Marshall 1987X "plexi" Reissue

2006 Marshall 1987XL Plexi Reissue: a straight-forward guitar amplifier that has been used by a lot of artists over the years. Typical Marshall controls: presence, bass, mid, treble and two volume controls (one for each input - High Treble and Normal). No reverb or any other effects. This model has the effects loop, but I currently do not use it, as I use a pedal board between the guitar and the amp.

Here's the gear that I currently use with this amp and then I will detail what I???ve learned over the years playing and recording with a few different Marshall heads:

Guitars: Jackson Soloist SL1 (DiMarzio Tone-Zone in the bridge and Seymour Duncan stock pick-ups in the middle and neck positions). Fender Eric Clapton Artist Series Stratocaster with Vintage Noiseless pick-ups.

Effects Chain: Boss Tuner, Fulltone Fulldrive 2 Mosfet, Ibanez TS-808 Reissue, Boss Chorus, MXR Carbon Copy Delay, Lee Jackson Mr. Springgy reverb and Boss NS-2 Noise Suppressor.

Speaker Cabinet: Marshall 1960BX with 25 Watt Celestion Greenbacks.

Other amps: Marshall 1980 JMP 50W Master Volume, Fender Hot-Rod Deluxe. Used to own Marshall JCM2000 DSL 50.

Like others, I only play the 1987XL head with the inputs bridged to get a fuller tone. I've recorded with my 1987XL head and I'm thankful for the things I've learned here at Harmony Central. Stock, the head is brittle and bright. You can't get the amp over 2 on the high treble volume control without getting a very brittle sounding overdrive, and the volume is VERY loud at 2!! The tone controls did not seem to make much of a difference until you turned the amp up to 7 or 8 and effectively eliminate the bright cap across the high treble volume (C5 on the circuit board).

I had the bright cap at C5 volume removed and it made a huge difference. It was very evident when recording. The tone controls on the amp are more usable and much improved. The amps tubes overdrive around 5 on the HT volume control now. It is still a very loud amp, but it has a lot more headroom.

To get the overdriven sound I'm looking for, I keep the HT and Normal volumes at about 4, and use either the Fulldrive or TS-808 to drive the tubes. Both do a GREAT job, it just depends on what sound you're looking for. The TS-808 has the definitive mid-range hump and the Fulldrive IMO retains the amp's tone better while driving the tubes for more overdrive. My favorite setting on the Fulldrive is with the overdrive set between 11 AM and 12 PM and the Volume set at ~ 3 PM.

In a live setting, this works well, because you can turn the OD pedal off, reduce slightly the volume knob on your guitar to get a very pristine, clean tone. By kicking the volume knob full and putting the OD pedal on, you're in classic rock heaven! I've recorded my Plexi reissue using either the Fulldrive or TS-808 and I can get very, very close to Lynch's tone on Dokken's Under Lock & Key CD. I say this to give you a point of reference.

This amp is so loud however; that you will need some attenuator. I use a 16 ohm THD hot plate and it does a great job with this amp. I generally play at the -8dB setting, as this retains the amps tone best while reducing the volume.

For comparison purposes, I've recorded comparison tracks with my 1987XL with various Marshall cabinets (1960A, 1960BV, 1960AX and 1960BX). All had their own great sound, but the 1960BX was by far the clear choice. The 1960AX was very close, but I prefer like many others the flat cabinets for recording and playing. The BX has a deeper tone and it doesn't throw all the sound up to your head.

I also have recorded and compared the 1987XL to the JCM2000 DSL 50. The DSL is very versatile head with its two channels and reverb. It also has a lot more gain. However, when recorded with a good OD pedal in front of it, the 1987XL is much better sounding and pleasing to the ear.

I've not recorded yet with my 1980 JMP 50 Watt head. It is very similar to the Plexi, but with more tube overdrive. The benefit of the JMP is the Master Volume as I can get great Marshall tone at a much lower volume and this is a very good thing. However, when you turn both amps up, there is something in the way the Plexi responds that is unlike any amp I've used. I give it a 9 because of the stock C5 cap that IMO has to be removed; otherwise, it's

Other than having the tubes replaced and the C5 cap removed I've had no issues with this head. It's a Marshall and I expect it to be reliable. BTW, the tubes I???m using now are JJ EL34's and Tung-Sol 12AX7's. The tech that works on my amps tells me that the Plexi is a very reliable circuit.

I've dealt with Marshall only through asking questions through their web-site. Their technical support people have been responsive to my questions and very helpful. The 1987XL, that I bought used, still had 3 years of warranty left when I got it. Marshall gave a 5 year warranty with this head, which I believe is very good.

I provided much of what I wanted to share in the Sound Quality section. If anything ever happened to this head, I'd replace it in as soon as possible. I've been playing guitar for 32 years now (classic rock, instrumental rock and contemporary Christian music) and believe that the Plexi is one of the best amplifiers ever made.

I am a big fan of Marshall tube amps and can honestly say that if you are a rock guitarist, you will not be unhappy with a Marshall, as long as you get the right guitar, speaker cabinet and effects to go with it. I've spent the better part of the last 5 years going through a number of amps, cabinets, pedals and guitars to get the tone I was looking for. With the 1987XL Plexi and the JMP Master Volume (mostly for lower volume applications) through the 1960BX cabinet, my search for great tone has ended (for now of course).

This is a 90's 1987x Plexi reissue so there's no effects loop in this one. This is a rock amp. Basically a one-trick pony. Not ideal for country, metal, etc. It's a very simple one-channel design. While it has very few "features" by today's standards, after playing through this amp you realize that features are overrated and tone is ultimately what inspires us to play. I use this amp with my rock band. It just sounds right to me. It has plenty of power. Too much in fact. I use a THD Hot Plate to help with the volume.

I play my Strat, Tele, Les Paul, and SG through this. SG = Angus Young. Strat = Hendrix. Les Paul can be meaty and bluesy. Tele doesn't get used with this amp very much. I have also run a Fender Rhodes, Cello, Synths, etc. through this amp. Whatever you put into this amp comes out sounding like the rock and roll version of that instrument. Seriously. There is no amp that sounds more like rock music to my ears. The Rhodes turns into a rock rhodes. The cello turns into a rock cello. The Moog turns into a rock moog. It's comical. This amp has a distinct sonic imprint that equals rock and roll. There is no other way to describe the sound. This amp blooms and feeds back in a beautiful and organic way. Inspiring to play. The amp itself is an instrument. You will find yourself working feedback and incorporating it into your sound. It's truly a remarkable beast. I have a Fender Twin, Vox AC30, Ampeg V4, Boogie DC5 and Marshall JCM900. If I could only have one amp, this would be it. I run it through a Marshall 4x12 with greenbacks. These speakers have something to do with the "classic" sound this amp makes and I would recommend greenbacks to anyone considering this amp.

Yes it's dependable and yes I gig it without a backup.

Amp has never broken down.

N/A

This is a special amp to me. It records better than any other amp and sits in the mix so well. The frequency response is perfect. It's expensive but worth it if you like classic rock.

Well this is a 2005 Plexi Reissiue. This means that it is the model with the variable effects loop.
I play mostly rock and metal and is perfect for this style. I bought it originally because I wanted to switch channels without effecting the tone - that is one EQ section for two volumes. I use a standard AB box for this, so I set one volume to rythum and one to lead. Does exactly that.
Passive EQ on this amplifier.
Channel switching is not integral to this amplifier, hence the use of an AB box and two leads into the seperate channel inputs.
No master volume to suck your tone either.

I use a couple of guitars with this amplifier. The first is a stock Ibanez RG1570 Prestige and the second is a maple bodied custom guitar with EMG 89 pickups. Sounds great with both of these guitars with no complaints.
I also use a 'Carlsbro' 4 x 12 straight speaker cabinet wired to 8 ohms rated at 120 watts. The cabinet contains 30 watt Rola Celestian G12H speakers and code from about 1984/5. Birch ply cabinet like a regular Marshall cabinet and also has been fitted with an 11" Marshall logo, Marshall castors, Marshall edge protectors and Basket Weave cloth. In effect it looks like a '60s cabinet. The G12H speakers have better bass definition in my opinion - although they are very hard to get and don't think they are produced 'new' by Celestian anymore.
The amplfifier is 50 watts with two EL34's and 3 x 12AX7 pre-amp valves. It is extreamly loud for 50 watts and would probably destroy most 100 watt amplifiers in terms of shear volume! Buying a power attenuator is probably a wise investment (like a THD hotplate for example).
Effects wise, I use a Digitech RP14D valve based effects unit and Snarling Dogs Wah pedal. I normally set the amplifier to '5' accross the EQ and rely on the active pre-amplifier within the RP14 to modify the tone. I use the two volumes to act as a 'boost' during solos and plug an AB box after the RP14D to give two volumes with the same EQ.
The amplfier gives a great range of tones when using the EQ. With two independent channels on the RP14D and an AB box this, in effect, gives me four channels in total. Obviously EQ on the amplifier is of the 'passive' not 'active' variety. So you need to 'dial it in' as the bass settings effect the mid setting effect the treble settings etc.
I had the 'bright capacitor' removed at 'C5' on the ciruit board and wire bridged in the ciruit gap, after it was 'inspected' by Marshall (see below). This improved the headroom considerably. When I aquired it, it gave its full volume on about '2' with just more distortion as you increased the volume, now it is clean upto '6' or '7' before it begins to breaks up and the volume increase is much more 'gradual', not simply 'on-off'.
This is a much more useable amplifier for me now and the modification only cost me ??15 by my local amp tech. Of course, I have the 1400uf capacitor retained in case I wish to revert to 'stock'. Before the modification it was simply too dirty for what I wanted - and the volume was more-or-less an 'on-off' switch.
I reply on the effects board for all my distortion as this contains a 12AX7 valve.

Well it's a Marshall, you can throw them off a cliff and they still work. I've owned a few...including a JCM800 and JCM900. Love all Marshall products.
My 1987x has never broken down on me. Of course, being full valve you need to have it serviced but thats about it. If you start blowing fuses, it's time to change your power tubes. Of course your tube life will depend on how hard you care to drive the thing really.
The only thing that worried me was the 'smell' of the power transformer. This is perfectly normal - see below.

Absolutely amazing. I had a 'smell' eminating from the power transformer (like burning) - I got paranoid and thought something was wrong. I contacted Marshall, they checked it over for FREE. I only paid for a courier. Everything was fine with the amplifier anyway. The 'smell' is just normal basically (although my previous Marshalls had not 'smelt' like this).

I've been playing guitar most of my life, from about the age of 10. I am now 35.
I bought it because I wanted a Plexi (I love plexi tone). I would buy the same amplifier again, and I would have it modified in exactly the same way.
I tired it against most of the current Marshall range (TSL, DSL, vintage/modern etc).
I have previously owned a JCM 800 and JCM 900 and other valve amplfiers (such as Hiwatts and a vintage Sound City L120).
I like the 'simplicity' of it. You can't get confused with this amplifier, and you almost can't fail to hear just about every classic rock sound ever recorded coming from the amplifier. Okay you could argue you need an overdrive pedal - but its your taste really. Remember it will take pedals better than most due to the simplicity of the ciruit.
I really liked it. I like it even more now I've had it modified very slightly.
The only slight detraction is the cost of these amplifiers new. I took off two points for this - like every other manufacturer the word 'reissue' doubles the price despite it being an extreamly simple ciruit not with a vast quantity of components! (bit like 'Reissue' Fenders or Gibsons).
They couldn't even argue research and development costs!
What makes me also 'smile' is that it is not even a true 'Reissue' as the original 'small' logo Marshall 1987 had a 'point-to-point' ciruit board (pre 1973), not the PCB as in this one. If you wanted a history lesson (and you'd go to sleep), a post 1973 PCB model 1987 had the 'large' logo.

Not sure the year this one was manufactured. Mine is a slightly modded version of the 1987x with a new P2P circuit board and Mercury OT. Bright Caps removed. 2 Mullard EL34's in the power section. No F/X Loop on this one either. Very simple, basic features. On/Off, Standby, Bass, Mid, Treble, Presence, and two channel volumes. 4 Inputs. High & Low Gain for each channel.

I use this amp in an AC/DC Tribute band for the Malcolm role. I use a Gretsch Malcolm Young model guitar with Filtertron pickups strung with 12's. This amp is perfect for raw simple rock tones and if you use your guitar volume to control distortion it cleans up nicely. A very warm sounding amp that is incredibly loud. I use it with a Marshall 1960BV 4x12 and a Mesa Recto 4x12. This amp sounds great through either. The beauty of this amp is that each note blooms and seems to have a more independent influence in the mix than the other amps I have (Boogie, Peavey). Did I mention that it's loud? In small clubs I actually need to face the 4x12 backwards. A Hotplate is definitely in order. In larger venues this works perfectly and when you turn up to about 4-5 it really starts to sing.

Never gig without a backup. That's like driving without a spare tire. I've not had any problems with the amp so far and it lives in a shock mounted road case.

Not had any need to contact Marshall

I've been playing guitar for almost 30 years. Rock, Metal, Blues mostly and have played countless gigs with different amps. Mesa Boogie, Peavey, and Marshall primarily. Each has its place and distinct voicing. What I love about this Marshall is that it doesn't pretend to be something it's not. It is simply a loud, raw amplifier that rocks. If you want that Back in Black, early Def Leppard or that Foreigner 4 tone, this is THE amp for you. If it were stolen I'd file a claim and get another one.

This is a 2009 head made in the UK. It has one channel. Loud 50 watts (more on that later). Very simple and that is the purpose.

I am writing this review based on my experience. I read every review on this site for the amps I was considering and even then I did not have enough insight, that's why I'm writing. I considered an Orange AD30, Marshall JTM45 and this 1987x to be the dirty amp alongside my Fender Twin Reverb clean. I play a Gibson Les Paul standard with no fx.

Tone - Everyone says 'classic tone' like Page Hendrix Cream Angus Young etc. Yes. It is classic but that's because they are classic players. It can be used in modern rock applications like the Vines, or The Black Crowes, Foo fighters or any rock music to great effect. It will never do grunge. It's clear in that every note rings through chords, but not as clear as say a JTM45 and by no means a clean amp (although roll back on the guitar for a mellow crunch); that's why it can't do grunge. But it can do palm muting heavy stuff. Overall in a word I would say this amp is aggressive. It can be a bit 'hissy' sounding, not nasty or bad ass but aggressive.It's a beautiful aggressive sound and makes you realise how important your amp is.

