Marshall 2210

Mine has been build in 1990 and belongs so far to the later species.
I basically play Hard- and Heavy Rock and in combination with a Celestion Vintage 30 loaded, 4*12 Slash Signature Cab it deliveres plenty of power. Reverb is good and you just have to dial it in on 2 or 3 to get a pleasant sound. Overall features are OK for a 30 year old amp.

I mainly use a PRS single cut (Tremonti Signature) for the Hard & Heavy stuff and a Fender CS Masterbuild Tele for Classic Rock. The amp ain't noisy, has plenty of headroom in the clean channel and enough gain in the OD channel to rock the house. As more gain you dial in the more highs are added what means that you have always to play a litte bit with the treble and precence control if you are changing the gain setting. Overalll the gain texture seems to be more convinient compared to the other JCM 800 models ore the older 2203 series amps.

Build like a tank.

I have an excellent local repairmen who is specalized on Marshall amps, thus no support from Marshall itself needed.

I am playing since 1969 and came back to Marshall after I played a BOGNER Ecstasy 100B. Unfortunatly I sold my 50W Marshall (1971) some times ago and the new Marshall would not please my ears so much.

Mine were 100 watt 1989 and a 50 watt (2250) 1987.

These amps are vintage hype. Today they are regarded as awesome amps, and until the late 90's there was no Harmony Central Review section. So these amps have turned around and become collectible after the dawn of the Internet, hence all the stellar reviews.

I used the 100 and 50 watters all throughout the early to mid 90's. When I sold them in 1996 for chump change, nobody wanted them. They have preamp diode clipping, which is highly criticized, though I have no clue of what that means other than less desirable.

Both of mine sounded exactly the same and both sounded great. However, they both had the nororious buzzy top-end which was still found in the DSL successor. I doctored mine with an outboard EQ, and added delay and wah when necessary.

The tone and performance was consistant throughout the countless shows I did during the early to mid 90's.

On their own, they weren;t the cream of the Marshall crop like people think.

Never failed me, not even the tubes.

These amps were great. For some they were the finality of a Marshall era. Mine were awesome. But these amps are just good Marshalls, nothing to really shake a $1,500 used tag on. The clean channel was ass, and admittedly inferior according to Marshall.

If you can aquire a minty one for less than a grand, it might be worth it if it's a "magical" one. But other than that these weren't among Marshall's all-time greats. They just became popular because there were so many of them after the DSL came out, that people began to get them for like $300.

Seriously, nothing ground-breaking in Marshall history here.

i have 2 i think both are from 1981
very versatile amp although i only use the gain channel as i play in an original rock band (sabbathesque)type sound.
2 channels as with all 2210s, i dont use the clean channel.
this amp is fine the way it is,i dont use reverb or use the fx loop,
i use these amps at all gigs no matter the size of venue, whether it be a party at someones house or a clonking great big sports hall. i got em i use em!

i use a gibson les paul standard 1988 with seymore dunkan 59s in both positions, and a les paul classic 1960s reissue 1997 with open coil alnico's
of the 2 that i own 1 has been rated at 105 watts, and is a bit buzzy at times, the other 1 rated at 125 watts sounds like a welding rig even when there is noting plugged in the input,(probably needs looking at real soon though! this amp is a comlpete monster! it hurts!
both amps have amazing onboard ditortion, but for that little bit more pain i add some boss sd1

i can depend on it. 5 years pretty constant gigging and rehearsals and recording. as long as i keep nice fresh valves in it. from hotrox valves. they are fine.

never used marshall for sevicing as they are always TOO BUSY!...
so i use local amp techs to sort it if it gos wrong, which it hasnt yet.

i have been playin 15 years or trying! if it was lost or stolen i would die.. i would replace them with the same if it happened.
i love everthing about this amp appart from the fact it weighs a ton, and it sucks if you aint got roadies with you to move the kit.
theres nothing ide change or add this amp is great. this is a glowing reveiw and i dont care,. www.spiraldive666.co.uk

two channels, first one "clean" haha, second one "overdrive", reverb, and what?s most important 100 W ! that?s more than enough.

fits for all kinds of rock music. Maybe getting nu metal sounds could be a problem. I compared it to a marshall-dsl-100, and to me the 2210 sounded much more dirty and aggressive. try it with a Boss-ds 1 or a Zakk-Wylde-overdrive and you get an endless, highly distorted tone for lead.

no problems so far

I wanted an amp that offers overdrive and high distortion sounds. no problems in getting these sounds. warm and natural overdrive for less money.

