Marshall 2555 SL Jubilee

The Slash Marshall was built in 96-97; not sure which year mine's from but it's probably irrelevant. I play rock n roll and punk rock mostly, and it's perfect for me. While it may SEEM like a 2 channel amp; not so much - the switching just kicks in more overdrive, so you're really not going from clean to overdrive. If you have the gain pushed, it'll still be there in channel 1. The 50/100w switching is awesome. I could play Madison Square Garden with this thing.

I play this 90% of the time with my Gibson LP Deluxe with Fralin P90s, and it sounds absolutely amazing. The killer subtleties of the P90s come through just as they should, and it's as dirty and raw as you'd expect. This guitar through this amp is 100% pure rock n roll. It just doesn't get any better. I've played this guit through all sorts of Marshalls, Fenders and a couple others and no where else does it have the warmth, drive and face-smashing tone as it does through this amp. I can't imagine ever wanting to play through a different one.

Never a single problem.

Not had to deal with Marshall at all, so I can't say.

Overall, I can't think of any other amp I'd rather have.

Mine also includes the matching cab with Vintage 30's installed. This amp is pristine. It's been sitting in a local shop on consignment for a few years and finally I said to the guy I need to look inside the amp and the head TODAY and he gave me the screw gun and let me have at it!

I walked out of there with them both loaded up in the back of my truck and brought her home.

This is a very low serial number let's just say it's below #70.

However I want to pint out that these amps were NOT hand wired as some believe. If you don't believe me, pull your chassis out, see the little PC Board there?

If you're reading this and don't know the features on this amp, I don't know what to add that the others haven't except for the 'hand wire' misnomer caveat.

I like the fact that it's got push/pull and 100/50 power switch.

This is where this baby shines. As already mentioned this amp has a distinctive raw-open-organic sound/tone. Definitely sounds better cranked but sounds sweet down low too. Nice cleans and drive tones, Very much GNR thing happening.

With the matching cab loaded with V30's I'm in heaven.

It's 21 year old and is in excellent shape. Not a ding or tear anywhere!

The original plastic control panel cover is till on it as well as the stock tubes!

Looks great, sounds great but I never gig a valve amp without a backup.

Don't know, I can't get them to reply to emails on new stuff!

If it had a reverb that would have been nice. I could think of a few other things but that's being nit picky. It's a legendary piece because of how it's made, how it looks and how it sounds!

I owned a BRAND NEW 2555 half stack when they were first released!

I was such an idiot for selling but who knew?!

Limited run, only 2000 pieces Worldwide, 2-Channel with gain boost.

Playing Gibson Flying guitars and Gibson les Paul Standard, box Mesa Boogie Rectifier 4x12 or MARSHALL 1960 AV/BV. HUGE Sound. The best Marshall crunch ever !! Bigger sound than JCM-800, not harsh as JCM-900.

It is handwired Marshall, selected parts.

No needs, no problem.

Playing prof. for about 15 Years, owned all of thoese: MESAs, ENGLs, VHTs, BOGNERs, PEAVEY 5150. This Marshall is working horse with individual falavour. Big sounding. Prices going up so if you want one do NOT wait.

PAID $1800.00 WITH SHIPPING OFF E-BAY AUGUST 2005. Supposedly mint condition, after some effort and a retube job, now it's mint. Not the amps falt. I like it pretty well. this amp seems to only sound like the amp it is supposed to be when it's cranked up. Pretty simple lay out, with the clipping control. Neat.

It definately get that organic raw tone if that's what you are after. I would consider this more of an overdrive amp than an distortion amp. My les pauls seem to like running into this amo more so than a strat. From blues to calssic and hard rock, you can get it with this amp.

I would not be worried about this amp getting through. Mine quit working 20 minutes after I got it. but it was because I got it from a liar off the E-bay. TUBES WERE SHOT..ONCE AGAIN NOT THE AMPS FAULT.

I will tell you this. the people at Korg USA, in other words Marshall USA, ARE NOT HELPFUL IN THE LEAST. THEY WERE VERY CONTRITE AND DISRESPECTFUL TO ME IN THE FEW TIMES I have ever called for help. I have actually talked to two people there that were great, but once passed down to their next in command. FORGET IT. This is why I am no longer a MARSHALL PRODUCT BUYER OR SUPPORTER, ATLEAST FOR ANY NEW PRODUCTS.

I like this amp sure enough. I am not sure it is REALLY WORTH ALL THE PERCIEVED HYPE. IF I LOST IT OR IT WAS MISPLACED I PROBABLY WOULD NOT BUY ANOTHER ONE. IN BASICALLY THE LAST YEAR OR SO, THERE HAVE BEEN SOME GREAT AMP BUILDERS PUT OUT SOME MUCH BETTER PRODUCTS. For an amp that only 3000 were built you sure do see alot of them for sell. HHHMMMM. I wonder. I do like mine alot, but I think the hype drove up the price and that's the reason for the lower score here.

All features listed previously, but I want to make one thing clear that only one person has before me. DO NOT TREAT THIS AS A DUAL CHANNEL AMP!!! This is a SINGLE channel amp, it has one preamp and one poweramp and 2 "modes," which in Jim Marshalls marketing genious makes this "effectivly" a 2 channel amp, read the manual. If you treat this as a single channel amp you will get a LOT more out of it.

Basic spec's - 3000 made in 1996, it IS a handwired PCB and transformer. 100/50 watts etc.

Treat it as a single channel amp, you wont get as many features but you get a lot more tone :)

Right, WOW! Before this amp I owned a Fender Bassman, 1992 Blackface Dual rectifier, Marshall TSL, Vox AC30 etc, and this knocks them all out of the water. Im using the Marshall Jubilee for my dirty tones. I've got it set up so unboosted, its a cranked Plexi tone, then with a boost I can get up to those saturated appetite FD tones, and rolling back my guitar's volume for cleans (note not changing amp "channel" for cleans. It just roars! Real grindy distortion, not that soft marshall distortion found in the TSL or JVM. Its a very middy amp and you cant really push the mids past 1 o clock without it getting honkey, so keep that rolled to about 12ish. This isnt a metal amp, being suited much more to hard rock or blues.

Im using it with a Silverburst Gibson SG Standard and a Fender Stratocaster, and I can get all the tones i want.

The reason I say treat it as a single channel amp is because, to get the best dirty tone, you have to keep the output master at a high level. This means that switching to clean will be super loud no matter how high the lead master is set. So basically, set output master to 7 or 8, and use lead master as your master volume. Get a seperate amp for cleans or roll off your guitars volume!

Hmmm, when I bought it it had some issues. The volume would go up and down and up rapidly, but it turned out to be a dirty loop. Now im using a G-force in the loop (so the circuits complete) it works great. Im still using the original tubes as well! I swapped out all the Marshall tubes for some JJ's a while back and it just lost all its sparkle, so I stuck them all back in! I would gig without a backup, but im keeping an eye out for a backup anyway.

Im in the UK, so marshall rock. Emails returned within the hour during work hours, prices reasonable. Im an hour from the factory so I can just drop it by whenever/ I wouldnt count on them outside the UK however.

Amazing amp, I wouldnt ever try anything else! Im set on this amp for my tone and anything else is just experimentation!

I got this amp in 97
it's a 2 channel amp and pretty simple to operate
it has a gain pot that pulls out to add extra gain in the clean channel
the only feature I wish it had is a footswith for the extra gain in the clean channel
This amp suits any style of music and is loud or soft enough for any venue

now for the sound - There is nothing else that I've ever played that comes close to the lead tone of this amp.
it has a perfect balance of thickness , sizzle , mids and bottom end
The amp is really quiet when on.
I use it with a PRS Santana two any play lead mainly on my neck pickup.
The only way I can Describe the lead tone is as follows - THE BEST LEAD TONE AVAILABLE
I own the following amps and they're all gathering dust cause I keep on coming back to the Slash
Mesa MK4 simul class
Maeshall JCM 800
Mesa Dual Rectifier ( 2 channel )
Alessandro English
Fender Bassman RI
Mesa Quad Pre-Amp + Stereo simul Class 295 PWR amp
Gibson GA 15 RV

I have own and still own many Great amps but no matter how good they are there's no amp that holds a candle to the Slash for Lead tone.
The Clean channel is also good but there are other amps that have better cleans - Although for that "Marshall: type clean the Slash is really good.
This is the only amp I've ever played that "ALWAYS" delivers and has never let me down.

