noodling and out, rehearsels, casuals, party-fests, etc. Plently loud in the grand tradition of non-master Marshall era amps. One topic I must address squarely: PC versus point-to point. Believe me, I have been a card-carrying member of the " give me point-to-point or give me death" camp for many years. And in some ways I still am. My ears and hands are VERY CRITICAL to the staleness and planky flatness common to poor PC board all-tube designs. Fender Blues Deluxe, to provide an example. I gladly and readily pronounce amps as having "no bone" after a thorough trial. HOWEVER, in a well thought out, well executed circuit like the 1987x, PC board can shine. So much so, in fact, I am supremely confidant that many a purist would be embarassed, and yes shamed if given a blindfold test with properly set up Plex-Reissues vs. Real Plexis. Plainly stated, if you have the "sack" to check your snootiness at the door and throw on a blindfold, you should prepare to be HUMBLED! Many a better ear than mine have been. One thing that I notice between a real plexi (I own a '59 SL) and the RI is the increased treble in the RI, off-the-shelf. However, this problem can be easily remedied by any capable tech applying minor tweakage. That aside, the tonal differences are so minimal to the ear, that the inherent diference between any two amps looms larger than any perceived difference in circuit performance/integrity. My particular plexi belonged to Jose Arrendondo and sounds better than many. So it was mixed feelings that I admitted my 1987xw held its own and achieved results in keeping with its elder vintage bretheren. So, to all those who claim, "hey its got a PC board it can't sound as good - right?" or "there's no comparison" I can only say quit reading the hyperbole and rhetoric and do like I did, see for yourself. I am humbled. In fact, of several amps I own, (Fender Tweed, BF, SF, Marshalls) my 1987xw is my ONLY PC board amp. Hell, who knows it may be the only PC Board amp worth a damn, but at least I can say THIS ONE WORKS as good as it should.

I play my 1987wx mainly with an ESP tradtional-style Strat, vintage style pickups and my '57 Custom Black Beauty Les Paul. Great, fresh bold sparkle at lower volumes, (think the original version of "American Woman") and good wide-open volume saturation edging past 2 on the dial. I use the bright/hi-ouput channel, outdoors or big hall, and bright/low output at home for fartin' around. Yes there is some noise when the volume is up and you want to play quiet. Solution: the amp needs to be turned up. Also, I found this amp no more noisy than anything else I've tried with single coils or humbuckers. Again, I think minor tweakage and quality tubes can work out alot of the perceived inadeqaucies, tonally speaking. I don't use pedals. Anything Iv'e tried has to compete very hard with the brutal straight-forwardness of the amps tonal character. To me, this amp, witout mods wants to be straight w/out pedals. I prefer this sound myself. I can get as loud a clean sound as I need, or should expect from any Marshall by paying close attention to guitar volume and tone, even with the amp volume past 3. With your guitar vol turned up, forget about clean with this amp. In my opinion, at high volume this amp is a one trick pony. But, at low volume you can do a lot more tweaking and experimienting with usable variations on the Marshall tone scheme. Hell, this amp does a good "Motown" chink-a-chink rythmn thang when pressed. Much to my suprise. I suppose you could get more "gainy" type distortion with modifications, which I understand are relatively easy with this amp, but I didn't get this amp for that. I got this amp because someone owed me money, not because I wanted it. So, I reluctantly come to praising this amp.

I hear there are some problems, but I haven't encountered anything yet. Tthe tubes it come with are pretty cheesy. Also, this sucker can get HOT! My Superlead doesn't get this hot. Geez! I'm contemplating a fan for this beast.

I forget what the warranty says. I'd have someone else do any real work. I'd return it only if I expected a replacement.

Iv'e been playing since Christmas 1975. I own various Blackface, Tweed, and Silverface Fenders mainly, and I have owned several Marshall combos and heads (from JMP, JCM period) and metal panel stuff. I love that this damn thing is relatively cheap and gives so much unadulterated in-your-face tone! I swear I have seen many a hand-wired amp leave me yawning. Honestly, I was suprised when I first tried it expecting marginal results. Even when I was initially impresses I thought that would wear off, so I pushed the issue to a taste test, and can say, after twelve years of supporting the romanticising of point-to-point superiority and holy grailness, I am somewhat humbled in that I must admit my ears, which are perfectly fine and educated, can't tell the difference between well set-up examples of a Real Plexi and a 1987wx reissue. I think if people are REALLY honest they'll admit the same. People who really are curious should step up and take the challenge with some honesty. It takes a some nuts to throw down you're little belief system that you nurture with fellow "purists", media print and BS for many years. If Marshall stops making these things, some people will find out too late. I'll laugh then!

The features on this amp have been listed here several times already. I can't emphasize enough how loud this amp is without a Power Brake. I play in a bar band that plays everything from KISS and AC/DC to Godsmack and Staind. Needless to say, we're not a quiet band. With the volume on my amp at 2 and sitting at the back of the stage facing straight out toward the crowd, it is louder than our PA, which is powered by Carvin DCM2000 and DCM1500 amps. I love the "lack" of features i.e. reverb, effects loop, etc but wish the volume was more usable. I know, I know. Rock & Roll is supposed to be loud. But if I can't hear the drummer when my amp's on 2, it's too loud.