Volume - At 25 I still like volume but am a tiny bit more sensible than at 18. I've always liked amps louder than most. This was my main concern about this amp reading the reviews, contrasting opinions and mentioning of power brakes. I tried it out full blast in the shop as I did the JTM45 and AD30. They are all loud. I loved the JTM45. Through 25 watt greenbacks it broke up nicely and the 1987x seemed too aggressive. The thing is the 1987x at volume 2 is the JTM45 at volume 8. In the shop it was obviously loud but I could sit next to it full blast and my ears were fine. In the house is another matter. This amp is truly on or off. At 2 it's not far off the volume of 10. It just gets dirtier. And at 2 I don't want it to be but it is too loud for the house. I play my 100watt head loud but this gets loud so quick the radiators shake the sound waves play your acoustic guitars for you the room rattles. It's fine out of the house and ok for pubs and clubs I'd say. I never wanted a power break they are too expensive and suck tone. This bothered me for a while. I thought I should have got the JTM45 so I tried it again and it just wouldn't break up through 25watt speakers full blast. I have decided that rock and roll is not playing in your bedroom. Practice with something else. This is a reissue, a vintage, a classic rock n roll amp it's not for keeping the neighbours happy. Neither will an AD30 or a JTM45 or any amp you crank for tone. Accept that it's for use outside the house or in a basement etc if you buy it. I hate saying this because I am a screw the neighbours let my ears bleed type of guy. Well I thought I was.

Mods - I wouldn't bother. I tried 2 they both sound amazing. Get it biased that's it. There's people who like to hoard equipment and modify equipment and waste their lives making minimal changes and researching mods and this becomes their hobby/interest. Not playing the guitar which they forget about.

The orange AD30 sounded thin compared to this. The JTM45 was more mellow but the 2nd one I tried just wouldn't break up. This is a classic Marshall. Search 1987x on youtube for an accurate demo of sound.

Speakers - So important. Don't bother with vintage 30's which are actually 60 watt or the 75 watt celestions. They are not suited to this amp and won't actually push air. The 25 watt greenbacks are good. But as you may guess the 30watt celestion re-issues as found in the orange anniversary cab or the anniversary Marshall CAB '100' I have (basketweave) are the best. They have such an insanely tight low end, but push air because they are bothered by 50 watts (unlike the 75 watt speakers) and help the 'break up sound'.

I had a 100watt TSL before this and that Marshall head was fine.

warranty is 3 years in the UK if you register the serial number

It's loud. I don't want it to be too loud for the house. It is. On or off. But it represents everything rock n roll is. It's not for your bedroom. You can sit next to it at full volume with a slight wince on your face though if you live in a detached. For gigs it's fine.

Tone wise the high treble is too trebley and the normal input too bassy. Compensate with the tone controls and you get amazing singing rock tone with overtones everywhere. Beautiful. Not as mellow as the JTM45. If you bought a JTM45 or this either would be good.But this is for rockers, the JTM for bluesy rockers. The Orange AD30 is too crispy and thin - a novelty.

I'm happy with it. I won't fiddle with it. When I get it out the house it will shine. The Fender twin reverb I use it with is the nicest clean amp in the world. This is not often disputed. Recommended also.

Made in 2006. A loud 50 watts. 2 x EL34 valves in the power amp, 3 x ECC83 valves in the pre amp. 2 channels (1 normal, 1 high treble), no footswitching, 4 inputs, simplistic operation, simple as you can get apart from maybe the Epiphone Valve Junior head, Presence, Treble, Mid, Bass, then two loudness controls for the two channels. These reissues have an effects loop, though I have no need for it. No headphone jack, don't need that either, I have good neighbours and even if i didn't, **** em. If you are looking at this amp you know what you are getting, straight up tone, simple operation and sounds from spanky cleans to raunchy crunch. If by features you mean a surplus of knobs, switches, effects loops and built in effects then this head doesn't rate, but less is more for me, and the ability to patch the channels together and blend them for tonal control is all the features I need for the music I play. For those who like to keep it low in their bedrooms I can see that a master volume would come in handy and some may like to take up the option of a Power Brake or Hot plate.

I use either a Gibson Explorer or Firebird running into a TS808 Tubescreamer placed smack bang in front of this thing. Got the head going through a 1960AX 100 watt cab loaded with Celestion Greenbacks. The overall sound and tone of this head running through the cab and pedal is exactly the sound I was looking for. The band I play in probably sounds like a glass of The Vines, two pieces of Foo Fighters and a big bowl of feedback. I like the old school rock sound, The Angels, ACDC yada yada. This provided that tone. Crank it to 5 and it breaks up nicely, especially with this cab, not so much with a stock 1960A. Distortion is not there with this amp, it is all overdrive. If you need or want high gain then get a Boogie, Peavey or a TSL. But if you want tone and extreme clarity from your notes and rich harmonic feedback when you're standing in front of this thing at it's lowest volume, then this is the amp for you. We play small to medium size venues and this has more than enough bark. 100 watts is too much and all techs will have you turn it down to the point where you might as well be using a ****ing Peavey Rage. As previous reviews have said, it is a one trick pony with a few variations, but I'm yet to hear another amp do the same trick as well.

Who gigs with a back up? Imagine lugging two of these things around, you'd either need a good roadie or a permanent myotherapist. I never gig with a back up, if our amps blow up we just finish early and get pissed. Does seem nicely built though, pretty tough I'm tippin. Still, that doesn't give you a license to ****in spill **** all over it, take care of it or it will take care of your wallet.

Never dealt with em. Figure they've got enough whinging bastards withouth me getting on their goat. They're probably alright, few of em might be down on their luck but nothing too major.

I've been playing 10 years, I own alot of amps, 8 in all. From my first little practice amp (Peavey) through to a Mesa Roadking. I play Gibsons, got a few, but i like my Explorer the best. I've compared it to alot of amps, Fender DeVille, VOX AC30, my brothers old skool Vardis, and this takes the cake, just. The Vardis sounds pretty rad. I love it's simplicity, it's tone and obviously it looks killer, with the cab (tolex covering) especially. This amp does what I want, but spend some time with it, really work the knobs and patch the channels, blend em and **** with the presence, get your sound and you won't be dissapointed. Vote Quimby.

Depends on what your idea of features relates to. If its knobs and buttons and all the in betweens - It wouldn't score highly as it only has the bare essentials but...Judging it on the variety of sounds this baby can achieve...It's up there. The ability to jumper 2 channels and balance accordingly makes it really diverse

Effects loop - can't complain

I use a Les Paul through this amp and connected to a Marshall TV cab - unbelievable!!!! These vintage re-issue amps are renowned for there clean/crunch sound and rightly so. But don't be fooled into thinking thats all it can pull off. Turning this amp anywhere between 6/7 onwards is an experience I would recommend - it's got some real crunch to it and breaks up nicley, perfectly in fact.

Unless you play huge venues - forget the 100w 1959slp. You'll never get a chance to crank it up like it ought to be. This 50w version is ideal and LOUD as it is - besides, when amps are mic'd up at gigs most of the time anyway, it is beyond me why anyone wants 100w

Although there are only a few pots on the amp - each one effects the other in unique ways and can create all sorts of lovely tone. You won't get the pure filth distortion you'd find on the crappy valvestate amps but if your looking at these plexi amps you know what you want. You can always stick a pedal on if you want that anyway

Great for hendrix sounds - lets face it - everyone wants this

Natural compression is spot on....eveything is spot on....buy one and get a tv cab.

Not had enough use out of it yet.....

Marshall have extended their warranty from 1 to 3 years so you can't argue. Given the fact that Marshall are so big, you can always get replacement parts so there's no messing about. Some people moan about marshall support - I see no reason why....

I'll always use this amp and there's no going back. I hate 90% of marshalls but adore this one. Lots of people mod these amps so go ahead but I personally wouln't change a thing.

I tried the JTM-45 as well in the shop and it was awsome too - just didn't have as much BITE as this beast

This amp is PERFECT and sounds great through the marshall TV. JUST BUY ONE

Made in 2006. Tailored for early 1970's British rock tones. No bells or whistles. Does have an effects loop though. I wonder why? Luckily bypassable. Has all necessary features to achieve a great rock tone. 50 watts of Marshall is much too powerful for home practice. You'll need some kind of attenuator to obtain the right crunch at a bearable sound level.

You'll need to get rid of the silly bright cap they still put on there. It makes the amp distort very early (like at 2 on the volume knob) and gives an overly bright and brittle tone. They now put this capacitor on the board at C5. Snip it off and the tone will improve 100%.(IMPORTANT: Make sure you know what you're doing when you open up that chassis, it contains LETHAL VOLTAGES!!! If you're not sure, have it done by a qualified tech!) You'll have nice cleans and warmer distortion. IMO, this amp is made to be played with humbucker equipped guitars (such as Les Pauls, SGs), although strats can sound great with it too. I play it through a greenback loaded 4 x 12" 1960TV cab which is the right match for this type of amp. Since I value my hearing and got more than my share of decibels in the past, I use a THD Hotplate to keep the sound level at an acceptable level while enjoying the great distortion that we rockers love.;-)

I baby all my gear, always have, always will. So I never had any failure. But I guess I'm not truly representative of the typical on the road hard working rock n roller. I never had any reliability issues with any Marhshall amp that I owned in the past. My very first one was a 1969 100w Superbass. It unfortunately was stolen. I wish I still had that one.

Never needed service.

I've been playing for 35 years. I've owned or played almost everything available out there at some point or other. I just keep a 1997 Celestion Blue equipped Vox AC-15 which I truly love, a Gibson GA-15RV, a Gibson GA-5 Les Paul Jr. and a MetroAmp JTM45 clone which I assembled myself. The MetroAmp JTM45 blows the Marshall clean out of the ballpark in all respects. Quality of the components, quality of assembly (;-)), sound quality are truly miles above anything Marshall makes nowadays. If you want that classic Marshall sound that you've heard all your life on records and on the radio, do yourself a favor and check out www.metroamp.com.

I have a 2005 model 50w with the basic tone features - treble, mid, bass and presence. Two channels high treble and normal. There's an effects loop which I don't use. This amp leans more towards the 70's era Marshalls. Limited features but I'm after that classic/prog rock sound so don't expect for it to have 8 channels and 100 eq knobs

I've own this amp for a year now and its the only one I really love to play everyday. The sound is warm and not overly aggresive. The distortion has a singing quality to it. I like to set the volume past 5 to get the most tone out of this amp.

I've never had to mod it. Everything is stock. To my ears it's perfect for the kind of music I play which are classic, prog, blues rock and electric blues.

I mostly play my Les Paul Standard through it and occasionally my strat. The Les Paul just sound, in my opinion, better and stronger and it's the time tested classic combo for rock. My rig is pretty simple - Dimebag wah and TS9 tubescreamer but it's also lovely plugged straight in. The cab I use is the 1960a marshall 4x12 with celestion g12 75w stock speakers.

When I first bought this amp a year ago I played it for 3 weeks and it went south on me...I was pissed but I had my dad who's experienced with amps and electronics fix it and rebiased. So I won't slam Marshall for my amp because it's not an issue that occurs that often (been reading forums about my problem). I just happen to get the one with a loose connection. But since then (about 8 months after the fix) it has not failed me, even after 4 hours a day jammin.

I would have sent my amp in for the warranty repair but didn't feel like sending it or driving all the way out to long island which is 2 hours away to get it fixed. Just let my pops handle it which took only an hour or less to fix. I haven't had to deal with Marshall yet so I really have no opinion on their customer support

I've been playing for 4 years and since then I've own mostly Fender amps and other Marshall models. So far I'm very satisfied with this amp. It just gives me what I need and more. I just love the simplicity of plugging straight in and getting that classic rock marshall sound. I don't need anything else. For some time now I've been chasing "that sound" kind of like a Paul Kossoff, Eric Clapton, bluesbreaker sound and I must say I'm pretty much there. My hats off to Marshall.

Its got what you need.

They nailed it. (but you have to spend some time with it)...clip the brights, and patch the channels manually( 6 inch patch cable from channel 1 "bottom input" to channel 2 "top input". invest some time tweaking the knobs on the amp and any effects you run and you'll get the sound/tone you want. A speaker attenuator is a must. I originally tried the Hotplate, and it worked well. However, the Power Brake is the sh**. Plexis are very unforgiving amps. They pick up everything***especially mistakes**
I bought a 1996 1987xl from a guitarist that hated it. Instead of experimenting with it himself he just tried suggestions from other players.. used it for 1 or 2 gigs, sounded horrific and gave up. After a gig I offered him 750 for it. He said I was nuts for wanting it, even more so for buying it without playing it..that was about 4 months ago.. He popped up at one of my gigs a few weeks ago.. He says I had to have had major mods done,. All I did was clip the brights, mix the channels and use the pb. He wants it back now..I think Im gonna keep this beast. Like it so much I just picked up another. I found a 2006(the number says it was made in november, so its brand new). found it on ebay from the second owner. 6 months old and Im the third owner. This one cost me 900 and is worth every penny of the 1800.00 they go for in stores,. The new one has an effects loop, I run a gt-8 through the loop and a PB before the cab, Its a reissue PLEXI.. and can hold its own against the original.

The bad reviews the RI plexi's get are few and far between. Theyve been selling the reissues at insane prices longer than they made the originals.

I live near the Marshall factory in Melville. Any time Ive gone there theyve been great

This is an amazing amp

It's got the power. No wimpy master volume. Want more? Turn it up! Want clean? Roll back that knob on your geetar! That's what they're there for...


Is it supposed to do something else besides give the magic rock sound? Have 8 footswitchable channels with flange and delay and built in hardrive with automatic porn downloader?

Roars like a Lion. Not fuzzy distortion just rich big delicious sound penetrating to the back of your brainstem.

It's strong. It's Heavy.

Marshall's dont break do they?

It's that sh!t.