I've had it since 97 ( 10 years ) and have only changed tubes once. I think it's built to withstand a nuclear explosion.
Rock Solid and never any sign of problems.

I've never had to deal Marshall as this amp is built to last a lifetime

I've been playing for about 35 years as a pro and own a pro recording studio
If this was stolen or lost I'de trade in my wife and sell my house to get a new one.
I love everything about this amp and cannot say anything bad.

40 reviews in front of mine outline the features. In my opinion, to get the best sound, treat it like a one channel amp. More later...

This amp is IT. Its just a matter of learning how to use the controls. The way to make this amp shine is to use the Output Master. The balls of any Marshall are the output tubes, and unless those things are cooking, you're not getting what you paid for.

The reason I said this needs to be treated as a one channel amp is because to get the output stage sounding right, you need to ignore the Lead Master control (turn it to 10 and forget its there), and crank the Output Master (5-6+). This will destroy any balance between the rhythm and lead channels. But oh, the sound! With the master volume below 5 or 6, it sounds thin and buzzy. Get a Hotplate...this thing's loud.

I'm using it with a 1960BV cabinet, and like one of the other reviewers stated, the speakers really do have to be broken in first.

And for what its worth, the Gn'R sound is far from the only sound this thing does well!

11 years old and running strong. It gets a 9 because it has tubes, something is bound to happen some time.

Not under warranty anymore, but about a year ago I emailed Marshall concerning an out of print owner's manual, and had a .PDF in my mailbox within hours.

Been playing for about 15 years. I've tried different amps (Fender, Marshall, Park, Crate [way back when...] and different stompboxes. Even with all the different combinations, it was never quite right. This thing nails it, just a Les Paul, cable, wah pedal, and the Slash. Simple as it gets.

I'm talking about a 1996 produced, limited edition Slash Signature Model. Only 3000 were made... It features two channels. They share the same 3 band eq. It also has got a presence-knob, a lead-channel volume, a master and a preamp-gain controller. On the clean there is a clip-mode, which, when engaged, produces a mild overdrive. Otherwise the clean on the amp is pretty damn good. Notify, that it's a Marshall (crunch in rivers)! 3 ECC83 tubes (or valves) and 4 EL34 in the powersection. The 100 watt can be reduced to 50 by the switch on the front panel. Also, you can toggle between 4,8 and 16 ohm and different values of volt.
Because of the lack of independent eq, I will (only) rate it for a 9.

This is where the bastard shines like a goldfish in a silent lake in the summer time. I use a Epephone Standard Les Paul with stock Hum's. No pedals. It goes through a 1936 cab with 75 watters. The ize is a bit wrong, but the sound is right in the eye! As said in the section "features", the clean is very useable and suitable for most kind of music and styles. For me it is perfekt, and it takes med back to the Guns n' Roses-days. BUT! Listen to the overdrives channel and pass out. This is the real thing 100% valves - and they are used in the best way I've ever imagined. The amp is, even at low volumes, a killer-machine. And, when cranked in the 100 watt mode, it blows your brains out. In my opinion it is the best sounding distorted sounds in the world - I really love it! Many say that it isn't a high gain amplifier. In a sort of way, they are right. But there isn't a lack of gain for what it is - a hardcore rock and roll-amp. If you play nu-metal kind of stuff - forget it. Or try with a pedal. If you are into Guns, AC/DC, early Metallica, Led Zeppelin, Sabbath and such music, well - what are you waiting for?
Anyway - it is very tough to find one. I was so lucky to find one in a store in Denmark. But it was SO lucky. If you find it - buy it. I haven't regreated or douted at one single moment. I love it.

So far no problems!

I've never needed to..... Guess it's good in itself.

I have benn playing for about 5 years. In the past I have had one other amp only (still got it). It is a Roland Cube 30. It was okay, but I went very serious about my guitarplaying, when i got into a band. In my search for the ultimate Marshall, I tried the JCM 2000 TSL. And it sounds to fizzy cmpared to this one. Though, the DSL 100 sounds better, it isn't quite the same rush to play that.

My ultimate amp. Do I need to say, that I worship Slash???

clean/lead channels, 4 output valves, 3 input valves, effect loop, D.I. input, 100/50watts switch, presence,bass,mid,treble,lead vol, input vol, master output. Lots Of RAW power!!!
All i need from an amp!
Slash signature, 3000 made in 1996!
I've seen slash using one of these in a recent gig with Velvet Revolver!
Brilliant!

I use a Gibson Explorer, Ibanez Js 1000, Fender A series strat, Jackson RR5, They all sound good, i always use the amps natural overdrive, it just sounds the business...actually, anything will sound good through this amp!
I play Heavy stuff and i also play lighter stuff, i play in two bands and i have 2 diferent settings, either 2 it's really good sound quality i get!
It's not noisy at all!
I've played through lots of amps before and you can tell the difference! I'm very happy with it!

Lot's of gigs, travelling, always used it without back up! NEVER LET ME DOWN! change the tubes once a year!

Never had to repair it, i know a good tech and we can get all the parts if necessary...

i've been playing for 16 years, i had lots of amps, i love everything about this amp, compared it to lots of other heads...and i'm glad i bought it!
i hope and i think it will lasts a lifetime!

These are pretty standard Marshall features. Passive tone controls, two gain controls and a master volume. Technically this is a sort of channel switching amp, although it isn't truly channel switching (more on this later). Scores low on marks because of the somewhat nonsensical choices Marshall have made, see below.

Ok, what gear do I use? Gibson - '77 Les Paul, '65 SG Junior. Squier - Beefed up Affinity Strat with new bridge and pickups (similar to Highway One Fender sound now). Aria Pro II - model with two humbuckers. Sounds like a cross between an SG and LP. Ran through one of four 4x12 cabs - a Laney with 70w Vintage 30s, the reissue 1960AX Marshall with 25w greenbacks or a 70s Sound City with 40w Fanes (an underrated favourite of mine).

Firstly, a small point - these Silver Jubilee circuits are not, repeat NOT, true all-valve circuits. People criticise the JCM900s for having diode-clipping as a way to increase gain in the preamp stage, well guess what so do these ones. Although the integration of the diodes is superior on the 2555 and 2555SL.

Firstly what isn't so strong about the amp:

The rhythm channel - well, I've played two of these heads now and the first was a lot better and cleaner on this channel. Maybe it had better valves, I didn't have time to check. I think the best Marshall cleans at this time are provided by the TSL100 head, and I like the 'almost clean' sounds of my '77 JMP 2203 too. It doesn't come close to either of those sounds, but it is pretty good. What confused me is that the Rhythm Clip (which uses two diodes) is NOT footswitchable, and modding it to be such is a big job that makes it not worth doing. Just have to buy a booster pedal or use guitar volume control here.

The way Marshall have structured the gain on this amp is confusing. I generally like to run the lead channel with a lot of gain (around 3oclock). This means you have to crank the INPUT GAIN control up, which means when you switch back to rhythm your clean sound isn't even a little clean anymore even with Rhythm Clip off. Luckily the LEAD MASTER control, to balance the relative volumes of the two channels, works well enough.

Now what really makes this a top-notch Marshall:

The lead channel. This uses an unbalanced amount of diodes (I believe it's 3 normal polarity and 2 reversed polarity, but it may well be the other way round) added to the preamp valve gain to create something really special. This amp has, without a doubt, the smoothest and most playable rock/hard rock gains of any guitar amp I've ever used.

Even at stupidly low volumes the quality of the preamp structure is apparent. Then things really get serious when you add poweramp gain (ie crank up the MV). It really sings. Chords are tight and distinct, you can play full 6-string barre chords with maximum gain and still hear every notes definition.