I'm using a Gibson Les Paul Studio Lite with 57 classic humbuckers and a Fender Strat Plus through a pedal board which includes a Morley Wah, an Ibanez Tube Screamer (for lead), a Boss SD-1 Super Overdrive (for rhythm), a Boss DD-5 Delay, and a Boss NS-2 Noise Suppressor plugged into my amp, which is then plugged into a Marshall 1960AV 4 X 12 w/ Celestion Vintage 30's. Because this amp is so loud, I sometimes use a Marshall Power Brake to try to get some power tube distortion. Without changing any settings, this set-up sounds different every 10 minutes. It will sound really good, then it will suddenly change to mush. And, unfortunately, it sounds bad more often than it sounds good. It gets so bad sometimes that I spend more time tweaking knobs in practice than actually playing with the band. The sound I'm looking for is Fair Warning era Van Halen, AC/DC Live, Jackyl, etc. When this amp is sounding good, I can come close but, as I said, it's not consistent. I was so frustrated that I recently took it to an amp repairman to get it checked out. He is a Marshall user (a 30th anniversary model) and has done work on about every model Marshall makes. His quote about my amp, "This is the worst sounding Marshall (he's) ever heard." This, of course, is only about my amp and not the plexi reissues as a whole. His suggestion was to run the amp in the #1 low input and use pedals or sell it and buy one that sounds the way a Marshall is supposed to sound.

I bought this amp brand new in January 1999 from Musician's Friend. I know, never buy an amp without playing through it first. But I did the same with my last amplifier, a JCM900 Dual Reverb, in 1993 and I had no problems with it. When I received the amp, it arrived with a 220 British plug on the power cord. I called MF and they sent me a new cord. However, when it arrived, the new cord only accepted a 2-prong input from the amp (mine has 3). Frustrated and extremely anxious to try out my new purchase, I went to a local amp repairman who'd done work me in the past and got the cord I needed. The moment I plugged in the amp, I blew my mains fuse. The culprit, according to the aforementioned amp repairman, was a bad preamp tube. Since then, though, I've had no problems with it.

Never called them.

I previously owned a JCM900 Dual Reverb w/ EL34's, but it didn't contain the warm tone I'm looking for, so I sold it to buy the plexi reissue, and I still don't have the tone I'm looking for. Maybe I'm just an idiot that can't figure out how to use the six knobs on this thing, or maybe I'm too picky, but I was looking for that awesome tone that Marshall is famous for and don't feel I've found it with this amp. I've tried many different distortion pedals and many different amps and I'm at a total loss on how to get the tone I'm looking for. The best tone I've ever gotten was thru a JCM800 that I played through in a music store. Like an idiot, I wanted to think about it before buying it. When I returned the next day, someone else had already bought it. Maybe some people are right and tone really is in your hands. If that's the case, then I want a new pair because mine sound like s**t. In the meantime, I'm considering selling this and hoping I can find a JCM800. However, if anyone has any ideas about how I can get my current set-up to get the sound I'm looking for, please let me know!

kiks ass

hot rodded its distortion sounds god like clean channel a little noisy

it tubes what else do i have to say

it from 1971-2

bought it for 800 spent 700 on tubes & hot rodding now its all i use
except for my practice amp

I own a 1999 50W re-issue. I guess by now everyone knows the features of it, which are rather limited. The best thing I've found is to jump the two channels together with a small patch chord which thickens the sound.
As far as power goes, it's more than enough. In fact, I highly recommend a Marshall Power Brake, unless you want to get tinitis. (Make sure you test the brake, I've had two and one sounded far better than the other.) I've played this at clubs with 1000 seating capacity, and still didn't have the power brake maxed. Most of the time, I'm mic'd through the PA,so it delivers more than enough stage volume.

My primary guitar is a 1980 Les Paul Deluxe (mini-humbuckers). I also use a '92 Les Paul Classic. Because I prefer a more vintage tone, this amp delivers, particularly for rhythm -- you get that beautiful tone with clarity. The only problem is getting a lead boost. And the only solution I can think of is either modifying it with an effects loop (run an eq pedal through it and it cranks up the volume above the noise of your band); play with your volume knobs on the guitar (which is difficult for me because I'm also the lead singer and can't think and chew at the same time); or buy a DSL 50, which gives you a lead channel in addition to that "Plexi" sound on the Classic gain channel (make sure you crank up the mids -- it's a more trebly amp.), which is what I've opted for live shows. The 1987X is now my back-up and studio amp. But it sounds slightly better than my 100 watt Plexi.

I'm in a touring band, so I don't gig without a back-up. I stupidly bought the amp through a catalog (never buy anything through a catalog!), and I blew a fuse within a week because of shot tubes. I got it serviced immediately and have had no problems since.

I've called Marshall/Korg's office for schematics for it and my 100W Plexi. They seemed cool.

I'm a relatively old bastard who's been playing original music for the past twenty years {a stew of classic rock, powerpop, punk and alternative). I've played through a wide variety of amps (Fender Twins, Marshall JCMs, Peaveys, Boogies), but I really like this tone the best. As I said earlier, it sounds better than my 100 watt Plexi (I removed two of the power tubes on that, but it lacks the clarity of the 50) It's not for everyone, and it is limited, but it does one thing and does it extremely well. If you need more features, I highly recommend the Marshall DSL.