Say you want a 50 watt plexi but you feel that a real plexi is ptp wired and say you want a post phase inverter master volume as standard and say you want a new one because the old ones are collectable/potentially unreliable you could go here:
http://reviews.harmony-central.com/reviews/Guitar+Amp/product/Akselrud+Amplification/50+watt+plexi/10/1

1995 re-issue 1987x 50w "plexi"
I have spoken with Marshall England regarding the amp circuit.
It has the "67-69" plexi face but its innards are the more favoured "72-73" metalface era, these have increased treble and more gain/crunch.

Its got everything you need for a good tone and nothing you dont.
I like the FX loop but dont think its a great design, I do like it being in series though.

Been playing this amp for 2 years now, the honeymoon is over but Im happily married now ;]

The amp is 100% tube, nice and simple as any guitar amp should be if you like big tone,
Definitely in the top ten amps of all time and for good reason.

It has a special soft, yet hard tone that just has something that puts a smile on your face. it takes pedals like no other, roars at any volume but especially up high.

Ive played alot of amps with the intention of buying whilst owning this one and have bought none of them, nothing compares to it at all.
Ive tried the Twin Reverb, "59" Bassman LTD, "57" Twin, Blues Jnr, all the Hot Rods, Most other Marshalls [although I like any Marshall before the JCM-800] Vibroverb, Supersonic, Vox AC-30 [came close to keeping that one] Roc Pro's, Stage series Fenders, Concerts, and so on,

As for people that bash this amp compared to original specimens I say nonsense, apart from using metal film resistors instead of carbon comp which go out of spec after years of service [not a desired effect at all] and re-issued transformers and some other current production parts, the amp is well built and does sound as good if not better than the amps of the day [I actually prefer the re-issue myself]
Marshall have always used off the shelf, cheap parts for their amplifiers, now these "cheap parts" have an apparent mojo with some amp snobs.

I wouldnt worry about installing MM tannys and point to point turret boards, that would be a total waste of money, but a boutique clone if thats your intention.

Marshall are now using Svetlana winged C tubes as standard, thats my tube of choice, always has been.

Ive had no problems with mine.

Electric Factory [Marshalls Australian distributor] are really bad for service.

Im a Marshall dealer and feel bad selling their products because I know how long it takes to get any spares for any Marshall product.

Its a big shame because I really like their products.

Been playing for about 20 years,
I love my strats and old Marshall amps, I play in a hard rock cover band and dont need any other amp, Its as versatile as they come and has the biggest tone.

I use a low SPL rated 4x12 cabinet so I can usually crank it at most gigs without using an attenuator or blowing patrons away.

I really love it, what more can I say?
Build quality is good, sounds great, easy to use, versatility in its 4 inputs, I always play it bridged.
Plus they look really really cool.
Pretty expensive though but its all good Jerry.

This is a 1987X model plexi reissue amplifier (head). nothing fancy at all which is good in many ways. Bass, mid, presence, volume, standby switch, no effects loop. I recently had mine repaired by my tech because it was blowing fuses every ten minutes. Luckily, it was just a shorted tube and therefore an easy fix, but when he was in the amp, my tech said that it has a circuit board. The big selling point on this amps is supposed to be POINT TO POINT "HAND" WIRED. He told me that it was built cheap and that anyone who buys this amp thinking he or she is getting an exact replica of an original plexi has another thing coming.

I usually run a Bunker Prostar (early seventies model) with a Bill Lawrence 500 xl keystone humbucker in the bridge and a seymour duncan (can't remember what kind) humbucker in the neck both with coil taps. The amp does ONE thing extremely well and that is rock and roll. It has that glassy kind of distortion that angus young is known for and you can really nail some of the harder zeppelin tunes etc. with it, but in terms of clean tone... give me a break. I don't understand why everyone is giving this amp such a great review for sound quality! If you crank it too far, it tends to get mushy and the headroom is limited at best. I have found that I mess with the knobs on this thing trying to get it to sound good more than I actually play it. I think another guy nailed this phenomena quite well when he said that the amp is inconsistent. I can't put my finger on it, but the amp doesn't ALWAYS sound good. When it sounds good though, it sounds great for that ONE kind of music.....

I run it on seven or ten for volume almost all the time. I've been doing that for a year and a half now with a marshall power break attenuator and it's only screwed up on me once... I'd say that's pretty good for any amplifier.

Never dealt with them

The bottom line is that this is a dependable ONE TRICK PONY at best. If you want to sound just like angus young and jimmy page, then this is the amp for you... but it's not that special of an amp because everybody wants or has that very sound. Very fun to play with and it's like a tank. Phony point to point wiring upsets me... it's an OKAY amp for the price if you buy it used for eight hundred and not new for double that.

Recent model (2005). Features...hmmmmmmm...well, not a lot of bells and whistles, but the simplicity was what I was after, and that's something I think just about all of the real classic amps share. Of course, these have the effects loop, but I leave that on "bypass" mode, so it's not really part of my review. I've heard so much about everybody having to "mod" these, and that the effects loop really trashed the tone...blah blah,etc., that I kind of expected something vaugely hideous. Which brings me to the next section...

When I first plugged this in to my Sonic 4X10" cab (Celestions), it had wayyy too much treble going on. I mean WAYY too much. I had some experience with a couple of older (mid 70's) 4-input Marshall heads that I used to have, and opened it up to look for the capacitor they used to solder across the volume pot. I had found before that by clipping that, it warmed the amp up considerably without losing anything in the tone section. Well, this was just a little different, but after going online and finding the right schematic, I figured out that they were still doing that, just that it's on the pc board now. I removed that 4u7 cap..problem solved. That's it. My only mod. Sounds great now..all the tone controls do what they're supposed to, Strat sounds like a Strat, ES-335 sounds like an Es-335, etc. I use minimal effects..a Boss OD-3 for overdrive, a digital delay, and a chorus once in a while. By the way, I do a house gig with a band that plays everything from funk to classic rock to country, and my simple rig covers it all. BIG TONE from this amp. It's why they're still around, and such an icon in the music industry. I use Strats, a Firebird, Les Paul, Lonnie Mack V, Jerry Jones..Marshalls in general really like humbuckers, but after ditching the bright cap, the single-coil stuff sounds good too. Quieter than my Dr.Z too.

I used my mid-70's head for 12 years without a glitch. Wish I hadn't gotten a case of the dumb-ass and traded it off, but...I digress. My point is, I've always had good luck with Marshall reliability. I've always just owned 50 watt heads (and one Bluesbreaker combo)though..your mileage may vary. This one gets used every week at the gig since I got it a few months ago, and sounds exactly and consistently the same every time. I've also been in road situations where the amps got moved around a lot..still didn't have any problems. I don't consider reliability to be an issue with these amps.

I've never had to deal with Marshall directly. These amps are kind of like Harleys though..parts are always available if you need them. Aside from a yearly power tube change and bias check, never really had to mess with it that much. I bought mine in used-but-clean condition, so I suppose no warranty applies.

I've been playing for almost 40 years (yikes!). My other amp is a Dr.Z MAZ 38. It sounds great too, just different. Guitars are a Historic Firebird III, ES-335, Eric Johnson Strat, Early-90's Custom Shop Strat, 2001 Relic Strat, Jerry Jones Neptune, Mid-90's L.P Standard, Lonnie Mack V, and a Gretsch Anniversary. This amp lets the individual character of these guitars come thru. The less crap you put between your guitar and these simpler classic type amps, the better they sound, I think. I have a few Boss pedals and a Budda Wah, and that's it (there's a space left over in my 6-space Boss board/case). I can get the classic Marshall thing without cranking it to 10 by the way. You gotta NOT let your effects overwhelm the amp. The inherent tone of a good Marshall 50W is the beautiful part. Listen to, say, David Grissom for a lesson in amp/guitar tone. Yes, I would definitely replace this with the same thing. It works and it's easy to use. If you need 128 presets, then run as fast as you can from this amp; you don't 'get' it.

Less is more in this case, I bought this amp for what it doesn't have!

I have the version of this amp with the effects loop, I might be posting in the wrong section, sorry if I am. I hate to think of the junk in the loop, but it really works very well, Marshall finally learned something. I have loved and lusted after that hard raunchy vintage Marshall tone all my life. I like Yngwie's type tone btw so my comments here on out is usually me driving the head with a modded YJM 308 along with my trials and tribulations until I finally landed in heaven and got it all right. In stock form (no pedal) I was already prepared for what I got: A very loud, violently bright and brittle monster that was totally unuseable for me but I was ready to get down to business and tame this beast so I could enjoy it without going deaf which would have been a matter of days. First up was a must: a master volume and I installed a post phase inverter type (thank you Rich whoever you are) and it worked like a charm. Sounds loud and cranked at low volume and does not get the miserable raspy, mushy broken amp sound as do all other master volume mods I've heard. This mod adds NO gain to the preamp, it leaves the phase inverter in the equation to distort as it does with the amp is cranked. Next, it was time to voice because highs were still out of control, yes even with the channels jumped. I replaced coupling caps a few at a time with Mallory polyester type and this was starting to help. Then I put a small 47pf cap across the phase inverter plates which tames just a touch of the extreme highs. Thank you Thundertweak! Now I was in the ball park but it was not quite there yet. Tried vintage carbon comp resistors and went too far, this was TOO vintage for me; too dull and grainy and I had lost the electric chime that keeps a strat twangy. In went audiophile caliber Holcro metal films, half watt (my personally fav), and finally got the cap right on the volume pot; a 3.7nf film type after a 5nf Ceramic was just a bit too abrasive. Stock it didn't have one at all btw. Now I'm done! Massive, devistating upper mid presence that only a good Marshall does! A tone orgy any day ever day! You really hear that solid clanking iron bar type of tone that I just can't get enough of. I like sustained sound, but must hear my strat tone loud and clear, without being screechy. My strat sounds at all times like an electric guitar, meaning hard and clear with all the cluck and quack and at very manageble volume too. I couldn't be happier. The above is a bit out of order and oversimplified but I wanted to make the point that this amp can be made into the Marshall of your dreams and total parts cost was probably less than $20.00. It was much more fun than frustrating and I had faith there was no reason I couldn't get it right. Just one innapropriate cap value or even wrong type of cap is all it takes to stand in the way. Since I can't resist tinkering here and there, I may go off and drop in full hard wired board ala metroamps, that way swapping parts is simple. Prying up the board to get under it with solder iron as I've been doing must be done VERY carefully, and one day I'll cook a trace for good. Hope my comments are helpfull, anyone is welcome to e-mail me and I'll answer if I can. Modern metal music needs more amp tones like this!

A1 for me, and that is from someone who knows just enough to be dangerous inside the amp, that included a bad solder joint (mine) on a 220K by the phase inverter that put the nuclear meltdown on the power tube and the amp didn't fry. That was the brightest I've ever seen a power tube glow!

NA. I havn't ever tried to contact them, but with 30 million heavy metal morons e-mailing them from around the world every minute of the day, I would not be surprised if getting a response from them is tough.

I"ve been playing 25 years now. Even at the height of my ultra hi gain metal days, I always secretly envied the clear, electric tone of a great Fender amp. Now I've got the twangy tone, but heavy and mean too and all the sustain I could want. I may buy other amps (LOVE the Soldano hot rod 50) for other styles but I'll never turn my back on this tone ever!

Plexi Magic!

First let me say my head has been up my ass for decades.
The only Marshall I've yet to own or play, etc... is a Plexi.
I've owned a Bluesbreaker, JCM 800, JCM 900, JMP & I'm sure a couple more. My only problem with all of the Marshalls I listed is there's No Low-End. Even my Bluesbreaker lacked Chunk.
Not the Plexi, it has the tone of a JTM 45 with the Low-end of a Bassman or Bandmaster.
My Les Paul sounds great thru it, but my LP Jr. is amazing thru this Head.
I run a Barber LTD in front of it or a Zakk MXR pedal. Both are Low Gain & work well with the amp.
This is a very good sounding reissue. I know it's not Point to Point & that's OK. I've owned many vintage amps & I can do without the repair bills that go along with them.

I'm sure it will last!

USA support blows for Marshall products.

I don't really know where my tone quest has taken me, but I hope it stops here with this amp. I fell in love Bandmasters about a year ago & after a couple big repair bills I had to move on. This amp is the best of both worlds for me. I can use it in the studio without a pedal & use it live with a pedal to keep all sound-men off my back.
Over 20 years of doing the Rock & Roll thing & when you have great tone it makes everything easier. If you ever wonder where AC/DC & Thin Lizzy got their killer tone, then buy a Plexi. If you like Chunk with Clarity, buy a Plexi. If you hate the high-end shrill of most Marshall & Hi-Gain amps, buy a Plexi.
I feel like a dumb ass to never have played through one of these amps.
The Boutique amps can kiss off! I've tried most of them & owned a few. They always do the trick for a while & then from Ghost notes to overall weird tones I end up moving on.
The Fender Bandmaster led me to this amp in a round-a-bout way.
Now I know why my guitar heroes from the late 60's & 70's used these amps. If you think you can get this tone out of a 2 channel amp YOU"RE WRONG! It will never happen. If you need more than one channel then stop playing guitar. Find a Great tone a milk it!
This Amp RULES in every way!

2005 made in England. I really love this amp!. Very basic feature. Two channels high treble and normal. You can also blend these two channels for some tonal varieties via patch cable. Normal treble, mid and bass with a presence control. I love the simplicity of these vintage series amps. I play a lot of blues, classic rock and also modern stuff like RHCP and it fits perfectly with these styles.

Some claim to get a distortion but I wouldn't call it your classic high gain distortion but more of a cleaner crunch. But along with turning up the amp to try and get that crunch sound you'll bound to say "holy shit" and quick to turn down your amp because these things are loud. Again a lot of headroom meaning it stays clean upon higher volume where most amps will break up. It does break up but not what people might assume as the classic Marshall break up of a JCM 900. The break up is there but retains a lot of clarity but has a lot of warmth and retains the textures of your single notes and chords. I play exclusively a Gibson Les Paul Standard and Vintage series Strats and both sound amazing through this amp.

I play straight into the amp when playing chicago style blues and turn on the pedals when I'm doing some modern rock or harder classic rock like Hendrix and Cream. You can get some classic rock tones with straight into the amp but you won't get that far. Remember the old rock bands like the Who, Cream and Hendrix used effects pedals to create and experiment with new sounds so don't limit yourself.