1987 super lead ,100 watter,my wet dream come true ! I play melodical metal,classic rock and new rock ! this amp werks well in all situations,I used to have a vs100, older model with trans outputs,I do miss not having the third channel for leads !I gig with this amp and do some recording, definately hard to not play loud with this amp !I Dont use the effects loop and there is definately enuff knobs on it ! KISS principle,,,keep it simple stupid

I use a gibson 05 SG with stock humbuckers ,a gibson 82 explorer with stock active emg's and a Lado whammy guitar with a fred in it ! All three of these guitars have very different voicings on this amp !(Sweet)The explorer is tuned down 1 step and played in drop d, the sounds that come out of the lead channel are amazing ! ton of bottom and very crisp ! you dont get lost in the mix ! the clean chanel is clean enuff,plus who cares ,i dont play accoustic git anyway! LOL ! This amp will play hendrix,acdc,van halen and the newer stuff like nickleback and seether with no probs ! remember,this amp is always loud !

I got this amp from a guy who had it since new,,it had ever only been played in his house,he said he had it serviced 1 time,, so far it has been a trouble free amp ! to tired after carrying it around to carry another amp in , so no back up,,,, A Big word of advice,,use the right tubes for these amps,,I have had bad experances with sovtec tubes,,the real marshall golds are cheap compaire to an output transformer ! plus it will sound the way it is sposed to !

I deal with marshall a lot ! we have three marshalls in the band ,have had no problem getting parts and tech help ! I am fortunate that I am a tech and actually repair them !

I've been playing for 28 years,I had a markII 50 watter when I was 18,It had a 2x12 upright cabinate(finally seen on on ebay)sold it to buy my first car,wished I had never sold it! then I got the VS100 with a 4x12 cab,,it was a good amp,then I got the amp of my dreams this 18yr new jcm800 with a jcm900 4x12 cab,and all for an awsome price of 1400 bucks ! It was like I won the loto ! If the amp was stolen I would hunt down the person,it wouldnt be pretty ! I love this amp ! I would definately buy another one !

not sure what year. [mid 80s ]i play in an iron maiden tribute band and a few cover bands. the sound is that 80s metal crunch that i love. the effects loop is a little wet, would like to have a control for it.

i use a strat w/a humbucker in the bridge and a fast track in the neck. it really gets that 80s metal sound[ i use an e.q. through the effects loop for a boost works great. the clean channel does get a little distorted at high volumes, so you have to turn your guitar volume down a bit, but the gain channel's sound is awesome for rhythms and w/ a little gain from a sparkle drive, the sound kicks for solos

the amp sometimes just flakes out, but usually just for a second i never had it crap out at a gig but a backup is always a plus w/ any amp. its been seviced a few times, it fell from the top of a stack and is still kickin' so i cant complain

i use a local guy for repairs

been playing 20 years and this has been my main amp for 14 of them, and i wouldnt use anything else.

My amp's an '89'. It had the original tubes in it when I bought it 6 mnths ago. Once they were replaced, this amp exploded to life. This amp is for rock and roll, nothing else. People are fooling themselves if they think this is a versatile amp. It's tone controls are passive(don't enhance, only cut frequencies), which isn't necessarily a bad thing if you want an unscathed signal hitting the pre-tubes. It's only advantage to versatility is the effects loop, which you could I suppose do anything you want with, but does not actually make the settings on this amp change!

I mainly use a Gibson SG with stock p-u's(I believe they're 498's). I occasionally use a really nice Epiphone Les Paul Custom with the 50's reissue p-u's, but that guitar is rather heavy, so not often. The sounds that emit from this amp are disastrous if you can't play- not kidding. It is remarkably accurate unlike alot of heavily overdriven amps. You cannot hide behind the distortion. Other than that, this is the sweetest sounding amp in the world- almost. The clean channel isn't very clean, the reverb sounds really tunnely, well, downright crappy, and there is no setting below extremely loud! I would say if your looking for a smooth sound, forget this amp. It only has two settings, distortion, and really loud distortion! If there was anything this amp could use the most, it'd be a built in power brake. It is soooo rediculously loud that even at the lowest settings, it's still too loud, and I use this amp primarily in a LOUD punk band. I have even removed two of the power tubes to reduce it's power to 50 watts, and it's still earshattering, un-miked in a 500+ capacity venue. If you are a fan of simple, easy to use good old rock and roll at 180 decibles, this is your guy. If you want bells and wistles and that grainy-almost solidstate compressed distortion sound from most new artists(and mesa's!), you're barkin' up the wrong tree. You are also wasting you're money. I would never have paid what these things go for around the market because they are worth too much.

This amp is pretty tough. I blew a fuse in it once, but it needed new tubes. I gig the hell outta this amp, and usually end up letting the other bands at shows use it because of it's great sound, or because thiers are broken!!! Some of the pots could maybe need cleaning but other than that, it's like new and it's 15 years old.

Parts for this amp are all over the place and any reputable shop should be able to service this amp(if it should ever actually need it!) Marshall's site has good info on the older amps which is kinda nice if you want to learn anything about it.