Solos... well it sounds like every note you are playing has come straight off of your favourite 'Marshall sound' record (I'm talking Pagey, Clapton and obviously Slash here). All kinds of harmonics are very easy to get and squeal in a very satisfying way. The character of any guitar comes through, it's like the amp brings out all the best characteristics of your chosen instrument. Occasionally I have to turn round and stare at the amp, wondering 'How did Marshall do it?'

This is a very inspiring amp - but remember, it's still not going to cover up mistakes (less so than other Marshalls in some ways), however it will make you work hard not to make any!

I work in a shop which specialises in amplifier repairs, and the only time I ever see these come in is when they've recieved serious abuse, ie gone up in smoke thanks to user error, blown output valves because they have been gigged for years without being changed, or because some idiot dropped it.

If you're not a idiot - and if you own one of these fine amplifiers you shouldn't be - and you keep it serviced at least once or twice a year and don't abuse it, this thing will stand the test of time.

Marshall are a nightmare to get spares from unless you know someone in the business. I say nightmare because you can be on the phone for a very long time to a premium rate number on hold without success. But they are polite and I always get what I need - if I perservere! So can you if you live in England, if not you have to rely on Korg.

Despite some obvious flaws in some aspects of the amps design, the smokin' lead channel is adequate compensation. Some might argue that it doesn't matter about the problems with the clean channel when you're never going to use it!

I'm not even going to bother to compare it to anything else, except to say a really good TSL100 head (there are plenty of 'average' sounding ones out there) comes very close and has a much better clean channel.

I've played a lot of Marshalls now (mostly heads, including old plexis, JCM800s, JCM900s, 6100s, master volume JMPs, Bluesbreaker combo original and reissue) and have owned a couple of JMPs including my current 2203. If you want to know why Marshall are the 'dukes of distortion' then buy one of these, kick in the lead channel with woman tone (a Les Paul on rhythm pickup with the tone rolled all the way off) and see what I mean. Unbelievable.

If you're readinf this then you know. Foot switchable channel change. All valve. Marshalls tribut to a ledgend. And Mine is EXTRA speical. READ ON>

I worked for a company in the UK. The head manager there is a guy called Mr A. Milner. He was at one point head of Marshall Artist Liason. I was searching endlessly on eBay for one of these heads until one day he asked me why i hadn't asked him, after all, he still knows people there, within an hour i am through to the current Artist Liason head and he informs me they have TWO only in the artist vault, 1 was used by a Mr Noel Gallagher for a backline BUT, he had put gaffa tape over the Slash Logo, the other was actually USED BY SLASH ON THE LAST AC/DC TOUR with his band Snakepit.but sent back as fault with valves. Bothe were offered to me for such a deal of a price. You can imagine that i ripped his arm off and went for the Slash one.On receipt of the amp they had typed up a letter stating Slash had actually used it and was signed by Jim Marshall to confirm authenticity for doubters.Feel free to check all this as 100% true. On plugging the amp in i have found MY tone, NOT Slash's. As stated previously, this isn't a Mesa or VHT, the best way i've seen it described is like the Ac/dc tone etc. Truly a Plexi running hard. Amazing, i push the amp quite hard and have used for sessions and it IS sometimes noisy but a wonderful amp.

Like i say, mine was returned by Slash as probs with Valves, since i have had it i have done about 100 gigs and 40 sessions and have gone without backup. Seems fine and i would and have relied on it.

How can i moan at a Company that has allowed me to purchase the amp actually used on tour by one of my idols. Amazing.

I wont say that how much i paid as it seriously was a steal, so thank you very much Mr A. Milner. This is my amp, if god forbid it was stolen i'd hire a hitman. haha. But seriously i'd be distraught, although having said that, the serial number of the chasis etc has been noted by Marshall etc. As stated, this isnt a high gain amp in the realms of Mesa etc but it certainly Welcomes you to the jungle of rock and i have found myself knocking on Tones door. Great.

Exactly the same as a Marshall Jubilee:

3 preamp valves and 4 power valves
2 channels with shared EQ
clip on the rhytm channel for more distorsion\
FX Loop
High and Low volume output switch

Sonically, this amp is a real suprise.

The lead channel has slightly less gain than I expected and the rhytm channel is a lot cleaner than I expected.

The rhythm channel gives a full, warm clean sound, even with the gain near maxed, provided I lower my output level on the guitar. This, I didn't expect from a Marshall. This is no fender twin but it sound really good.

The clip function is also a lot better than I expected. It's like using a tube screamer for a bluesy crunch sound. Unfortunately, and that's my only main disappointement with this amp, you can't footswitch this function.

The lead channel is great for rock and hard rock provided you don't expect too much gain and sustain. The sound is big, especially when the amp is pushed a bit.

But where the amp really surprised me is by its ability to react to stompboxes. I am not a big fan of stompboxes usually, especially not when it comes to adding distorsion on top of distorsion. But I tried to plug my old marshall guv'nor in the 2555SL and was shocked how good it sounded.

With the guvn'or set with all controls in the middle, the lead channel became a metal machine (dokken, van halen...), and the rhythm channel became a bright crunch channel perfect for stones material and blues leads.

Can't comment, I had it for a few weeks only.

Second hand stuff so I can't comment

I am a rock and metal player. I bought this amp because I usually use a rack and wanted to have as a counterpart to my rack, a more straightforward meat and potatoes amp when I want to go back to basics and not care too much about effects and midi.

I initially tought this was going to be a master volume amp with a great lead sound and that the clean channel would be a joke. In spite of the shared EQ, it is possible to get a clean and a lead sound without much trouble.

With a good booster/distorsion in front, you get four highly usuable sounds at your feet (clean, blues crunch, fat rock/hard rock crunch, metal).

This is the Marshall 2555 SL Jubilee series amplifier. A limited run edition of 3000 units were made in 1996 to pay homage to the man (SLASH, aka, Paul Hudson, of the Guns and Roses fame) that rekindled the interest in them. The only Marshall amp, other than the Zakk Wylde, 2203ZW model, 600 units made, that bears a signature other than Jim Marshall himself. Quite an honor for the many that have longed for that opportunity.

While most have been lead to believe that this is an all hand-wired valve amp, those claims are simply not true. What is true, is that the Interleved Transformer is, while the rest of the amp is not. All one need do is see the inside and you'll see that it uses a combination of solid state technology ( circuit board )with the tube layout to achieve its massive sound. And with 100 available watts, 4-EL 34'2 and 3-12AX-7's, it does it beautifully.

Features on the front include: Presence, Bass, Middle, Treble, Output Master, Lead Master, Input Gain. You have a Pentode/Triode switch on the face of the amp that effectively splits the output from 100w to 50w. Nice option to have depending on respective volume levels and amount of punch desired.
On the back you have: Footswitch, Send, Return, D.I. , Output Select, Mains Select. The Output select function simply gives you your choices of 4,8, or 16 Ohm settings for your desired speaker cabinet configuration setup. While the Mains select gives you alternate power source options, such as: 110v, 220v, 230v. , another nice option depending on where your music may take you. Also worth mentioning... the Mains select switch is altered by using a guitar pick, rather than a push button function, as is common on most Marshall amps. Nice safety design here, for one doesn't have to worry about the button getting pushed in or out and altering the desired setting without realizing it.

This is a dual channel amp, with a bit of a compromise and frankly a bit of a dissapointment as well. Being that this amp is basically a Custom JCM 800, with a character all its own, it would be optimal if it had separate Master Volume controls for each channel, like the 2005 and 2210 JCM 800's do.
The EQ's settings are shared on both channels, so where you set them for one channel is where the other channel will be as well. On that note though, the EQ's on this amp are very responsive and work extemely well.
The Input Gain has a push/pull pot on it that affects the clean channel, adding clip to it. Which is nice if you desire to have more of a crunchy sound there. The only problem being that you can't switch between 3 different sounds. You can't have a clean, crunch, and lead sound altogether. Only two sounds, with shared EQ's and no spearate Master Volumes. That to me was a huge flaw in the design of this amp. :(

Being that the design of this amp is a compromise, it would be best if you could afford two. One dedicated for your clean sound and the other for your distorted sounds. But being that they're rediculously expensive, and hard to find, this can present a problem to most.
But if you're someone like Slash, then that wouldn't be a consideration.