Some classic rock purist claim that this amp is good plugged straight in for classic rock...I would really like to hear this. In order to get a really classic overdriven tube crunch you need to at least have some some pedals. Most of us would go deaf within a week playing this thing at high volumes in order to obtain that overdriven crunch. However this amp has so much headroom that you'll be hard press to get that crunch anyways. Don't get me wrong Marshalls are meant to be cranked for optimum tone but how many of us play with the volume at 10 for 1 to 3 hours straight? ok ok if you play stadiums then you are an exception. But I play gigs in clubs and I hardly go past 5 or 6

Been gigging with this thing for 4 months and hadn't had anything blown out. Just retubing which is standard pratice with tube amps. I think it might last a life time. If you follow standard tube maintenance pratices then you will have a, in my opinion, great amp that will be very reliable for a long time

I've own mostly Marshalls and their customer service is great. Although there was an issue I had with them in the past where it took 4 months to replace a faulty footswitch but I haven't had any beef with them ever since then with getting advices on replacement parts and taking my amps in for dealer services.

I've been playing for 15 years and I have always been impressed and a little bit partial to Marshall amps. I've own Fenders but I always seem to come back to Marshalls. I know some people that looked at the specs of this amp and say "what? no reverb?" well it could use reverb but I find that it doesn't at all. If you need reverb you can always get some pedals. But for me its fine like it is.

Hell yeah I'll replace it if it is lost or stolen. These vintage series are of course on the expensive side but you won't regret the investment you put into these awesome amps.

it is an amp that does basically 1 thing and does it very, very well.
The tone is amazing!
got mine in 2003 and made 2 records with it and played many gigs.
I play loud rock'n roll and only rely on pedals for drive and volume boost for solos, so this amp does not need to be versatile (I hate, multi channels, reverb, FX loops and other features).

I'm a vintage Fender player: 2 Strats ('69 and '74) and a Tele ('68). So, it's single coils heaven!
I'm a Marshall user as well: 2 Marshall tube heads and 3 Marshall cabs (4x12 25w greenback reissues, 4x12 75w and 2x12 65w).
The 1987x is the best amp I ever owned (have a Marshall 100w Super Lead plexi reissue and had two JCM800's and rack models tube power-amp and a transistored pre-amp).
I record direct to the amp and use a Power Braker to push the amps to the limit.
The tone and drive are fantastic when cranked!

Hit the floor a couple of times, played many gigs and traveled some other time: sound JUST LIKE when I took it out of the box!

Never needed.
I only posted a couple of months ago a picture for the "reader's amps" at the Marshall web site and they published. Very kind!

It's my main amp. It's rock sound to me!
I play very loud and love when it overdrives.It's very beautiful!

Buy it new today so its a 2005...I was not a Marshall fan,,i had manny before,,jcm 2000 triple lead,,valvestate,,,jcm 900 and the last before my 1987x,,,the handwire 2061x..But i decide to try a plexi vintage 50 watts and decided to order that one..I had a good feeling even if there is no gain control,,no reverb and one channel only. They now have an effect-loop with a real bypass and power reduction for that one.

I use a Gibson les paul classic 1960, a strat usa with texas special and a hand-made fast guitar with a paf and 2 fender single-coil...I play blues-rock and hard-rock and let me tell you,,,that this amp is not only a good amp,,it s the best i have never had..Im happy to find out that Marshall have continue to make vintage-plexi amp,,because that one is the king,,,as i said before,,i think all the others kind of marshall are,,sorry for that,,,SHIT. 1987x give you a warm sound,,a perfect clein sound,,,sustain in solos,,,,and a perfect rythm rock sound..Its like a mesa-boogie but with the marshall caracter,,a dry dry sound.You can hear all notes in a chord even if you push the amp to 10. Its very loud for a 50 watts,,,the over-drive is wonderful when you push the amp,,put it come so loud that you may need an over-drive pedal when you turn it down..I use a guv-nor marshall stomp box..It give the guts you need and keep the character of the amp. I know there is many guitar players that consider that marshall amps have no sustain,,,that the distortion is agressive and thin,,,,,,Try that one,,,you will start to beleive in Marshall again..As i said before,,i manny amps before,,peavey classic,,traynor tubes amps,,fender tone master,,marshall 2000 triple lead,,soldano,,manny mesa-boogie that i still have,,,and manny manny more...YOU MUST HAVE THIS ONE IN YOUR GEAR,,THATS THE PERFECT CLASSIC ROCK TONE. I have mention before that my last was a handwire 2061 x marshall that is more expensive and have only 20 watts..That one sound good,,,,but is nothing beside the 1987x.

I dont know for that one because its too soon to tell,,,,but i never had a problem with my others Marshall amps in 25 years.

Im a dealer so i order it from Erikson music in montreal...Tony,,one of the representant was very helpful with me,,,because i had order the 2061x and did not like it and return it and change that for the 1987x without any problems...Received it the day after,,,wow

Im 35 and play since im 9. Having tour a lot and record a lot too. I think i have try all guitar and amps that is possible to name..I say it again,,that one is a king,,,Marshall should stop to make all there shit and concentrate on their vintage amps...I like to trade a lot,,had never keep my musical instrument too long except for my gibson les paul classic 1960,,my strat,,my mesa-boogie subway-rocket and finally,,i will always keep that 1987x marshall head that is not only a classic but the end of my long search for THE TONE.

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

2001 made. You probably already know the features...pretty Spartan and they're all you need...Some will be bothered by the lack of master volume etc...I give it a 5 because there aren't many. I think that's how it should be

I play in a classic rock and rockabilly band. I can dial in beautifully complex clean tones by keeping the guitar volume down and it'll shimmer. Of course cranking the volume on the amp volumes (channels jumpered) past 50% and like wise on the Les Paul volume gets me into crunchy Brittish bliss. The first thing I did upon acquisition of this beauty was to replace the power tubes with JJs and throw in three GE 5751 mil tubes. This combined with running my amp into a greenback loaded Marshall AX cab gets me the all the sound combinations I need. My effects board is really bare, basically I use a Maxon delay and that's about it. When I use my tele I can get a sparkly nashville sound or crank it a bit for a nice overdrive. I use my ES-175 and play all that old Elvis stuff. It's very versitile.

So far so good. I think Marshall could have used better components...Mesa really smokes them in parts quality..ususally but it hasn't failed in many many long gigs. Besides this thing has MOJO baby, yeah...

If you can only have one amp (and you tend to blues/classic rock or 50s music this thing is perfect

all you'll ever need

58 LP RI with duncan 59's The amp is so in your face and classic rock. It's a blast to play, every tone it it (there are many) Reminds me of another song or artist. like hedrix, clapton deep purple, zep ECT. I love playing this amp.

to early to tell, but looks tough inside, with no extra crap to go wrong. I opened the inside to my TSL 100 (it's gone) and it looked just like a computer inside(crap).

don't know and hope I never have to find out.

playing for 30 years and have owned a lot of amps Fender soldano Mesa (crap)Line 6. One thing the amp is sooooooo loud so if you want to you it in your house you'll need a hot plater or better IMHO put in a master volume. I put a master volume in about 30 min. all you need is a 1 meg pot and solder iron and three wires and your done.

My amp is an early 2002 model. Basic eq controls, ohms selector switch, 4 inputs, high treble & normal channel. Simple setup that is straight forward, without the complex hassles of too many features.

I used a 1974 strat, & 1993 Gibson Les Paul Studio through the Marshall. My style is a fast melodic, classical influenced rock ala', Yngwie Malmsteen, Michael Schenker, Uli Jon Roth, George Lynch, Steve Vai, etc. Before I purchased this amp, the sales guy who I was friends with, set me up to play it cranked up all the way. Needless to say, after a 30 min. test play through the 1987X, I was sold! All the classic rock tones and sounds are within this head, waiting to be plucked out on the guitar. Using a treble booster, I copped a cool Black Sabbath, Heaven & Hell riff and used my DOD 308 YJM Preamp Overdrive pedal for the Yngwie-like arpeggios & speed picking. This Marshall is very tounch sensative and articulates notes extremely well! I bridge the 2 channels for a heavy duty, and crunch heavy sound. I'm basically addicted to this amp now!

Although there are mixed feelings in regard to Marshall's reliability, I feel this amp is built like a tank. Other than the pcb instead of the ptp technology, its basically built identical to the late 60's - early 70's versions.

This is another area where I have seen Marshall rated rather low. I rated it higher than normal because of the new warranty for 5 years and the fact that it is transferable. If there ever were a problem that needed to be fixed, I'm sure there are plenty of Marshall affiliated repair shops in my area, including the shop where I purchased the amp.

I have been playing for almost 20 years. Aquiring this amp has made my dreams come true! I wish I had bought one 10 years earlier, when they had the anniversary, white tolex editions. Currently, aside from the Marshall I own a Soldano HotRod 50XL head, Carvin Legacy head, 60's BF Fender Vibrolux Reverb, original EP-3 Echoplex, Fender Lead III guitar, LTD GL500K, Guild D-25, Marshall Power Brake, & an assortment of effects pedals. If someone were to steal my Marshall I would have to buy another 1987X & get a 1959 SLP as well!

Not much in this catagory , 4,8,16 ohm selector switch ,
2 speaker out jacks , a strong 50 watts , three 12xa7s
and two el 34s

l am using a 1980 gibson custom les paul , SIB varydrive ,
fulltone choral flange , crybaby wah pedal , This amp is
THE shit man , such a sweet lush tube driven sound . l will
tell you this , l find myself playing straight out of the amp
with no effects pedals quite a damn lot . think ac-dc , zep ,
nugent , [ l Like that old time uh rock an roll ] ya gotta love it
this amp just freakin rocks . . . . .

l have'nt had it long enough to know , but being a marshall
enough said .

Ditto from above , hope l never need to .

l have been playing for 28 years its a damn shame l did not have
this amp all them years until now , but hey live for the time and the
time is here now . lf it was lost or stolen l would be heart broken ,
l would replace it , but comming up with the money is a bitch .
l would also like to add , the speaker cabinet you use is just as
importent as the amp if not more importent ,
marshall 1960 AV caabinet : perfect combination , AH YES...........

4 input, no master volume 50 watt head. PC board innards. Smaller box than 100 watt 1959 SLP. Completely simple compared to all the multi channel amps out there now. Has dark green tolex and small script logo.

This, my friends, is the quintessential rock and roll amp. This is the one, and maybe it's 100 watt brother, that literally DEFINES hard rock and roll. Trust me. I have, at this time, the following amps sitting in my basement: Marshall JCM800, Soldano Hot Rod 50, Harry Joyce custom 30, Boogie Single Rectifier, Sunn 1200S, Green Matamp S2000, and this puppy. Now, don't get me wrong, these are ALL kick ass amps. They all have their unique tone and personality, and I love them all like children. However, the amp I find myself playing thru most, the one with the most BALLS and TONE and RAUNCH is the 1987X. I guess it's subjective and just the tone I prefer. You need a line boost pedal to get the most out of it....I use a RAT, BOSS super overdrive, DOD 250, or DOD equalizer, they all do the job. Just don't set the distortion too high, let the amp do that! There is a reason Marshall is the reference standard hard rock amp, and this is it. I don't know about the new ones, I've heard they suck and that they are great. But the reissues kick ass. OK, so the guts aren't as pretty as my Joyce (Harry, RIP). But I find it harder to get a tone I like out of the Joyce, whereas the Marshall it's plug and play. For anybody who complains that you get a generic sound.....this is the sound of rock! Blackmore, Malmsteen, Clapton (cream era, not the crap now), Page, Slash, Tipton, Schenker, well, the list goes on and on.
There is a reason everyone plays Marshall, and this is it. Amen.

Too old to gig. I hope the amp holds up sitting in my damp basement. I only have a few more years left, so it should outlive me.

Don't know.

Well, let's just say that I'm well into middle age and have been playing half as long. My mid-life crisis prompted me to acquier GAS...gear acquisition syndrome. (If I could afford cars, I'd get them, too) My case of GAS has driven me to get every axe and amp I've ever dreamed of owning, hence the above list. How ironic that now that I can afford to get this stuff, I don't play out. Back in the day, all I had was my trusty JCM 800 (another great amp)and SG.
But I digress. This and the 100 watt are the Kings of Amps. If I had to keep one and sell the rest for my retirement home expenses or triple by-pass surgery, this would be it. Tone to the bone, max crunch, all you need is a cab and a boost pedal. All Hail the King!!

I recently bought a used 50W Plexi on an auction site, and this one is about 2 yrs old, and in great shape, almost mint. As far as features, yeah, not much, no effects loop, no reverb, no master volume, and no channel switching, but all that stuff usually hurts the sound anyway. It's easy to add a master volume mod, and also an effects loop mod, but the latter does hurt pre-amp gain a lot from my experiences.

Tone galore, man, this amp has more punch, knock down, in your face tone than my Mesa Boogie or any other amp I've played, including my old 80's JCM800 Marshall 100W amp. One could spend months playing with the interaction of lows, mids and highs between the two master volumes and the the standard 4 tone controls. Did I say crunch?
Wow, incredible, and more treble than any amp I've ever played bar
none. The amp is also quiet, which is suprising for a high-gain amp.
The raw sound is awesome, but using pedals it also sounds great.
I've tried using a tube screamer with it and it also sounds good, but
it's not as good of a volume control as I'd hope. It hurts the gain too much when lowering the volume on a humbucker type guitar. My strat sounds awesome thru it, as well as a custom Kramer VH guitar
using the Seymour Duncan pickup. With the Strat it gets the Hendrix and Stevie Ray sounds well.

I'm sure it's reliable being somewhat new, and that's one of the reasons I didn't buy a 30 yr old version for 3-5x the money. Transformers tend to blow out over time, but I've never had any problems with newer Marshalls, and on this one the jury is still out
I suppose. I don't expect any problems.

Never had to deal with the company before. No issues.

I have been playing over 33 years, and I consider myself a guitar god
(ha). Okay, I'm kidding, but I can play Eruption just about note for note, if that matters, which it doesn't, truly. I own a Mesa Boogie DC-5, four electrics, a PRS, custom Strat, Eddie VH custom Kramer, and a Fender Tele, not to mention acoustics, keyboards, etc. I am a semi-pro musician at present, and engineer (dayjobber) by day, so I know a wee little about electronics and music.