If this piece were stolen from me, I'd cry like a bloody school girl! They are hard to replace and hella expensive. If you're new to the tube amp world, this amp sounds like AC-DC and such bands. If you are going for the metal or nu-metal sound, go with a Mesa-Boogie. If you're going for a combination of these sounds, maybe try a Soldano Hot Rod 50. If you're going for the blues, rockabilly or country.....Fender all the way, any Fender!

I think mine is made 1988 or something. It has all the features that i need, ecxept a solo booster, but add a tubescreamer and thats it! It is however the two-channel version of the 800:s. I think some people would have been happy if it had a mid-control on the clean, but I think it works fine as it is. It is 100 watts, which means plenty of power, and enough for everyone. It suits my Thrash-metal as a glove! (Swedish Expression!!)

I'm using it together with my Epi Goth Les Paul and Ibanez GRX70, and of course, on a original Jcm 800 cab with G12t-75:s, slanted. It suits most music styles, but not extreme cleans and ultra high gain like Neo-metal. I think its perfect for Heavy Thrash, like Slayer. It has beutiful distortion when the volume is cranked way up, but it has the tone from the guitar. Perfect!

It's a marshall.. The knobs doesn't give big variety after a wile.. Live with that! I love it anyway! It's a old volvo that will never break up on a gig!

No idea..

A good amp that fits kinda everything! Better than modern amps!

I like distorted sounds but with definition, so that you can hear the individual notes. Style: distorted pop: REM, Buffalo Tom, Jimi Hendrix etc. Two months ago I played on a 2210 from a friend, and one month ago I owned one. For live performances, this amp is really very good. The clean channel is usefull (can not be driven very distorted), and so is the drivechannel : highly driven and with definition. In the 20 years I am playing, I already tried several Marshalls (a Hendrix model, a JCM900, ...) and this is really the first one that I like for the style I am playing. I insert a TC electronics volume booster in the channel insert. This is very nice to kick ass while giving a solo, without changing the sound. The reverb is very usefull for live (OK, the Fender Quad Reverb is muuuuuuuch more usefull for studiorecordings). In the insert, I also use a Boss Reverb RV5. Nice "blue hotel" sound.

Sounds very good with my 1973 Strat, standard pick-ups. I play a stack, with two old cabinets: one with greenbacks, and the the bottom cabinet with CelestionH speakers. This gives a nice bluesy feel with a round but certainly no "metal" bottom . For getting a controlled Hendrix feedback, my Turbo Rat is doing the rest. This is really a very good sounding amp for live situations.

Bass and middle at half, treble and presence at a quarter. Because I play a whole stack, everything goes directly in the ears of the audience! So don't blow them of with tons of treble !

Live, I always used to play on old amps (Vox 1969 blue alnico, Fender Quad (1975), Fender Bassman 10 (1975) wich were driven at maximum volume (with a Marshall power break). As you might know, these amps have a "round" bluesy sound when driven hard. First problem: if you play in a band with two guitars, you can not go harder in solo's. Second problem: if you put a VOX at maximum volume, it sounds great, but you van not go clean. With the Marshall, both problems are solved, and you get a nice bottom.
For studio I prefer my other amps more then the Marshall.

This is a late-80s "split channel" 100W head with two channels, master volume, reverb, and effects loop. The channels (clean and boost) have separate knobs, but the clean channel only has bass, treble, and volume controls. This would have been a full-featured amp when it was new, but is pretty sparse compared to modern heads. Hence the lower score.

I use this amp in a retro 80s hair metal band, so the sounds are absolutely dead-on perfect. My main guitars are all equipped with high-output ceramic pickups (Super Ds or PRS HFSes) to drive it pretty hard. The boost channel is tight and crunchy with plenty of heat. It sounds bone-headed, but I run it with all of the EQ controls and the gain completely maxed. I spent some serious time tweaking the knobs before realizing that the simplest settings produces the best sound in the amp! You can also back off the gain (or guitar volume) to get nice vintage or AC/DC type sounds. I do use an overdrive pedal to boost it for creamier lead sounds, but I do that for any amp. The clean channel gets a lot of flack on this amp, but it's really quite good at what it does. It's NOT rich or complex sounding. It is, however, extremely tight and direct. It jumps out of a mix and sounds great with the rest of the band going.

It hasn't given me any hassles, but the previous owner had to replace a few parts to keep the channels from bleeding into each other. The jury is still out on this category.

After 15 years, I'm pretty sure the warranty is expired. It's never hard to find a Marshall tech, though.

This amp came to me in a trade with a friend who fell in love with my Mesa Nomad combo, but had no money to buy it from me. I traded on a whim, and turned out to get the better end of the deal. This is a really solid rock amp, especially if you are looking for a sound that has plenty of attitude but isn't as buzzy as modern amps. The split-channel JCM 800s are sometimes considered the dogs of the 800 line. To be honest, this amp smokes about 75% of the "classic" 800s I've ever heard and is more versatile too. It also has a more musical-sounding overdrive than two reissue 800s that I've tried. I'd get another in a heartbeat.