This has got to be one of the greatest sounding Marshalls that I've ever had the pleasure of listening and playing through. This amp has a sound all its own, and a great one at that. The Marshall crunch in general is a phenomenon, and is world renown. But this amp has got soul man. There are plently of people that I've heard from that don't like Marshall amps, but like this one. It's a parculiar beast!

This is for all intents and purposes a Rock/Blues amp. You can cover most anything from: Old school rock, even up to a lot of the more recent music, and even with some help... Metal.
I think that this amp by itself sounds best with a Les Paul or other humbucker loaded guitars.

One criticism here though:
#1 Generally speaking, you have enough gain to suit just about anything you want to play. The only downside I've experienced is that the Lead Channel suffers from lack of gain when you're playing LEADS. It could use more. That's why even Slash uses a Boss GE-7 EQ pedal to give him a boost for his leads.

Where this particular amp really shines is in its LEAD mode. Man, have you ever seen a beautiful woman, with a nice, round, chunky ass that you'd love to just set up camp and live in? That's how this amp is when you hear it in this manner. FAT, RICH gobs of TONE and sustain for Rhythm playing that's enough to make a grown man cry. I'm still wiping away the tears.

This amp is solid as a shit brick house. Reliable and trustworthy. Sadly enough, I must say, they don't make more of their products like this one. Better parts and craftsmanship went into the making of this special amp. It's too bad that in the midst of all the cookie cutter construction and the race to make products cheaper, while increasing profit, we don't see more like this one.
If this were the only amp you had and you didn't have a backup, then I'd say, you're good to go. Chances are extreme that this amp will not let you down. Other than tube considerations, you can rest easy.

Support from Marshall themselves is a waste of time. That is, most people don't know how to get in touch with the factory direct, and why would you want to? If you live in the United States, you have a long distance bill to consider and the annoyance of being kept on the phone waiting for someone to help you. I've personally never been able to acquire any info regarding phone numbers for the factory itself.
But the good news is this: That Korg is affiliated with Marshall, and a simple visit to their website, www.korg.com can give you the number to contact the department in Korg that you need. I recently called to enquire about a Marshall product and was delighted to have spoken to a well informed representative that was able to answer all my questions.

So my rating here reflects the Marshall company themselves.

I've been playing the guitar ever since I was a kid. I'm now in my late 30's. I've been through more equipment than you can shake a stick at, owned so many amps that I could have opened my own store by now.
I love this amp, even though it's limitations are frustrating to me. It's the sound of this animal that I love.
If it were ever lost or stolen, I would definitely track down another one, when finances permitted me to.

For the most part, in my opinion, this amp is a one trick pony. It could have been different if it were designed like the 2205's or 10's, but keeping its character in tact. That would have been AWESOME! If that were the case, this amp would have probably been just about, the MOST incredible Marshall ever!
But even with its limitations, it's still highly coveted and sought after for what it CAN DO.

There is NO product out there that can be and do EVERYTHING as far as I'm concered. Although just about every manufacturer would want you to believe that.
This Marshall used for what it can do is INCREDIBLE. And if it's the sound of Marshall that you like, then you'll love this BAD ASS! I know I do. I wouldn't trade it or sell for any other amp at all.

Remember this though: If you're into mimicking other artists and haven't found your own voice and style, don't go out and buy one of these because you'll think that you'll sound like Slash.
Buy one because you like the sound of it, and it alone.
If it complements you and your style of playing get it. But don't think that just because you have the same amp as Slash, that you're going to sound just like him.
Most of the sound comes from your fingers and what comes out of you.

Perfect, 2 channel (3 with the clip boost), very simple. Keep it simple.

Simply the best... The plexi crunch in a master volume amp... A lot better than a bunch of old plexi. Perfect for ACDC, Led Zep, Guns n' Roses and more... Ideal when used with a Les Paul.

Built like a tank...

Excellent service with Jam industries in Canada.

I've owned 11 Marshall amps over the years ( JMP 1987, JCM 800 2204 , JCM 800 2210, JCM 900 4100, JMP 50, Old 1968 Plexi 1959, 1970 Metal Plate 1959, Bluesbreaker reissue, TSL 60 and DSL 50). The Slash is by far the best one. My 68 plexi was great, but you had to crank it to 10 to obtain a great sound... I have the same sound with this amp at room level...

Hey... so, I am honest, I bought this amp few years ago without knowing anything about it... I was 17 - I guess - and had not thta much money. It was one of the last JCM Slash heads and because of that it was really cheap... so, at this time I was still in school and had worked for a few weeks to buy me a new amp...
Now I know that I bought a great "handwired", "limited" and honest amp with one of the biggest transformators. haha... do you called it like this in English? ;-)
When I was younger I thought about selling my JCM Slash but I didn't and that was a good decision. Now, I am very proud to own one of 3000 JCM Slash heads worldwide...
I play/ed in a few bands: a deathmetalhardcore combo, a gothic rock/metal band and a rock and roll combo.... for the deathmetal and gothic bands I used a marshall shredmaster for distortion but after growing older and listening more critical to my sound I relied on my top! Now it's just my 79 Gibson Les Paul Custom, a cordial cable and my JCM Slash with a 1960a 4x12" cab. That's it... and it works... no matter if I play with my deathmetalhardcore combo, the gothic band or my rock and roll mates... big tone, huge sound... enough headroom even if I tune down one whole step plus dropping to C. After removing the shredmaster I heard a lot of my own mistakes,because the amp is so honest... that keeps you trainig ;-) ...
It has two channels ... but you aren't really able to use this top as a two channel top because the eq and gain works on both channels... but I just need one sound and a volume poti... ;-).... there's a serial fx loop too but I don't use it... it's serial... but would you tune a limited and great sounding amp? No!

I can't really answer the versatile sound question....but I definetly got what I need!
Thank you Slash!

Humbuckers, Les Pauls, SGs ... perfect! It suits to any style I play... it is not noisy until you want it to be.... ;-) Les Paul and JCM Slash means endless sustain and total tone control....
The big Marshall problem: clean sound... I think the JCM Slash clean sound is amazing... (but I have to say that I am not the Fender man) it's warm and ... ah... just listen to G'n'R's knocking on heavens door... you don't need a chorus....
The distortion isn't that brutal, but it has got enough balls for "real men music" it blasts away any children - mid cut - metal sound.... haha
Great and honest!
Thank you!

It once felt of my shoulder (from 1,60 meters on a stone floor) it stood a month in our old rehersal room (-10 degrees) (I would NOT do something like this again... I was young!) AND IT STILL WORKS LIKE ON DAY ONE. You can't destroy this amp! I changed the power amp tubes two times and one time the pre amp tubes by myself... no problem! No humming no noises.... great.

I didn't need support yet....

I am using the amp for six or seven years now and it always worked and sounded great! You can't steal this amp! I would kill you! ;-)

Features? 1996, limited production (3000 units worldwide -- and yes, I feel fortunate to own one!). Two channel, plus rhythm clip. What can I say? This head is perfect for what I was looking for. Quality, simplicity, and pure, unadulterated, Marshall tone. This is one, very fine amplifier. Actually, I switch back and forth between my 2555SL and my '86 Mesa Boogie MkIII simulclass (my other tone monster), yet the Slash head gets used most of the time (it sounds so damn great that I've even considered unloading the MkIII, but heck, that's a keeper too). Anyway, there are plenty of multi-channel heads on the market if that's your bag, but I have found that the best tones come from simpler circuitry. Huge Drake transformers, excellent eq, and a double-fisted punch of EL34 adrenaline. For full-bore, chest-crushing rock, what else do you you need? Nothing! In my opinion, the best Marshall (2555 Jubilee obviously included) ever made, hands down. I rate this head at a 10 -- very versatile -- because as you get older you start to realize that the best amps don't hide your playing. This amp breaths and grinds with you, but is far from a one-trick pony. Because of it's great sensitivity, the whole tonal spectrum is available to the player. Compared to three and four-channel amps that lock you into unsatisfying and limited tones, the Slash is the champ.