If this were stolen, yes, I'd buy another Marshall. Why, for tone, sound, and the same reason every other guitar god maniac has owned one the past 40 yrs. They sound great and make a statement. Period!
Great amp. Jim Marshall, we're not worthy, we're not worthy!

The only thing to hate about a Marshall such as the Plexi, etc. is it's lack of clean tone ala Fender/Boogie. Ya gotta have non-EL34's
for that I guess, such as the 6L6, etc. I wish the Plexi did have
one thing- a push/pull master volume switch to engage and disengage the circuit, if that's possible. (I plan to add something
along these lines next). Probably will fore-go a circuit for effects loop since it loads down the input stages too much with most rack gear.

All in all, a wonderful amp for rock, classic rock and blues. I still need the Mesa/Fender tone for the other styles, but as most know, it nails the one sound better than any other amp, pod, or gizmo
out there.

I'd like to add something about the sound, The 50 with the el-34's breaks up very nicely, and early, allowing you to play at a very reasonable level, i was always into the '70's heads with the 6550's (U.S.models),but these el-34's give you that nice topping of smooth distortion at a lower vol. than the 6550's, i highly reccomend the re-issues w/el-34's. You'll wet your pants! Also, if you have old ears, you'll appreciate the lower vol. you can run at.

Do the jumper thing with the channels,go from your guitar to a Rat to the amp. Use the Vol. on the Rat to control your overall vol.,Power brakes dont do anything to tighten up the sound, dont bother with them. The boss pedals,even the lowest on the totem pole that they have make too much gain, You want to use a Rat or a DOD OD 250 or the new 380. On the Rat, your distortion should be at the second mark for starters, the vol. should be between the first and second or a little lower, filter between 1&2 or as high as half depending on how loud you play,kinda acts as a presence buffer but you should still run the presence on the amp half to full.see review below on setting up the amp

never any major problems in 30+ years

never called

The best friggin amp you can get for the money!

This is a 2000 model year mfg. amp.You can tell the year on any of these re-issues by looking at the s/n on the back of the amp/chassis.I play ROCK and this has the sound. You know the features of these amps and you by 'em for one reason only, SOUND. This 50 is as loud as any amp you compare it to.

I play mostly Gibson guitars that are varied in their pickup configuration, from stock humbuckers to my Les Paul Special w/P-90's. The amp is a little hissy when you run it loud in a live gig but you dont notice it as everything else is making noise all 'round you. Marshall also runs the pre-amp section flat out, one of the reasons for there sound. These are very clean amps contrary to what others say, and you have to play clean loud which is easier said than done. You add your distortion with a pedal, i prefer a Rat and a D.O.D. OD-250. You jump the from the bottom input on 1 to the top input on 2 and from your guitar to one of the mentioned pedals and into top input 1. Then your volumes become your tone control/volumes. set vol. 1 0-2 and vol.2 5-7. Then adjust your vol. with the Rat or DOD, also like i do with my JTM 45,i back the vol. down on the guitar itself, then theres headroom for leads, this works best with the 45 though. Somewhere in there is the tone zone and you'll have to spend a bit of time finding it, be patient , may take years to find and some never will. If you havent got the patients , Might i suggest you get a master vol. and dont kobb up this with some fool hardy circuit someone is trying to sell you on, your amp will be worth less and you still wont be pleased, go get a master vol. You really have to try what i suggest with the Rat or D.O.D., Power brakes are a load. Dont bother with them, you really need to try what i suggest, its also cheaper and gets you to the sound. You can buy a Brand New Rat at American Musical for $64.95 plus shipping, alot less than a used power brake which you will not be happy with. I recently sold my SLP re-issue, great amp but its rather heavy at my ripe old rockin age of 46 soon 47 year old bones. And, if your a Tech, you know that eletricity cant tell the difference between point to point versus circuit board. I've owned these Marshalls Mk II's,Super Leads from the mid 60's,70's and now the re-issues. The old stuff starts making little pop-fizz-noises and the dreadful breathing drones (a weird sound that fades in and out,kinda sounds like the amps breathing)You will find if you go straight in,the bass will be a bit loose,so go get a Rat and do what i said. All the great guitar palyers use these amps and they all go thru some kind of out board pre-amp first, Michael Schenker goes thru a wah,Malmsteen goes thru a DOD OD 250, Now There bring it out again under his direction and its a 380,Black and grey instead of the old OD 250 yellow.

Easy to fix if a part goes,but usually absolutely reliable!

Never bothered 'em

The way to go, try the Rat(not the turbo) or DOD 250 or 380, Dont bother with a m.v. mod or a power brake. The pedals will allow you to control your volume somewhat but you still have to get the amp up enough to get it working but not overbearing,you'll have to experiment. The tones there, it may really be GODS amp, if he wants you to find it you will find it. I've owned expensive botique amps and sold 'em. You gain freaks,of course you should go for a Mesa Triple rectifier, but here again, if you cant play cleanly at a huge volume level,its not going to sound good with a hugh amount of gain and a huge amount of volume. You gain players should dig up UFO's double live album from the '70s and give a listen to Michael Schenker playing thru a couple of Marshall stacks, cranked, going from his guitar to a wah to the amp as he fills the arena with Musical Notes from heaven. No power brakes,no master volumes,no parametric eq's,nor rack effects- just a guitar genius at work.

I purchased a 2000 model from Guitar Center. It came equipped with
Svetlana EL34's output tubes. Two channels, no switching. Perfect
clean sound...bright channel volume control tapers between 1 and 2
either full on or off. Marshall has these reissues distorting early! a simple mod made it more tameable. It has perfect power for a medium
size venue. You can get it just on the edge of breakup and yet you are rattling any innocent eardrums.

A lot of times I use pedals with a stock Strat (Hendrix and Eric Johnson covers) and a PRS (Satriani and heavier stuff). The 1987x
sounds cool with the old Arbiter Fuzzface or a regular old Boss DS-1. It's very cool when I plug into the "normal" channel 1 input and dial in the perfect amount of sparkle with the "bright" channel volume. (You don't have to bridge with a cable unlike the original ones). This amp seems to be the sound that everyone's guitar sound stems from
A very articulate clean sound starting point. I use the normal channel at about 4.5, the bright at about 1.5, the bass at about 9;30,
mids vary with the room, treble at 12:00, and presence varies with the room. Different shades of distortion start to happen as I crank the normal volume past 10:00.

no problems......I also know how to fix this amp, and it is very easy to service!!!!! It's also well vented.

The guys at Guitar Center fully back the unit up. They have authorized facilities or ties with the factory/reps they can send it back to.

I have 3 vintage 100watt SuperLeads and that's the basis for my tone,
but the "plexi" lines sound a little darker and have a ballsier breakup. I wanted a 50watt head and this is almost as cool as my Silver Jubilee 25/50 watter.

Just dime everything ... It has everything one would need to obtain classic Mashall tones

This submissin is a warning against that would pass themselves off as know-it-alls .A lot of younger Cats will look at this crap & believe they have to take on 2nd jobs to afford good tone...This is not the case ...Tone starts with your hand & the strings, hence the differece in opinions on this amp. Get a Twin Reverb & a RI Plexi & rest assured that you have the equiptment you need to create awesome tone.If your not getting it, it's you. It's time to hit the woodshed . What comes out of these amps is for the most part, what you drive into it. The fact of the matter is, when it comes down to "hand-wired" vs. PC board, there is absolutely "NO" effect on volume,balls or tone ...If you take a "hand-wired" circut from a good plexi & tranfer it the PC board, the 2 circuts will be indistinguishable ... the RIs are right on !!! Also, with any amp, don't take it home if don't like what you hear in the store. If those Cats won't let you crank in the store ...WALK !!! Spend your grand somewhere else...

Seems sturdy enough ...a printed circut board is only a small liability if your gigging constantly at extreme volumes ... most folks will never experience a problem with the circut...

Let's face it corporations suck...

This is a 1987x plexi reissue i bought a month or so ago. made in 1987, i'm told, but i haven't ripped it apart yet in an attempt to date it, nor have i had it worked on yet by anyone who could verify. two non-switchable channels, no effects loop, six knobs total, who cares? simplify, simplify... 50 LOUD watts, two 5881 power tubes i think, three 12ax7 (actually, the english equivilent, but i can't remember what they're called) it was modded before i got it to provide a quarter-inch direct-out on the back panel. it has a polarity switch, power switch and standby switch. four inputs, two each for the "dark" and "bright" channels on this amp. no master volume, but volume knobs for each channel, three-band eq, and presence. not much to it overall, but what it lacks in features... well, you know where i'm going with that...

i play this amp with a 2001 american series telecaster through my 1x12 genz-benz cabinet with a 100w eminence (read, fender) speaker. i also play it occasionally through my guitarist's 1960a angle-back with 75w celestions. the genz-benz can switch between open- and closed-back, but i play it open. these configurations have given me an education on cabinets and speaker types, let me tell ya. the head sounds slightly different through each, but incredible nonetheless in their own ways. the 1x12 gives the head a touch more "air," a bit more ambience, while the 4x12, well, that sucka just has balls. i run the tele through a tuner, a vintage small stone, a DS-1, into a crybaby, into the "I" input on the amp's bright channel. then i link the channels with a cord connecting the bright channel's "II" input into the dark channel's "I" input. this allows one to blend bright and dark channels, a nifty way to vary your tone. i usually set the bright volume at about 15% of whatever level the dark channel volume is set at, giving a bit of AC30-ish top boost. this gives bright, fenderish, chimey, bell-tones until the speakers start to break up, usually at about 4-5 volume on the 4x12, 3-4 on the 1x12. in either case, that's very loud ? the loudest 50 watts i've ever heard, especially through 1960a. the natural overdrive is warm and articulate, not especially crunchy. a great blues, classic rock sound. i've been able to overdrive this amp like that a few times, hella loud. i have not tried it with an attenuator, but that's a distinct possibility. bottom line: simple controls, awesome tone.

too early to tell yet. i've played maybe eight hours total on the tubes that came with the amp ? not much time since i play bass with me band and all... it's done some funky things though. when i first got it, the volume would fade out briefly, and come swelling back in after i rested it for a moment. a local dealer heard this happen and immediately pulled it apart to inspect the tubes... no idea what they were, but they had the english designations on them (ECC83's??? i think) maybe they're the original, 15-year-old tubes. the volume swells disappeared after a week or so, and haven't occurred again. i plan to get it retubed soon, just to be safe, and who knows what will happen to its tone then. this is my first tube amp, and i'm still getting my head around the concept. oh yeah, when i switch it on from standby mode, it occasionally makes an intermitent popping noise for the first minute or so it's on. been totally reliable otherwise, but i don't gig with it, or move it much. i'm hoping these weird phenomena will disappear once i retube it. but bottom line: it's elderly, it's a tube amp, shit happens, i'm told...

never dealt with them... local dealers are helpful... have no idea about the warranty...

i've been playing guitar for 10 or 12 years now, off and on... always had imported telecasters until my latest, and never had a "real" amp before. i'm pleased as all hell with it, but someone who can distinguish variations within marshalls, etc., of this type and vintage might be more critical. i'm a rhythm player, not many lead chops, but lots of chords, theory background, etc. this rig cuts, but does not irritate and its really to control, despite its power. i love its tone, and have not yet found much to gripe about, other than the fact that i need to find a band that needs a guitarist. the guys in my band are tired of me pushing for another bassist, heh... the few times my guitarist and i have switched instruments just for giggles, it's been a blast. he's blown away by my rig, and has used this amp for rehearsals, etc... awesome, i love it, but maybe the honeymoon continues, ya know?

I bought the head brand new from Guitar Center. Basic features 4 high/low input, treble, bass, presence,etc. No effects loop or channel switching stuff, I would'nt use anyway.

This is the sound that i've always craved. It sounds so warm and ballsy. I run a fender strat>uni-vibe>vox wah>ibannez tube screamer>fuzz face>octavia>delay>a/b box.I play Classic rock and Texas Blues so, it fits my style perfectly.When this thing is cranked you can get jimi hendrix,Doyle Bramhall II,and Led Zep sounds.My band rehearsed last weekend and everyone was really happy with this thing. I have the 1960TV cabinet that has the 25 watt Greenbacks in it and it sounds orgasmic.

I havent had any problems yet but, its only been three weeks. I feel really good about the quality on this Marshall. As long as I take care of it I, dont think I'll have any problems.

I havent had to deal with Marshall but, it does have a 5 year warranty so, that makes me feel pretty good.

I love this thing because I, dont have to tweek the damn thing all of the time like most amps. You just plug it in and instant TONE!!! I have been playing for 17 years and I can honestly say that this is the best amp that I have ever plugged into

Its got six knobs (well actually mines now got seven), 4 inputs and is about a simple as you can get. Originaly this amp came with 5881 tubes as did all UK Marshalls for a short time, however I've now changed the grid bias resistors and replaced them with EL34's. I've done countless gigs and studio sessions with this amp and it's never once let me down, or run out of power. I've owned 100W versions and my opinion the 50's are way loud enough (and they are smaller).

Guitar wise I'm using a Fender 52 re-issue tele, a Fender Strat fitted with Fender custom shop Fat 50's pickups (which are awesome)and an 80's Kramer Pacer. All the guitars sound fantastic with this amp. The Strat sounds like a Strat the Tele like a Tele etc etc.
I'm using a straight 4X12 marshall cab fitted with celestion vintage 30's which seem to complement this amp really well.
As I have said, this amp originally came with 5881'output tubes fitted. I've replaced them with EL34's but it's really hard to know what sounds best. I know some of you probably won't believe what your'e hearing (Marshalls should always come with EL34's) but it's true. With the 5881's the tone is sort of Fender like (this amp after all is very similar to a fender bassman which was fitted with 5881's) but with a little more grind when the volume is maxed out. I'm gonna stick with the EL34's for now because they break up a little easier which suits my style a little better but it would be nice to swich between the two.
This amp gets real loud quickly! It goes from quiet to OMIGOD kill the first three rows of the audience with a minor volume change. It stays clean up until around 4 then start's to clip gradually until you get into that classic AC/DC,Blackmore,Page etc sound. What do you expect they probably recorded it with a superlead!!
What a clean sound! Chords have a bell like chime with clarity and bottom end. The distortion is just magnificent.
I've modded my amp by adding a master volume pot. It's a real easy mod and I use one of the inputs for the volume knob so it can added/removed without cosmetic damage. when the Master volume is on full the amp operates exactly as it did before and it doesn't change the tone of the amp. The amp is a much more versatile now than it was before. I link the two channels together and plug in though channel 1. It's now possible to blend the inputs and keep the volume at a reasonable levels. By linking the channels and changing the amount of drive to the output tubes you can get a really complexed tone from the amp. Sort of like playing through two amps. Effects wise I'm using a vintage RAT, Boss OD1 and a Marshall Bluesbreaker II which I reckon was made for this amp. Set the gain on the High treble around 6 and the Normal around 4 and hit the bluesbreaker pedal. WOW! I've owned all sorts of great amps/racks but this is seriously the best tone I've ever had. and yet it's so simple!