First, let me say that this is the quietest head I've ever owned (or heard, for that matter). Not a damn peep of hiss or hum, but gobs of tone and thump when you roll on your guitar's volume knob. Is this due to the hand-wired assembly? Great transformers? I can't say. All I know is that my Slash performs flawlessly day-after-day, with no surprises. Now for the tone. Amazing! I'm a humbucker guy and have never banged this beast with single-coils, yet I'm sure they'll sound just dandy. This amp is extremely responsive to your playing -- providing you're not some ham-fisted hack -- and I have never owned a head that answers what I give it so effortlessly. Dig into your axe and it roars. Back off your attack and the Slash responds instantly. There's actually no need to fuss with your guitar's volume knobs -- unless you want -- because picking attack and hand technique alone can make this Marshall whisper or scream. I've never owned an amp this dynamic. Guns 'N Roses? Oh yeah! 1970's ZZ-Top, Zep, UFO, Mountain? You betcha! Aerosmith? Thin Lizzy? James Gang? Van Halen 1+2? You got it! The list goes on and on. Just add good cabs, good guitars, and good chops and you too can be a tone god! No effects or tone-robbing pedals needed. What's not to like? Oh yeah, I forgot, they stopped production at 3000.

No hesitation in letting this bad boy fight the battle all alone. No back-up needed. Never, spelled N-E-V-E-R one damn problem. Perfect.

Never needed. Marshall support? (Yes, I'm still laughing)
Big, multi-national corporations usually drop the ball. Get
friendly with a good, local tech should the need arise.

Listen. I've been playing a whole lotta years, and this is my favorite head so far. I've played through a ton of fine amps, my MkIII included, but if you want the real deal you should hunt down (and buy instantly!) a 100-watt Jubilee anniversary or 2555SL Slash. Played through Bogners, Soldanos, you name it, and not one, boutique box can challenge the tone of this Slash. If you want an old Plexi, great -- get one. But you don't need an old (usually abused) Marshall to get the classic thump and grind. This amp delivers THE tone that 800s, 900s, and 6100s can't compete with (I owned the limited 6100LE and the Slash shamed it!).Johnny

When I bought this amp it came with snake skin covers the 2555sl head and slanted slash speaker cab with the vintage 30watt greenbacks
Well as amps go this one is not the most vesitile. Now when I say that i mean that it dosen't have a ton of channels and eq options like say a boggie. Yet for a rock sound this amp can be adjusted to creat a wide rang of ROCK tones. It has a simple set up, normal marshal eq with two channels offering several options in each

I currantly play a prs ce22 through this amp. This guitar has the same pick ups as the custom 22 through neck (Dragon IIs) I also play a standard sg through it. The PRS sounds far better. For those of you gibson fans out there, throw out your over priced honky heaps of shit. This amp just sings with a prs through it. The slash has a distorsion that is so rich and complex that you really need a high out put pick up to really bring out the harmonics and its tone. I mean compared to my sg the prs makes all these other tones just appare that make the amp sound like the great marshalls of old but with a real modern rock even nu metal feel. The amp as said above is a simple amp as eq options and channels are concerned. I run this amp at 7 on the output master, 4-7 on the lead master, 7-10 depending on what i need on the input master. Now i will say this, if you want this amp to sound good on either the 50watt or 100watt you have to have the output and the lead masters above 5-6. Anything below this and it just sounds like a cheap piece of shit. Its nearly flat out or nothing with the slash. For me i play hard rock to metal and this amp is just perfect. The clean sounds are great also but because of the way you need this amp set up to get really brutal warm distortion, you dont have the option to very between the two. you would really need two of these too very between for your clean and distortion sounds. When I first bought this amp it was a real love hate relationship. Never owning a valve amp before i had no concept of the way volume makes these amps come alive. I guess you really cant get a idea of how fantastic the slash sounds untill you get in a big room with a hard hitting band and just crank it. Like i said other wise it just sounds like a cheep peice crap that anyone could have made.

As for the reliability of this amp, so far i haven't had a problem. I have owned it since new (2 years)and play it on the piont of distruction 2-3 time per week for my band practise as well as down real low for my own practise. the amp seems very solid in its construction. I have drop this amp down a flight of 7 steps by accedent once.I remember when it happend I was almost certant that i had fuck it, but i plugged it in and it fired up straight away and sounded like it always had. So i guess it is pretty tough. What I did find though was that after about the 5th or 6th time i had played the amp really loud its sound did change slightly. The change was only apparent at real low and how volumes. to put it bluntly it began to sound like shit real low and completely magical at high volumes. The only thing i can come up with is that it was a bit like a new engine, it just needed to be run in

Unfortunatly do to my location (QLD Australia)and the rarity of the amp, it is real hard to get any customer support at all. When i bought the amp the store had lost the peice of paper with the slash and jim marshall forward. Trying to get that has proved to be a complete nightmare. I know it is authentic due to verfing the serial number with the ozy marshall distrbutor, but trying to get another forward from the marshall factory has been impossible. As well as this because there are so few of the amps the world over no one in australia even knows what the hell the are. So trying to get any tech support or help is useless. My advise to people out there in locations far from the states or the uk is find a real good amp tech and build a friendship with them. That way the will feel bad if they fuck it and more likly to take a bit mor care with it

Well for what a paid for this amp it would have to be by far the best value amp im ever going to find. I guess due to amp shop owners in australia being complete morons i was able to get a very very rare amp for fuck all. As far as the sound quality it is amazing. By far the best marshall next to the silver jubilee ever made. It just has all the great qualities of all the old plexis and super leads in a package that is loud but you dont have to run it that hot so that your ears bleed. I am yet to try this amp with a strat but i know the guy for the chili peppers plays the silver jubilee which is basically the same amp so it should sound pretty cool. If your like myself and want an amp that is rock all the way and metal at its extreem volumes this amp is for you.
PS good luck finding one!

1996 JCM slash signature head
I wish I had another one but when I have seen one availible it is about $3000 U.S. funds not including shipping and receiving not to mention the condition it may be in.

gibson les paul/jackson loaded with seymore 59/hot rail /little 59.
also started to build a rack /digitech gsp21 pro with floor board sounds pretty good after reprogramming the settings to enjoy the true sound of this marshall. I use the chorus/reverb/comp/delay/and eq regularly.
not distortion...

switched to grove tubes.
I always carry back up amp and i have had to use it once through one set do to loose tube.

ive been playing for 30 years and this amp has gone to 30-40 shows.I will sell for $2500 US if there are any takers.1-250-381-7347.
victoria B.C. Canada I have a mesa/carvin/peavey heads aswell but nothing has been as good as this marshall in allaround sound performance
for live jams/gigs.

I was searching for a long time for a good amp.
the easy conzept (no effects and over gimmics)was that what i need!!
Handwired was a importend thing.
I payd 1450 DM and i think every Mark is right.
(Sorry for my bad english!!!)

If i play in small clubs, i have to use a marshall se100 to "sounds" good but not to loud.
I used a Hammer Californian and a Fender Texas spezial strat.

No problems!!!
I trust my amp 100%

I buy this one in a small shop, ownerd by a great guitar player.if i had a problem i get support

I love my amp.
Before i play a fender twin reverb, Ibanez Combo and an H&H Combo but
no one has that "soul" like the slash amp

This is obviously the 1996 Marshall 2555SL 100 Watt head were talking about
Where to begin.....hmmmm,,,bought it from a collector. Has original tubes in it from factory and they sound fantastic ( rock n roll baby)
Ive only been gathering gear for 2 years but have some decent amps ( A THD Univalve...2002 Marshall 2203ZW (Zakk Wylde Head) Tech 21 Trademark 10, 2 Crate VC508's in stereo,,,and some of those mini Marhsall Park solid state stacks CIRCA 1999 ( 15w)
I had some problems with this amp...as the collector lad I bought it off of ...had stored it in a damp basement Cosmetically it is mint...and 200 US dollars later and a good tech and we managed to locate the trouble ( a shorted effects loop jack (corrosion) We also managed to leave the amp bone stock. Came with perfect paperwork ( facsimile Slash's signature ( the Zakk Wylde head the only other signature amp in Marshall's line up and it has paperwork that is hand signed but not the SLash Head . Perfect snakeskin cover was still in the package ( not opened...and came with original box Remarkaable t osome degree considering I purchased it in Nov 2002 The damp storage was a thing that caused some problems ( it would run fine for a few minutes then cut out ( powertube 4 ( pos V7) WAS ARCING AT THE BASE ,,,but we sorted it out.
The stock preamp tubes are chinese Sino's the ones with the square cheese grater "getter" assembly at the top of the tube. The powertubes are stock black base Svetlana EL34's This particualr amp seems to only want the Sino preamp tubes or something close in construction to them ( ie GT 12ax7C's) I wanted to hear the amp stock for a year before changing out the original pre or power tubes.
Im using a '96 Gibson LP Jimmy Page through this amp and it is pretty amazing....fer sure <winks
Its a loud motherfucker.....but not a loud as the Zakk Wylde Head I own whch is of course brand new and has Svetlana 6550's in it which are little tiny bit sterile sounding ( but also wider dynamics)also.... punchier and louder than the EL34'S But the 2555SL is a special amp indeed. It is NOT hand wired as some ads suggest Perhaps the output transformer is but the amp uses solid state clipping ( theres a ten inch long circuit board inside that is full of tricks and attaches to the potentiometers ( knobs) so its a real bitch to remove it ( not that you would have occasion to... I removed the one in mine and it was a tricky job) Anyway the solid state board in conjunction with the tube layout is married to achieve its remarkable distortion and cool tone ( especially with a Les Paul or an SG Ive yet to try it with my Hendrix upside down Strat

The amp can be a bit nasaly ,,,and compressed in the rhythm clipping mode ( pull the input gain knob) but is a cool feature cause it really bumps you from cleanish ,,,to medium distortion If you also pull the master volume knob out..it again adds more gain to the whole scene and is pretty thick sounding with humbuckers....and really is a cool rock n roll play it till your fingers bleed kinda ordeal It has great low volume gain even as low as 6 or 7 on the dial and of course at around 4 to 6 on the master volume the EL34's start joining in...I use a THD 8OHM Hotplate INTO AN 8 OHM THD Cabinet with 2 12'' celestion classic lead 80 speakers ( cabinet is the only one I have currently and is 140RMS There is a switch on the back of the amp that allows you to select output impedence ( in my case until my Marshall 4x12 with Vintage 30's arrives I must use 8ohms and one must get the appropriate THD Hotplate ( 8 ohms) TO MATCH. i ALOS HAVE A 16 OHM THD HotPlate waiting in the cupbaord for the new cabinet to arrive.
The thing I found most amazing about this amp is that it sounds so close to Led Zeppelin ( think No Quarter from The Song Remains the Same) It definetely has older Marshall tones in it.And a number of other times Ive been playing a Zeppelin tune and been amazed at how this amp sounds so close to what I heard in my head all these years
It is great for Black Sabbath too...with an SG ...and it positively nails Guns n Fuckin' Roses ...( but only with the stock chinese pre amp tubes I tested a number of other "trio's including Groove Tubes. Slash apparently used Groove Tubes in the GNR days in this head or in his Silver Jubilees ( same head) but after spending money to try out GT's...it turned out this amp much prefers the chinese tubes for that GNR sound. The GT' s that were so disappointing were the ECC83s Dont go there !!!!! and the best I have heard from the GT'S so far is the 12ax7C's The best combination of different brands of tubes was a Sovtek LPS in V1 ...A GT 12AX7C IN pos V2 and a Sovtek LPS in the Phase Inverter And that was a distant second place. It may just be this amp and these tubes however but NOTHING sounds as woody...ballsy...rockin',,,,sweet....rich overtones and Marshall Slash Guns n Roses baby than do the stock Marshall branded chinese ecc83's ( presume they are Sino) WILD UH ? Heh get over it It took me a few days to get past that too Beware buying Sino however...apparently 1) out of business 2) they are of wide varying quality ( read they supposedly have high numbers of problems ( microphonics and failures) according to the tube snobs MY AMP LOVES 'EM In fact its looking like I cant really use any other tube to get that bang on Slash sound WHAT PREAMP TUBES THESE DAYS DONT HAVE PROBLEMS ?????? I have no trouble with the stock tubes in this amp at all IN FACT THEY SOUND FUCKIN' FANATASTIC and all these other fancy smancy tubes sound just okay... Very noticable difference !!!! This is the first tube amp that has made my Jimmy Page Les Paul's neck pickup COME ALIVE >..... NO MUD HERE Just smooth chimey buttery ( please note that the Gibson Jimmy Page Les Paul has ceramic magnet pickups ( 500T BRIDGE 496R Neck) and these pickups are reknowned for overly harsh mids....and muddy neck pickup NOT ANYMORE for the neck pickup ( it osunds just perfect)and the bridge pickup just needs to be lowered a tiny bit and can really rock plenty of chunk
I hear Metallica in this amp toooo and have also heard Curt Cobain So its one seriously cool screamin' bitch.

I think this amp is like a British Sports Car ....its picky and finnicky but it rewards you if you are patient in a way that is hard to put into words Its the best sound a Les Paul and a cable can make.
Ive had heh repair issue thing at first cause of damp storage ( dont buy a mint amp from someone who stored it in Grampas final resting place Dampness and electrics dont go well together The British amp thing is no different than any other amp They all can break or break down but this is a tough amp no question and I dont foresee any further problems Matter if fact it has been running great since the tech up here in Canada went over it for me.

Marshall in Canada is two thumbs up ! Prompt ...well acquainted with the products and they sure as shit know how to treat a customer

The best my Les Paul has ever sounded Nuff Said Wanna read another review of the other Singature Series Amp in Marshalls stable the Zakk Wylde Head ....well just look under that name in this database Its not the most descriptive review as Ive only played around with it about ten times....(I got it and the 2555SL at the same time ( 2800 US dollars later) AND im almost always using the 2555SL i DONT GIG i just like to fuck around WITH GUITARS AND AMPS

check other reviews

Let's cut right to the chase here. Plugged straight in with a paul reed custom 22 with relatively low output dragon II's, (very les paul) a 4X12 cab with two celestion v-30's and two weber blue dog's, the sound is as follows (to my ears): SWEEEEEEEET!!
More adjectives that come to mind are tasty, ballsy, thick, woody, defined, brown, dark, rich. It's made for a blues/rock sound with attitude. To be more specific, let me cite some recorded sounds you can perfectly dial in (assuming you know how to play a tube amp), and let me say that some of my favorite tones are early 80's 'metal', before the downfall, David Grissom, gary moore, michael schenker, angus .... so let us begin; there is a low E chunkkk which you can replicate exactly what is heard and felt on early metallica (orion), queensryche (road to madness), scorpions (the zoo). It's got a quality to it i just cant put into words, kind of a squeel/squak/shimmer/edge of pick type thing that is so classic and musical. You've heard it a million times. So many classic 80's rock songs use a driving low E or Low A pedal that hits you right in the gut. Gotta have it, and this is the first amp I've played through besides a 2203 (which came close) that could achieve that. The second sound you can get is early ted Nugent (stranglehold, free-for -all). Big sound. Third, chords played 'round the 5th to 12th fret such as AC/DC , like "have a drink ..", "C.O.D." etc. is so smooth and detailed. By changing the settings, you can get any of the slight variations is angus/malcom's sound. Also, get your michael schenker and UFO, Scorpions right here with no pedals baby. Ever heard of Y&T (Dave Menniketti). Get his sound here as well. My way or the highway!! oh yes. And these are NOT approximations of these sounds, you can actually get them EXACTLY. I could name a hundred players' sound you can get but they're all similar in that they are based on a smooth, power tube driven overdrive that is easy to listen to, yet ballsy, thick, and rich with character. The only catch is like all great tube amps, you must let it warm up for at least 1/2 hour to 1 hour and set master V up to at least half to 3/4. Otherwise you might as well not be using this amp.