Never once let me down.

I contacted Marshall previously and found them to be very helpfull

I've been playing for the best part of 15 years now and I actually had an original 1987 when I started playing, but being young and foolish I didn't know what I had and spent many years buying new gear Racks etc. I've also got a Line6 2X12 combo which is cool but I only use it in the house cos although versatile, it just doesn't compete with the real deal.

Sure there's no effects loop or reverb or tremolo or channel switching mumbo jumbo, but when I was looking for a new amp head, I went for sound quality . . . and that's what this baby has. All you have to do is have good tubes and with the right biasing this amp smokes! 2 channels, 4 inputs (2 per channel) and the standard four eq knobs found on most Marshalls . . . that's all I need.

If you want an amp for the bedroom, then get a small combo. Unlike the person below, I use and need the volume that this head can produce. To bash a product cause it's too LOUD is ridiculous, that's why you really do have to take alot of these reviews (on all the products) with a grain of salt. A super tone can be had out of this amp, at basically any volume. It gives a very nice "clean" sound on channel one with the volume knob at no more that about "2", and the most amazing overdrive from 6 to 10. Channel two is much darker, but still very usable for blues or jazz tones, but also gets very overdriven at higher settings . . . above say 5. Connecting the two channels together gives you the best of both worlds, and really lets you take advantage of what this amp can do. I also use a couple of pedals, a Fulldrive 2 and an Ultimate Octave to help give me more sounds, and that's why I don't need crappy channel switching, that has never sounded seamless no matter which amp I have used (and I've played on many an amp, from going to various rehearsal studio's with my band over the past 3 yrs). I now bring my head to rehearsals, and obviously my head and cabinet (loaded with "greenbacks") to gigs. I absolutely love this amp.

I haven't had it long enough to judge how this particular amp will handle the long term, but I have had other Marshall products (including an 800 series 100 watt amp I'd had for 11 yrs) and I'm sure this will be just as reliable.

Never dealt with Marshall, or it's distributers.

Out of all the amps I've had the opportunity to play at "band" volumes, this one is the most exciting. If you're looking for a bedroom or home amp, don't let the 50 watt rating fool you (this was made to be played loud, in a band application), you should definitely look at something else. The tone that comes out of this thing when pushed is unreal, for the price (even the new price) this is a fantastic value, a true rock'n'roll/blues rock amp . . . if you're looking for a metal amp look elsewhere, cause this is pure unadulterated tone . . . just the way I like it.

Basic features and not very versatile. There are 4 inputs, but really only 2 different ones. Channel inputs 1&2 are WAY too treble bound, and channel 3&4 are way too dark w/ humbuckers. Single coils are good for this channel however. Jumping channels is fun only if you have a power brake or are playing clubs or something. Gets ridiculous.

Although this is a pretty toneful amp, it is nothing like the other gear I own, and another thing is, unless you are playing huge arenas and outside stadiums, you dont need this amp. it would be pointless. YOu cant record it, or attenuate it. it's just too loud for anything but live playing. I dont find anything velvet or glassy about it either, like people have said about these amps. It was pretty much standard blues tones, such as british sounds etc. Maybe a little bit smoother. I was not impressed, i'd take my Cruise mq4 over this anytime of channel 2 vintage gain.

Owned it for a few weeks and returned.

The best sound out of this amp is putting all volumes on 10 and jumping channels. I could only stomach to do this 1x, and although it sounded good, you couldnt really tell much about it because it shook everything in the room around. It is way too loud and powerful. I wanted something to get a nice glassy sound, but this was definatly not it. marshall amps remind me of sandpaper. Their cabs are another story though. i kept my 4x12, it rocks.

Features... IF you want a bunch of garbage on your amp don't get this one. All it has is 4 inputs, bass, mid, treble, presence. No channel switching, no effects loop.

Now here is the catagory where this head kicks! TONE< TONE< TONE!!!
That is what this amp will give you. I waisted years with combos when all I really needed is this amp. It is loud! 50 watts that would make othe 100 watt amps cry. I play blues and classic rock and this amp fits the bill. I play it through a 1960AX cabinet that has the greenback speakers and I think this helps. This is the first amp that I have plugged into and thought "That's it" When you fire it up you can hear the gain ready to rip of your face. It's not super quiet but it's not bad. The presence control makes a swishing sound when rotated, but after trying out several of these amps I found this to be normal (just thought you should know this). Settings work best if you set: presence 3, treble 3, mid 4, bass 4-5. Of course you have to link the high and low inputs together with a small cable to get the best of both channels.

The first one that was shipped to me had a loud buzz in it, still sounded great only with a lot of noise. I know that a lot of Marshalls seem to have bad solder joints (cold solder) The second one was perfect. the guys at L & M Music in Chattanooga were great about sending a new one out quickly. I do gig without backup, I just keep tubes and fuses for backup.

I haven't dealt with Marshall a lot but the one time I contacted them on a previous amp they were very quick to respond by email.

I have been playing for 20+ years and have owned a ton of amps and this is my favorite. I have had several Marshall amps including a JCM 800 head but it didn't even come close to this one. I beleive that master volumes on amps really effect you tone in a negative manner. I know it is a usefull feature but you can get by wqithout it. I use a Fulltone Fulldrive for added overdrive. This amp has overdrive of it's own that is totally (that's Tone-ally) awesome. You can feel this amp beat on your chest when playing at high volumes. This is the frist amp that I have had that I can say I "feel" it. Does it comnpete with boutique amps? I don't know but I like it.

This amp does not have many features, but it does have the most important feature... tone!! The amp is very versatile. Even without all the features of the POS channel switching amps, I can get any sound I need using only my guitar and a Tube Screamer. Clean sounds can be obtained by backing off on the guitar volume, crunch sounds can be obtained by setting guitar volume all the way up, and high gain sounds can be obtained by kicking in the Tube Screamer and goosing the front end of the amp.

This amp sound incredible with any guitar/pickup combination. I play mostly modern and classic rock. I wouldn't recommend this amp for country or jazz, but it would probably work ok for either at lower settings. This amp crunches like a mother!!! Think AC/DC.

Never any problems, but I'm an amp tech and keep it in top shape with regular maintenance.

Korg USA is easy to deal with.

I love this amp. It sounds just like a real Marshall should, not like one of those piece of crap JCM-2000's Marshall is making now. If you're into the Peavey/Crate sound but want the Marshall look, get yourself a JCM-2000. But if you want pure unadulterated Marshall tone, get a Plexi reissue.

Very simple 50w head, just the way I like it. Presence, tone, mid, low, and 2 volume knobs for hi/lo channels.

I play mainly Gibson guitars (ES335,'68 SG JR,SG Supreme) but also a japanese 70s Epiphone Crestwood and a Fender Rosewood Telecaster (the 90s japanese reissue). I play blues, rock & punk stuff. I like the fat Marshall sound and this is the best Marshall ever in my opinion. Better then the JCM800. Forget about the 900 series and the new Marshall amps...you can't get a better sounding Marshall than this one.
This amp is pretty LOUD for being a 50w head. I use it with a Marshall 1960TV Cabinet (Greenbacks Celestions) and I love it.
Also, I like the 50w heads better than 100w heads, because you can crank 'em to 10 without becoming DEAF !
The clean sound is amazing...turn it up and you get a very rich and full overdriven sound.
Both Gibson and Fender guitars sound fantastic with this amp.
P90 pickups, which are my favourites, sound absolutely GREAT.
The amp is a bit noisy, but no big deal.
This amp is perfect for Hard Rock, Blues, Punk and also old school metal.
Stay away from this amp if you want a stupid NU METAL sound...get a MESA instead (which cost twice as much and sound shitty compared to the plexi...)

Never had a problem. Chenged the tubes once.

This is my favourite amp. If stolen, I'd surely buy it again.
As I said before, this amp is pretty loud but you can achieve that fantastic overdriven sound only when you crank it up. If you keep the volume down and use a distortion stomp-box, it will sound good, because it's a great amp, BUT it cannot be compared to the full, rich tone you get when you crank up the amp!
Play your guitar straight through this amp to get the best of it !!!!!
If you like the MARSHALL sound, get this amp.

what features not even a line out!

This is where this amp soars high! Great great great great tone!
I have yet to find an amp that can sound like this. It is super loud but you stop caring after hearing the superb tone. I use a telecaster deluxe. I found this amp sounds best NOT with celestion greenbacks or vintage 30s but with my Mesa Boogie 2x12 which has 75 watt celesitons. They dont break up as easily and arent as harsh and trebely sounding. With the 75 watt celestions it sounds really warm and well rounded. cleans up as nicely as a vox ac30!

i dunno

blah

damn good amp! not for the elderly!

I bought this head new earlier this year. As stated in prior reviews, this head does not have many features. An effects loop would be nice but is not essential especially since the natural tone is incredible.

I use this with a late 60's Strat and a 30th anniversary Les Paul. This head is used with a Marshall 1936 2 x 12 cabinet. I play mostly hard rock and blues with some jazz influence. Simply put, this amp has the best clean sound of any amp that I have ever played. Over the years I have owned several other Marshall amps and this is my favorite. The clean sounds from other Marshalls, especially the dual or triple channel models, just does not compare in my opinion. With a volume setting between one and two, this amp puts out a great clean and punchy sound. The volume "comes up" very fast as compared to other amps. You reach maximum volume right around a volume setting of between 2 and 4. Beyond that, the amp provides an awesome overdriven sound that is awesome for "glassy" lead tones. It is also great for crunchy sounding chords where each note of the chord really cuts through and can heard with great clarity. The tone is like a glassy overdriven tone that sounds very similar to Yngwie Malmsteen's or Eric Johnson's lead tone. Again, the tone is awesome and can really cut through without sounding muddy. This amp has two channels that you can plug into. One channel is somewhat bright sounding while the other is more flat and bassy sounding. Each channel has two inputs. Most people including myself "jump" both channels with a short cable and plug your guitar into either one of the channels. You will have to experiment but it does not take long to figure out your options. This is not a perfect amp for someone wishing to play modern metal music. Although you can alter somewhat the amp's distortion sound with pedals, most distortion pedals are noisy and shrill sounding and takes away from the great sound of the amp and guitar itself. I use a Fulltone overdrive pedal with this with great results. You will quickly find that you love this amp's tone and sound and may, as I do quite often, use no pedals with this since the natural sound is so incredible.

Like any tube amp, I alway have spare tubes on hand or another amp ready to go if a problem occurs. The simplicity of this amp, as compared with the dual and triple channel Marshalls, may lend to its reliability (less to go wrong!).

standard five year warranty as is normal with Marshall amps. Never had to deal with customer support yet.

I rate this a 9. Nothing is a 10 in my book. Quite simply, this is my favorite amp. I have been playing for over fifteen years and have owned many amps. This will be my main amp for live playing as well as used heavily for future recording. I originally was going to buy the JCM2000 DSL but got the 1987X primarily because the store clerk, who is familar with my tastes, steered me towards the 1987X. I'm glad he did that. The JCM2000 would be awesome but the 1987X simply has the best clean sound as well as an overdriven glassy lead tone of any amp I've tried. While it may not be the most versatile amp, you will quickly fall in love with it and forget about its lack of features.

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 &quot;really shines&quot; with the 1960x or 1960v cabinets, however i have not personally compared the models)
Amp will suit blues, &quot;classic&quot; 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 &quot;bedroom&quot; 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 &quot;Plexi&quot; 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 &quot;Plexi&quot; specifications (for those hardcore &quot;plexi&quot; enthusiasts&quot;) with new tubes, rebiasing, and (for those willing to spend $300-$450 for complete &quot;plexi&quot; 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.

Amp was ordered brand spanking new in early 1999. I play infrequently;
used to be in bar and wedding bands, I play guitar, bass and drums.
This amp was purchased solely for use at home to kick around with. At
home, I play mostly Allmans, Clapton and Doobies. Except for the volume
thing (power comes up fast), amp is excellent for these styles, so
long as you like to play loud at home. It has limited clean headroom,
tons of distortion and unusually nice presence without the use of
external boxes-never feels like you need reverb. Haven't plugged in my
Tube Screamer or Metal Zone either yet. There are not a lot a
features, it's just pure tube heaven the way it is supposed to
be. I like the uncomplicated controls-it's one of the features that
attracted me to the amp in the first place. I don't like the lack of
control over the volume.

Currently using a Les Paul Special and a homemade SRV Strat. The 1987X
is phenomenal with both so I am sure it is similar with any guitar. It
has the power to bring out the real sound of whatever you are playing,
as both guitars sound completely different as they should. The 1987X
is an excellent tube amp with the real Marshall sound. The overall
effect is very pronounced and dynamic-in other words, it rocks, no
questions asked! There are 4 inputs in the front; the first have
tremendous gain, the latter have less. I use mostly the third input,
but it is plenty loud. I used to own a new JCM900, which is very nice
but completely uncomparable to this amp. The 900 sounds sparkly and has
flexibility, but the volume comes up very slowly. It sounds more like
30 watts to me rather than 50, especially in a live band situation
where I found it to be lacking-I had been using it with a Marshall 1936
cabinet.I figured that the 1987X would be similar. WRONG WRONG WRONG.
The plexi has tons of power that comes up (too) quickly. It will
easily handle a 4x12 and probably a full stack. I use it with a brand
new Fender VibroKing 2x12 cabinet with Celestion Vintage 30's.
OUTSTANDING. I had previously heard the Vintage 30's in a smaller
Marshall amp and loved them. This combination is perfect for home and
probably would be for clubs too. The 1987X has some hiss. Using the
less powerful inputs, the best technique to use the amp (from what I
can see)is to very slightly turn up the volume on the #1 channels, then
adjust the #2 volume to your liking. If you use the #2 volume and keep
the #1 off, you lose a real lot of punch at lower volume. Strange, but
I guess like other Marshall amps, the controls are interactive with
each other. The hiss is not bothersome, mostly because this amp sounds
so gorgeous. It sounds loud, full, sparkly, snappy, crunchy, punchy and
powerful. It makes you feel good when you play. It makes a good guitar
better. What's left? It has to be one of the best. I have never had the
volume over half(5)-too afraid of blowing the speakers.