bought it used, no problems. Hear it's handwired and built to last. Not a bunch of circuit boards tide together. But I'm no sparky.

n/a

The only way I can sum up is to second what another reviewer here said. This 2555sl is the marshall sound I've always been looking for, but was unable to find until now. I've wasted so much time trying other shit, including many marshalls, different combinations, pickups, guitars, speakers etc. that could have been used enjoying the instrument and becoming a more accomplished player. I came close with a 2203, even close with a laney AOR, and a marshall reissue slp/50 but it all fell short, was too limiting and required lots of fiddling with knobs and/or pedals. Plug into this baby, stand up, feel something, and you'll remember why you started playing guitar in the first place! It has ended my 15 year long search for the sound since I began playing and I now feel I can begin to 'quit the search and play'. Sure I may tweek now and then with a pickup or speaker change, but I believe the basic sound is all right in that head when matched with a quality guitar and some skill. If you need the sound i've described or anything resembling that sound, I would suggest hunting one of these down, or the original 2555, beg, borrow, or steal and buy it sight unseen. You can also be assured it will hold it's value. Rock on my funk soul brothers!

i actually got the deal of the century when i bought this amp new! $1300 for the head and the angled cab (slash sig as well).

features are limited as this is a REISSUE!!! if you want something with thirty knobs and the tone of a resonator, go buy a crumby SLX, TSL, DSL, or practice amp.

going down the list of specs is useless since they don't make these anymore.

ya like GNR? get this amp. like KORN? get a CRATE. this amp's tones are closer to those of early Aerosmith, Led Zeppelin, and Rolling Stones albums. no metal distortion, just lots of smooth gain that warm and thick.....when played with a Les Paul that is. who would plug a PRS into one of these things, anyway?

the clean channel leaves something to be desired but as someone mentioned earlier, you don't by this amp to play out your Adrian Legg fantasies.

i've got two Pauls right now (both Standards) and the flexibility is fantastic! if you ever see Slash live (non-stadiums), you'd know his tone is NOTHING like what you hear on the albums. think Dywane Allman or a muscled-up Dicky Betts playing the solo to Blue Sky.

the clean channel maxed out is more remenicent of The Black Crowes type tones. southern rock rythyms.....that sort of thing. turn it up and it just gets better and better. seems to really "cook" around 7 and 8.

bought it new when it came out and haven't had a single problem yet. the snakeskin cover ripped a bit but that's ok cause i filled out the warranty card and got another......for free. see, it pays to fill those out.

i worked at a shop so getting through to them wasn't a problem. now that i'm no longer there i can see why a bunch of folks slam Marshall's service. i guess there is only one phone over there. hehehehe

again, if you like GNR and Slash then there's no reason to botch your rig with pedals and stomp boxes that "nail" the tone. just get the real thing and save yourself the expense of buying batteries for those little junk boxes.

if you play a Paul then you'll probably LOVE this amp. i know i couldn't stop playing it for a year after it first showed up on my doorstep. smooth gain, warm tomes and round fat notes. maybe i'll look into a Bassman for my clean channel.

if it's a 7 string Ibanez then you probably are so "extreme" that no amp with 10 distortion pedals could ever satisfy you, so just give it up and admit that your favorite bands are made up of entertainers NOT musicians. look at me, I'M CRAZY!!!! yeah....ok.

This baby is a simple, basic unbelievable monster. Read other's submissions for the features. We all know the story...3000 of 'em, only official artist endorsement Marshall has ever granted, blah, blah, blah. HANDWIRED...reread...HANDWIRED!!! Kickass transformers...this bitch is 250 lbs. of quality amp building at it's greatest. Please read on for the lowdown.

Simply awesome. Let me preface this by stating that I've never been a fan of Marshall amps. Why? Because I've never really played through a "real" one. Until now...and my life has changed. I've owned various 800's and 900's, (complete thinsounding shit!). This amp has a clarity and feeling beyond words. NO reverb, no dedicated channel swithing garbage. No adjustable FX loop. Just incredibly sensitive EQ and the most natural warm kickass distortion I've ever heard. I owned a Jubilee 50 watter 1/2 with matching silver cab and it sounded like hell next to this amp. And GAIN? I've seen elsewhere in these reviews where people complain about lack of gain? My dual recto is now for sale. Between tunes theres no need for standby, the amp as quite as the day is long! No pops, hissing or weirdness....just tone-O-licious sound! I wish this rating scale went to 11!

What's to break? This thang runs cool as an October nite!

Why?

I've been at it 20 years plus. Had a shit load of amps and guitars. I wanna buy another just to stick under the bed. Wanna deal on a slightly used tremo-verb, email me!

Simple, plug and play. Tweak the knobs for a couple of minutes and you're done.

Enough features for what it's intented...Slash tone !

Using a '82 Les Paul Sandard with this amp. This just sounds KILLER ! I owned a few Marshall Half Stacks since i play (15 years), including a couple of JCM 800. This thing is a 800 with more gain and a bit better EQ section.

For Slash tone, just use a boss GE7 (EQ), like he does, changes a whole lot for the leads. Boost the mids a bit and here comes the feedback, harmonics and sustain...

Clean channel sucks unless you just want the amp to play clean, then you need two head (that's Slash's setup, two halfstacks).

"In your face" type of sound.

had it for 4 years now, no compaints. Had several Marshalls, from the '80s, and they sounded indestructible...

never dealt with them

Awesome amp. Like i said above, i use a LP standard that just suits the amp. I use also the little boss GE7 EQ and a Dunlop 535Q wah. The sound is one of the best i managed to have, but you have to play it LOUD (read master volume around 7-8) or use a Marshall powerbrake. At low volumes, you just get a tiny sound, but crank it up and it opens to slap you in the face !

If someone stole me this puppy, it would be a very sad day for me, but worse for him if i put my hands on him...

This is realy hard cos the features on it are seriously limited compared with the other marshall amps on offer, having only one eq 4 the clean and overdriven channels is a bit of a pain in the arse, and also the lack of reverb does piss me off a bit, however since buying it ive found that the features on the amp are more than capable of coping with the sort of stuff most people are gona play through it, i.e punk,rock,metal,indie. so compared to most amps the features are a bit crap but they more or less do the job

I play a Gibson sg special, i cant remember wot picups its got, jus ur bogstandard gibson humbucker sort. However even with my basic picups THIS THING ROCKS!! itll do more or less anythin u want, if wot u want ranges from rich clean rythem, to full on fat heavy distortion. Ive found that the clean chanell cracks up a little at VERY high volumes but apsrt from that the amp responds pretty damn well, especially when ur nockin about 7/8 on the master volume

Marshall break down? wot????

never dealt with em

Ive been playin 4 only about 4/5 years but this is my second marshall stack, the previous was a valvestate, which wasnt bad, but compared 2 this is a total joke. this things so god damn heavy i think ud need a fair few people lendin a hand to steal it, so if any one did try ud probably catch up with em cos they wouldnt get very far. id have another if i had that sorta cash!! i love the sound, its absolutely incredible, especially if u get the slash 4*12 greenback speaker as well, its just beautifull when u turn it on when uve not played it for a while, u forget how good it is. if ur thinkin about buyin this and ur not sure THEN JUS DO IT! i looked at all these reviews before i bought mine, and it took me ages, but if i was in the same position again i would deffinately buy it, its just an incredible peice of kit

Decent features, not very versitile....however, there are some pretty cool dirty sounds to choose from, (by using Input Gain and Presence)

I love this sound. I would have to agree with everyone else when they say this amp is one of the best Marshalls out there. I also have a Silver Jubilee and the two are identical. I also own a Plexi, JTM45, and JCM 800. I can get all of those sounds out of this amp. This is THE rock guitar amplifier! I get all the classic Marshall sounds and some higher gain stuff too. PERFECT of Guns N Roses (Obviously! Duh...)