My amp blew one of it's Svet's EL 34's in the first week. It seemed
to be due to the spring-tube retainers-they are too tight out of the
factory. I took the opportunity to replace both EL 34's with a new set
of Groove Tubes and it has been clear sailing from that point on. The new set is the cleanest sounding rating possible. The amp has responded
nicely and still has PLENTY of distortion left. Otherwise, the
construction of the box seems fine and still has that great new smell
and all, with the vintage look. Everything seems tight and roadable if
necessary.

Have not needed customer support. Has long warranty. This amp was
bought from a friend who has a music store so I don't expect any
problems in the future anyway.

I have been playing for 25+ years. I used to play a lot while out with
bands but currently I do not get a chance to play much due to my day
job. I would probably not buy another plexi because I honestly need
something more flexible and quieter, since I play only at home and
have family, etc. It's a love/hate relationship-the amp sounds great
but in my situation, it is too loud to use all the time. I TRULY wish
they offered a normal volume pot. with this one, and I understand this
model may be true to the original in most ways, but geez...it's not
for the faint at heart. I guess I am showing my age here but what an
amp this would be if it had normal controls! This is a special amp for
limited applications. If you to rock out and need the best sounding,
loud amp for a reasonable price, I would recommend it highly.

Mine was made in 1993 - the first year of production. Pure simplicity. If you want triple channel switching, effects loops, or any other useless crap, this amp ain't for you. What it gives you is an underrated 50 watts of pure, unadulterated, kickass vintage tube TONE!

I play older Gibsons (1976 Explorer, 1979 Flying V, 1965 Melody Maker (modded with humbuckers), Dean Z Flametop (1980), BC Rich Mockingbird (1979 Neck-thru), Hamer Steve Stevens (set neck, just so I have 1 axe with a Floyd Rose) etc. This amp would make any guitar sound good. I have a well thought out pedalboard that I use in front of it, and have a variety of 4x12, 2x12, & 4x10 cabs, all with celestions (Original Pre-Rola Greenbacks, 30s, 65s, & 75s). This amp sounds so good, I bought a 2nd one (also a '93) and sold my beloved 1969 50w Plexi Tremelo head for $2000, which I bought in 1980 for $400 and used hard on the road for 14 years. I've owned at least a dozen good Marshall heads over the years, and the 1987x sounds as good or better than any of them.

One of them I've had for over 5 years, the other for almost 2 - never a problem.

Never had to deal with Marshall, probably never will.

These amps are all I need, although I own others (A couple of old HIWATT heads - I frequently use 1 Marshall & 1 Hiwatt together)

This amp was made in 1996. 2 channel amp with a/b switch in front of it. Vol.1 and 2, presence, bass, mid, treble. 50 watts British, which would make it closer to 70-80 watts American.

Playing amp with PRS's. Play classic rock n blues. This amp is pretty much full volume at 2 and overdrives after that all the way up to ten. This amp sounds great at 8-10. There seems to be some controversy over the sound of this amp. I will come forward and say that I own a 1968 50 watt "real PLEXI" among other classics such as 2 original AC-30s and a Hiwatt. This is now my main amp. Why? Because this amp is fresh. There are slight tonal differences between my Marshall's, but like I said, this one is fresh and doesn't need to be rewired, need new pots or zinc. Yes, this amp is not a PLEXI, but does come pretty darn close to the desired sound, enough so where it has replaced my PLEXI and retired it to my bedroom for now with a "juice" in the back of it. Now I'm not claiming this reissue to be a PLEXI, it isn't, doesn't have the plexiglass plate in it and isn't handwired, but for all sake and purposes it is referred to as a PLEXI and sounds and behaves like one. I plug straight into the front number 1 jack right out of my PRS, wholla, "tone" the way I expect it. Now don't be fooled by thinking you'll be getting EVH or R.Rhodes tones with it this way, just guitar into amp. No way Jose, you will need to throw a stomp box in front of this amp to get that tone, and yes, then you will be able to get them higher gain levels then. Be careful not to get too noisy of a stomp box though, this amp will reproduce the noise as well as the signals given to it. This amp has a lot of meat and warm tone and is a helluva lot quieter than my '68 when standing idle.

I have had good luck with my '68, only minor repairs through the years in addition to new tubes when needed. Knowing that, I had little problem with the concern of reliability from this Marshall, especially being that it has a 5 year warranty to boot.

Have my own tech to wrench on my gear.

I've been playing now for 30 years and played them all, including the digital pre's and the alike, and I still like my PLEXI, hence why I purchased a new one. I find this amp to still be worth its weight in gold (hell, look at what they are getting for used Plexi's these days, ouch!). Marshall insults the competition by using it's old technology for the present market, and yet if you were to ask ANY amp manufacturer who their competition was, they would tell you the Marshall. Is this amp a good value? Well it depends on the musician. If you're a serious guitarist, who's got the cash, then this is a good purchase, but if you're a beginner, or into thrash or metal, then this amp will appear to be over priced for its level of features and usability, not to mention it's not for the weak at heart. But for me, I raise a toast to them Brits.

To Harmony Central, Please indulge me by accepting/presenting this submission,it is somewhat relavant as a review for the stated product but also provides other important information for future (critical-as you prompt people to be-submitters.Thank you.

The answer to the question is,yes! I have played all the various re-issues(plexi 50wtt,100wtt and JTM 45)And I still STAND BY MY SUBMISSION.#1-These submissions are only our opinions on these products,sound and taste are highly subjective(I thought this was a given),and are not to be taken personally(The only person who can invalidate your opinion,is you.#2-My point was that the re-issue is not a true plexi that you were comparing to in your submission,it's misleading and lord knows there is too many people who are trying to baffle us with B.S.as it is.Real plexi's were produced in the middle to late 60's and constructed differently.(A plexi panel and given name won't change this fact).I'm glad you think the amp "rocks" Brad,I'm sure many other people are enjoying their re-issue's too.#3-You slag the "botique" amps,but they are delivering the goods-not just my opinion, just see the roster of pro's and local players.I will ,however,provide one caveat that you make a good point of(and is one of the bigger reasons for my "harsh" review)and that is PRICE.There isn't a hell of alot of components in an old plexi marshall,they(marshall)could build a better approximation but marshall doesn't.Instead,other manufacturer's build overpriced amplifiers because they know two things,there's a demand and marshall wasn't providing player's what they wanted(Real-see not a rockmaster preamp or jcm900-tones "like the old ones",with more flexibility,consistency and reliability.Where was marshall between the 800 to DSL/TSL period? Overpriced as they are they still give better approximations of older amplifiers than the re-issue does, I didn't say It couldn't rock!(I did say in my previous submission that it had it's own merit-but you compared directly to the real thing "coke" and I disagreed, simple as that)I don't want people to reward marshall for their mediocre(look! here's a plexi)products with unchallegned accolades.#3 I chose not to provide my e-mail address for the exact reasons that you have made obvious,you responded to a conflicting review which you a)took personally b)misread/misunderstood c)both. by suggesting that "I shut my friggen'piehole"etc.Who knows what continuous,innane and un-objective babble I would have recieved If I provided my e-mail? So hey,cut me some slack!

This is a submission because Mr. WiseGuy is trying to claim I don't know anything or that my opinion on the 1987x isn't valid. don't know why he/she decides to pick on me after reading the rest of the reviews..
No features on this amp at all except the bare basics.

THIS AMP ROCKS!!!!! This cat can shut his friggin' pie hole!!! Yes, I have played "real" plexi's for your information Mr. toughguy... I would love to reply to you through email but you're submitting in stealth mode and i guess don't want to hear from me. Ya like the soldano, or Hughes then write a submission on them amps. this submission is about the friggin' 1987x plexi... I'll take the pepsi challenge to any "real" plexi or Soldano, Hughes, VHT, etc... This cat hasn't plugged into my amp, with my guitar, adjusted the way i like it. I'LL REPEAT: THIS IS THE BEST AMP I'VE EVER PLAYED, REAL PLEXI'S INCLUDED!!! yes is board rather than hand wired... BFD!!! My review of the 1987x holds!!!! I've also played VHT's and friggin' Soldano's. I won't own one! Sheesh guy, back off. Yes, I am getting the brown sound too. I don't understand this cat's negativity is towards the re-issues... Has he played a re-issue??? That's my question...

Same comments as previously stated.

Same as below again.

THIS AMP IS UNBEATABLE!!!!!!!!!!!!! BRING ON THE SOLDANO'S, THE HUGHES, THE VHT'S, THE BOGNER'S.... EVEN THE TSL'S AND DSL'S. As I had said earlier. I have yet to play its equal.

The purpose of this submission is to warn people about the re -issue "plexi's"I doubt our friend who made a "glowing" submission has ever played through a real "plexi" or other non-master marshall.I have,on the other hand,have played many 'O'marshall, save for 63-64 model years.The re-issues do not even come near the hand wired originals,including the implied '67 100 watt Van Halen tone machine.They do not have the volume,balls or crunch of the originals.How could they?After all,re-issues are printed circuit baby.But having said that,if you want a decent approximation of a "plexi" try the marshall DSL 50 or 100.Yes these amps are also printed circuit,but tweak it right they will deliver good crunch with mondo(100 watt especialy)ear splitting volume(marshall probably learned a thing or two from Stevie Fryette at VHT).This not to say that the re-issue doesn't have it's own merit either,not every old "plexi" sounded "god" like either(hand wired + varying parts tolerences=inconsitentcy)I think you get the picture.If you love the amp that's fine, but "plexi's" they ain't.And yes,VHT,Bogner,Egnator and Soldano's will easily kick the livin'shit out of the pathetic "plexi" re-issue.P.S.To those of you who own Soldano,Bogners,etc.who want to get "plexi" as possible,here's a tip;Replace a 12AX7 (usually the 2nd or third)and replace it with a quality 12AT7,can you say punchier?That's all for today kids,until next time.

This catagory gets in my opinion the best rating, in which is the one of the lowest ratings. Why, because this amp, with as little features as possible, allows for guitarist to start from the best "playing palette". Little to go wrong with this beast.

I've been playing nearly 18 years now and have owned and played many amps, and have yet to play this bad boys equal. I can't understand why anybody would purchase overpriced amps such as Soldano or Mesa among others. I heckle them people. This is also Marshall #3 in my rock n roll posse and smokes them as well, them being a JTM and a SLX. If you like it raw, as I do, and I mean RAW, then there is no substitute. You could throw a stomp box in front of it, but wouldn't need to. This cat is unmatched in valve excellence. A very, very warm amplifier.

It's a Marshall. There is no need to question its reliability. All of the twangin' gods, and we know who they are, will go to bat for this amp (if they are still alive).

Marshall doesn't need a customer support. Just users that aren't dumass's.

I currently am running this monster into my Marshall tv cab w/greenbacks, again a superior product. My Les Paul Custom has never shook hands with an amp as easily as it does this one. I label this amp as having "Perfect Tone". I think the gods have produced enough tones out of this amp to back that up, i.e. the brown sound, though the brown sound I believe is a 100w, big deal. If this amp was stolen??? Well let me put it this way... I've played too long and waited for the perfect tone for too long to let this guy go and if any SOB lays their fingers on this head with any wrongful purpose I will find them, oh yes I will, I don't care if it takes me to friggin' Indonesia, I will find them and put the hurt on in a big way. Over and out fellow tone hunters.

This is a reissue amp of those from the 60s. The features are very basic and it is a no frills style of amp. 2 channels, Controls for Presence, Bass, Mid, Treble, and volume for each channel. No master volume, midi channel switching, effects loop, headphone jack, half power switch, tone shift, gain switch, etc. And its the best Ive ever have. None of those are neccesary. I really dont miss any of the frills of other marshalls, except for reverb, but you can get one of those fender reverb units which are fantastic. The first channel is much brighter and trebley than the second channel, which is rather flat. The "loudness" control is also the overdrive control, therefore to get lots of od., you must crank! If you cant crank it up, then I suggest a power brake. It actually is very easy to use once you get used to it, and most importantly, this and the 100 watt slp are the greatest sounding amps in the world. This gives the sweatest overdrive and best clean of any marshall by far. It is great for people looking for vintage tones. This is the same settup used by Hendrix, Clapton, Page, Townshend, Rhoads, VH, everyone. Its not really for thrash metal players, but I hate thrash metal so it doesnt bother me. The power of this is actually perfect for me, but I play very loud, and use a drive pedal for practice. (practicing with this thing cranked would leave me withered and deaf.) I would suggest that if you like the tone of the amp but arent playing arenas, that you get this 50 watt rather than the 100 watt. One odd thing about this amp is that it gets loud incredibly fast until about 2, then levels off a little and from then on more overdrive is added rather than volume. Befor 2, it is great clean. The reason for the moderate rating is that the features arent great. But dont worry, I find a little changing of the guitars knobs during a song is equall to using a footswitch. By doing that you can change from clean to overdrive, etc.

I use a gibson les paul classic and a 2x12 tsl cabinet with vintage and heritage greenbacks. I play a vintage sounding rock, with a lot of soloing and improv, think zeppelin, cream, Hendrix. This is the perfect amp and has both amazing overdrive and clean sounds. I usually play at about 2 or 3, which like I said before is near top volume, but low bluesy drive. It only gets noisy at like 7 or 8, and it is silent where I play it at. The distortion will get pretty high, but get a pedal if your a metal player. It gets a really punchy, thick, fat tone on every note, which I love. The presence level has much to do with that. Lower presence gives the punchy tone, higher is a little thinner (think Van Halen). Its just the most amazing sounding amp, with plenty of ear destroying overhead

Ive had no problem with it, but It could have a problem if it is constantly on full volume. But these are built very well, and there arent that many parts to go wrong. Simpler amps make for simpler problems. And the controls on this amp are very basic. The only problem is that the tolex peals easilly, no matter how well you take care of it. There are no plastic bumpers on the corners and the tolex will easilly give.

never dealt with them but they give a 5 year warrenty, which is good, and they stand behind their products

Ive tried just about every kind of amp, mesa, fender, etc. Many of those are good but do not give great overdrive. Mesa is good for gain, fender is good for clean. Marshall is great for overdrive and overall tone. The jcm series bows down in shame to this amp, and this head is actually much cheaper. If it were stolen, Id track down the bastard that did it, wait for him in a dark alley, remove his heart and show it to him so he could see how black it is before he dies. I like the amp a lot. Perfect for vintage sounds of all sorts, and is the choice of all guitar heroes. Id give an 11, but the rating doesnt go that high.

This a 1997 50W Plexi re-issue that was moded with German EL-34's and JTM-45 rewired chassis specs. It has very simple features and does the job, provide the most beautiful tone you can imagine just like a real 50W Plexi. It is very loud and used only to play out. You can shape the tone by the speakers (Green Backs), size of the cabinet, the volume and the pedals you add. No need for an effects loop, distortion channel or any other controls.

I use a 60's Strat, PRS McCarty, 1986 made in Japan Telecaster deluxe and a mexican Jimmy Vaughn Strat with Fralin Pickups. I play mostly blues/rock and this head, now moded, sounds smooth as silk SRV or Hendrix to a "T".The volume has more control and is more graduated and the presence control is now very subtle not harsh. The head is now very quiet no hiss or hum.

Have just started using the head out and have not had any problem. It is made extremely well with quality parts even the PC board instead of hand wiring. The cabinet is made well also and can take a beating.

Have not had any need to use this service.

This head when moded this way gives you the essence of the 60's Marshall sound without having to buy the original. Coupled with a 4x12 cabinet loaded with 25W Celestion Green Backs you can duplicate any major 60's guitar players tone with little effort. If you want more info on this mode contact Dave's Sound repair in Whippany, NJ. You will not be sorry.

THIS IS AN UPDATE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! OK, Im not so happy now with this amp.The " I OWN A PLEXI" feeling has worn off. This amp is not for the guy or gal who likes to be a rock star at home,its to loud for practicle applications.Not that 50 watts is to much but that you have to crank it to about 7 to get distortion. Other wise its kind of dull sounding,flat,and boring. My blues deville was better for clean and low gain. As for the distortion that other reviewers are giving: ????????????WHAT MYSTICAL POWERS DO YOU POSSESS??????. At 10 is does distort alot but not like VH or ACDC.The gain is softer or fuzzier kind of blending notes together,not tight like on ACDC LIVE. Its good but not what i thought it could or would be.Granted this could be my guitars, A Les Paul Std.,Amer. Tele,Amer. Strat. Also i cant get pinch harmonics to come out with my LP. Not like on a 900 or my fender(believe it or not).I would say its a heavy overdrive but not very expressive. Also when you plug into input 2 ch.1 bleeds over effecting the tone. With it off its muddy but on even a hair theres a underlining fizz,really noticable with my boss DS-1 pedal(high gain or not).Presence knob cranked theres a hiss too. This is a one trick pony after all!!! i was wrong! If you have the right gear and play out often maybe its for you. I think Im going to sell it or look into modding it to an 800 or something.

made in 1996 This amp is simple with two channels, shared eq, presence, and no reverb.There is no power modes or effects loop,simple.This amp is great for classic rock styles but an overdrive pedal is needed. Its very loud and gives the best distortion past 6.I do wish you could foot switch the volumes,oh well. It came with EL34's a different sound than Im use to with my 6L6 fender. I think its a tighter sound,but Im going to change the tubes to groove tubes or N.O.S.. By the way it is used and i got it for $545.00 mint!!!

Im using a few guitars with it: Amer. Tele, Amer. Strat.,Les Paul std. The Strat has texas specials, tele is stock,and the Les Paul has 57 classic in the neck ,stock bridge. I play mostly classic rock ala Zep,Stones,Clapton,Hendrix and british blues.This amp is great for those styles especially brit blues.Ive had a few fenders in the past and there just as good but american(srv)sounding.I find this amp is very quiet, except when you use a distortion pedal.Really thats just like all amps being pushed with a pedal,nothing major.I really like the bright channel.It can get a great country twang with my tele and i think it sounds better than the normal channel.The real beauty is jumper cabling the two channels and blending the two.Theres more versatillity then first meets the eye with this amp.Oh, Im using a 1936 model 2x12 cab with the stock 75 watt speakers,but would like to try out vintage 30 for a more authentic 60's 70's tone.

i dont know,i just got it.

never done

ive been playing 14 years and i do like this amp but still would rather have an old one. Its a great amp but you cant buy age in any reissue!! Just like guitars it just has to age!!After comparing all the other models marshall had except the tsl 100watt.I liked the reissues natural tone!!The others all,(ALL!!!!!)sounded like a processed distortion. The worst being the Dsl 2000! It had a brittle tone, very disapointing.I returned it after 3 days.My next marshall will be the JTM45 for that 6l6 tube tone. I have to say i spent hours on this site reading everyones reviews and its great this site exists.When your ready to buy take your time,dont rush it.Visit EBAY and every music store you can. This way when you buy its forever and not a 6 month mistake!!!!!! Good luck and email me if you need any more info on the 50watt reissue marshall

Amp is a reissue of a 1966-69 Plexi. 2 channels one set of EQ. There is No reverb,effect loop or master volume. You crank it and it gets sweet. Power tubes are EL34. very basic.

If you set this baby on 4 you get a nice smooth over drive. Turn your pickups down to 3 or so and it gets real clean. This is by far the best sounding Marshall I have had. I have had them all except the Triple Super Lead. This is not a Pussy amp. With a Strat you can get Jimi sounds with a Les Paul you can get that Jimmy Page sound. I did not get a lot of noise with the Strat. My Telecaster with EMGs was a lot like Johnny Lang only more full. I play through a Fender Rock Pro 412 with Celestions GT75.

I will hope for the best.

This thing is warranty for 5 years.

I own a lot of gear and this one is a keeper. It will fit in good with my Fender amps. I compared the amp with my Hughes & Kettner and The Marshall was a touch smoother. sound wise they were close. The Marshall was cheaper. This beats the Hell out of one of them pussy digtial amp like the Line6 or Johnson. There is nothing like the real THING.

Two channels. Thats about it.

The best sounding amp I have played to date. And believe me, I have owned MANY amps. I play blues, rock with a Fender Strat with the volume on 4 or 5 and it sounds great with no effects. Crank up the volume and you get Eric Johnson lead tones and AC/DC rythm.

Brand new. No problems so far.

Again brand new.

I would higly recommend this amp for anyone who wants to be heard. I use the head through a Marshall 1936 2X12 cab it sounds awsome. What I do not like about this amp is the bright channel picks up background noise ie.. radio stations... Just like the old. This is, in my opinion, the best reissue any amp company has put out, by far!

The few features that this amp has have already been listed in previous submissions. There is really only one important feature...TONE OUT THE WAZOO!

This amp rocks! This is the 50 watt version and it is plenty loud. The tone is incredible. The amp can be incredible clean and also can have the most thunderous distortion. All of this can be acomplished by your guitars volume knob. The tone is pure tube. As previous entries have said, there is not any fizz, fuzz, or buzz in this amp. Just pure tube clean or crunch. I use a EVH MusicMan and a Steinberger with EMG's. These both work well with this amp. The EVH sounds better to me because it is warmer than the Steinberger. As already noted in other submissions, the volume knobs work differently on this amp. It gets very loud very quickly and then as you turn it up, the most beautiful, thick, crunch is added in. I am an Van Halen freak and this amp gives you the ability to easily get all of the incredible tones that Eddie got on the first few albums Just turn it up and there it is - in your face!

It is brand new and comes with a 5 year warranty.

N/A

I love this amp. I thought I loved my 5150 a lot, but this amp is unbelievable! I may trade the 5150 for a second Plexi!!

The 1987X is a reissue of the 50W plexi head (c.1966-69). It has two channels with 2 inputs each. Channel I is treble boosted and channel II has a flat response. The second input on each channel is -6 dB relative to channel I. This amp is no frills when it comes to features. No effects loop, no channel switching, no headphone jack (but what do what this was designed over 30 years ago. And besides DID HENDIX NEED A A FREAKIN' HEADPHONE JACK??). The back has a selector for 4,8,16 ohms, and 2 speaker outs, as well a voltage selector for when you tour the world. 2 EL34's (Svetlanas) and 3 12ax7s (Marshalls, which I wasn't too impressed with. I changed to Mesa's and the difference was unbelievable). The 4 inputs can be plugged into each other for more sounds as well. This monster has power to spare!! That 50 watts is rated at 3% distortion! It is more than loud. I have a 70's Peavey that is 50 watts, but it isn't half as loud. I play rock, blues, funk, jazz, country, and anything else you can name. I can pull out all the sounds I need for any style, between my SG and my strat.

The amp can be a little noisy if used at its brightest setting, but at that point your ears are bleeding anyway and some noise won't matter. The clean sound is unbelievable!! Super rich with harmonics, fat and velvety. I've had the amp for 6 months and I am still surprised by how good it sounds each time I turn it on. The volume seems to work a little differently from most amps: the sucker gets real loud real fast. Then as you turn the volume knob up the volume isn't increased as much as distortion is added in. And what distortion! Gut shaking, house crumbling gorgeousness. Super thick, super fat. I drive the amp sometimeswith a tube pre-amp for extra sustain, or distortion at low volumes. Just listen to Hendrix or the Allman Bros. to get the idea.

This mother is built! No problems so far. It comes with a 5 year warranty.

Haven't dealt with the company.

I would buy it again and I think I am about to. This amp is one of the best amps I have ever heard. There are some amps that are up there with it (Groove Tubes and Matchless amps come to mind), but none that I've heard that beat it. It has the best clean sound and the best distortion. I thought about the 100 watter, but this one is a bit lighter (weight-wise) and the distortion is smoother and a bit wilder.

This is a reissue of an amp offered in the late 60's so features are petty basic. The amp has no master volume, channel switching or reverb. It does have 2 channels, one normal and another treble boosted. The two can be patched together, by jacking one into another, to blend the sounds. Tone controls are basic "treble, bass, mid and presence. The rear panel is pretty stark with 2 speaker jacks and an ohm selector for 4,8,16 ohms. No effects loop. It is powered by 2 Svetlana EL-34's rated at 50 watts output. A very LOUD 50 watts!

I play classic rock, alt-rock, blues, country, '70's disco and just about every other genre except for jazz 'cause by bread and butter is weddings, banquets, fairs and other "private gigs". I use two strat style guitars, one with 3 EMG single coils and the other having an EMG humbucker in the bridge position. This amp provides all the tone I need for the above music styles. It's sweet,clean and full on the lower volume settings and creamy smooth on higher settings, especially with the humbucker. Throw a decent distortion box in from of it and it will wail ala Van Halen, Metallica etc. The tone controls are very responsive. Many use the vintage cabs 'cause they like the early break-up of the speakers, but I use the modern 300 watt 4-12 cab and a 2-12 150 watt cab. This gives me a little extra clean headroom and, I believe, a creamier sound 'cause only the amp is saturating, not the speakers. Though this amp is very loud, you may run out of clean headroom if you are playing outdoors or a large room, especially with hot pick-ups. For me, I solved this minor problem by purchasing another 1987x head and using both. The tone of both heads in stereo is incredable. A wall of sound!

I have used this head for about a year and it has never let me down. I am meticulous about correct usage of the stand-by switch, use a fan for cooling and tend to regular servicing. Jury is still out.

Never needed to use customer support.

I traded a 100 watt Mesa duel rectifyer and matching Mesa 4-12 cab for my present Marshall rig and don't regret it for a minute. The Mesa had channel switching, channel cloning, bold vs spongy, orange channels, red channels etc. etc. It eventually made me nuts. I was drawn to the simplicity of this small box Marshall head and the beautiful tones I could get from it... EASILY. Before buying the plexi re-issue, I tried the JCM 900 Duel Reverb and the JCM 900 SLX. Neither came close to getting the dynamic clean sound or the smooth overdrive tones produced by the plexi. The newer Marshalls have a reputation of sounding a bit thin...they do. Not the Plexi...full and rich. Oh yeah, I did test the 1959 plexi reissue 100 watter. A bit more brittle and not as sweet sounding in both the clean and tube saturation. Plus you'll go deaf saturating the 100 watter. As stated above, I did buy it again. Life is good...and simple.

This is the good old all-tube, kick-butt, pre-preamp/pre-mastervolume Marshall. (i.e. no (extra)preamp) All-tube. It has two channels but is not switchable. One channel is ballsy, the other is treble boosted. Both can be used simultaneously to get a good bottom end with lots of crunch, not fuzz, in the mid and upper end. It has a volume for each channel and the standard Marshall tone controls. There is also a 100Watt version like Hendix and others used.

I lean towards a more agressive sound with lots of balls. I grew up with Van Halen, Black Sabbath, Scorpions, Iron Maiden, Rush, etc. The amp is actually quite clean, which may seem a strange comment on a Marshall. But tube amps sound best if allowed to "breathe", as in TURN THEM UP LOUD. I drive the input fairly hard and allow the amp to add it's character to the sound rather than simply amplifying a pre-processed signal. I used to use the 2x12 combo version of this amp with a 4x12 cabinet. My amp was concealed behind a backdrop and I would constantly have other guitar players coming up to ask what I was using. When I told them they didn't believe me. They were sure that I had multiple stacks.

What's there to say,? it's an all-tube Marshall.

I have never had to deal with the manufacturer. I'm not sure how long the warranty is but I don't expect to need it. This baby is only about two years old now.

I did buy it again. As I stated earlier I owned the 2x12 combo version previously but it got stolen. It was built in 1978. I then bought the same amp in a head that was built in 1977. These were slightly different, mostly in appearance, than the one I have now but there's no mistaking that sound. I also bought a Marshall cabinet loaded with the vintage 12's, model 1960AV.(The V stands for vintage)