I think it's very dependable, however, you can never tell with all of the Marshall horror stories out there.

never had to deal with them

Like I said I have a Plexi (1987 reissue), JTM 45 and a JCM 800, this amp is just as good as those amplifiers. Like someone else said this IS THE LEAD GUITARIST'S AMP. It is great quality and

I'm sure if you are interested in this amp you know all of the features:
Slash Signature Model
Made in 1996 (only 3,000 produced)
Exact re-issue of the Marshall Jubilee 2555 (1987)
Comes with Snakeskin Cover
Only amp to bearing a signature other then Jim Marshall's
50/100 WATTS
2 channels
Clip feature on rythym (clean) channel
Basic E.Q: Bass, Mids, Treble, Presence, Input Gain, Output Master, Lead Master
etc.................

I think this amp is without a doubt one of (if not ) the best Marshalls out there. It is really unbelievable the sounds you can get out of this thing . The distortion is quite rich and pure. Much better then any Mesa, Soldano, or Fender I have ever played through. Though many say that this amplifier isn't versitile, I would have to disagree. There are SO many clean/dirty sounds at your disposal. No, you won't be getting country or jazz out of it, but that's not why you are looking at a Slash amp is it? Like i said the distortion is out of this world. I can get anything from early Metallica (Kill Em' All, Ride The Lightning, Master Of Puppets), a good punk (think Lit and Offspring) AC/DC, and of course,
Guns N Roses. I am using Alnico 2 pickups which do have an effect on the sound. (Very sharp and gets rids of some unwanted noise such as squealing in high gain situations) Excellent amp in both tone and qualtiy. THIS AMP SOUNDS LIKE IT SHOULD, LIKE A $1,400 HEAD. Very classy, to a high gain raunch that'll certainly turn heads. Also, to those who think this amp doesn't have enough gain, crank that input gain and presence DAMMIT!!!!! Total Zakk Wylde and Kirk Hammet.

This thing is tough....pretty heavy too! I doubt that I'll have any problems

My experience with Marshall, unlike some others' has been excellent.

Best Marshall out there, period...does what it's supposed to......EXCELLENT LEAD GUITAR AMPLIFIER!!!!!!!!!!!!!!!!!!!!

Ok, the features of this amp have been dissected by previous reviews already so all I'll say is that is an exact reissue of the Marshall 2555 25th anniversary Jubilee head from the '80s except it isn't silver and has a tacky Slash's Snakepit logo on the front. It is basically a JCM 800 that has been slightly modified. This amp is a one sound amp really so for features it only gets a five.

I use a Les Paul copy with a Seymour Duncan 'Pearly gates' bridge pickup, straight to the amp. I put the head through a JCM900 1936 2X12 Cab, with the original speakers.
I bought this amp because my two favourite guitar tones are Slash and Van Halen, as this is the amp that Slash uses and Van Halen's sound is a hot rodded Marshall anyway, I figured this was the one to buy. It is often described as the 'Warmest' sounding marshall made, and as I have heard the utterly crap, weedy fizzy distortion of the JCM900, this was important to me.
The clean channel is quite frankly, crap. At high volume it just breaks up with distortion. If you adjust the EQ it fucks up your rythym/lead sound so just buy a Fender combo or something if you want clean.
The clean channel with Rythym Clip, gives a very dry, compressed blues sound, very Page and absolutely PERFECT for AC/DC. I was suprised by how little gain this channel has and still wonder how Slash gets that "Don't Damn me" tone with this amp.
The Lead channel also suffers from very little gain and is even a little brittle, you really have to play hard to get sustain from this amp. Adding the Rythym Clip to this channel boosts it well and improves it, but I recommend an EQ pedal or Marshall Guv'nor to boost for leads.
In short, this amp is fantastic for hard rock but expect to be dissapointed by the lack of gain, this sounds like an old Marshall.
To get the Slash sound you either need to wring the neck of the guitar or turn it up VERY loud. Because of this, the amp is very unforgiving if you are a sloppy player,so be warned!
But a true collectors item, buy one now.

Only just bought it, works well! Power cord needs a little wiggling to get amp to turn on though. Socket doesn't accept the cord very tightly. Minor niggle.

No need to contact yet

I would buy this amp again if it were stolen. I think it is the best Marshall head for Hard Rock/Blues out there. It was a tad expensive for waht is basically a modded JCM800 but it is unique and a collectors item. Use with a booster and a reverb pedal if you need added versatility. Because this amp allows the guitar to come through so well without much gain, it WILL make you a better, cleaner player or make you look stupid.

Bare Bones E.Q. Plug n Play. Half power switch.
Definitely change to Groove Tubes !

I use it with a Les Paul loaded with 57 Classics, as well as a
Stratocaster with Texas Specials. It suits me well from classic
rock to Blues. This amp distorts as a Marshall does Phaatt and Loud!
The Clean Channel is about what you would expect from this Model
Marshall it ain't a Twin !!

I have had this amp since it was issued, and have had to replace a
power tube. I then changed all the tubes to groove tubes,( good move).

I have been playing for over 20 years, This amp gives me the 70's sound all the way up to limp bizkit. It's a Marshall whats not to love about it. The Guitar Player's Harley!! If stolen I would replace it. The only complaint is that I wish it had a seperate e.q. for the channels.

CHANGE THE MARSHALL TUBES TO GROOVE TUBES!!!!!

From GunsNRoses to ANY Metal......THIS AMP ROCKS!!!!!BIG TIME!

Knocked amp off speaker cab (while reviewing different beers).....A COUPLE OF TIMES!!!! Still plays, sounds the same.

Never tried.

I use this with a Gibson Les Paul with Seymour Duncan Pickups, a GE-7 EQ, Groove Tubes. 1960BV cab. THIS IS THE BEST SOUND ON EARTH!!!!

This amp is made for distortion... (clean is still the Marshall clean that can dirty up depending on how hard you pick)
Shared EQ between channels......need to get 2 of them like I did (look on ebay) and use an A/B box to get past the shared EQ

Using this with Les Paul standard and classic with the 496/500 pickups and Alnico II's....run it through a VOx(w/ Fulltone replacement kit) and right in, throw away all the effects processors with this one! It is the best sounding distortion I've heard. Not that compressed, Mesa Boogie distortion(which has its place)....listen to Slash ....that's the distortion you will get. Organic...not a processed sound. Absolutely amazing, classic Marshall sound.
I've heard this quoted (and the original Jubilee) as the best sounding marshall out there.

Feels solid.......ALL hand made..not like the new Marshalls. I don't expect to have problems with this baby.......

Not had to deal with Marshall.

AWSOME amp......this was the tone I was looking for... this is the CLASSIC marshall sound, that if you are buying a marshall, it's cause you ARE LOOKING FOR THIS TONE. GUARENTEED. I own a Mesa Rectifier also....it serves it purpose, but try to find a used on of these. You, think the 2000 TSL or DSL sounds nice at Guitar Center, save your cash(if you want super high gain, go Mesa) and watch ebay for one of these and spend it there. This is what you are HOPING your new Marshall will sound like.

The Slash amp was made in 1996 and only 3000 were produced. They came with a footswitch and a kick ass snakeskin cover (which looks great by the way). It's a 2-channel amp; you can switch between Rythm and Lead ditortion. If you pull the input gain knob out, it distorts the Rythm channel and by turning the input gain knob clockwise you can increase the amount of gain for the rythm and lead. The output master is basically the master volume for the amp. By pulling this knob out, you can switch between the channels or you can also use the included footswitch. The Lead Master adjusts the volume of the Lead channel compared to the rythm channel. Finally you have the basic four band equalizer: Presence, Bass, Middle, and Treble.

Some other features which are pretty useful are the 50/100 watt swicth on the front of the amp beside the standby and power switch. On the back of the amp, you've got an output select switch to switch between 4, 8, and 16 ohms and a mains select switch to switch between 110v, 220v, and 230v, you know, incase you suddenly decide to tour the world or something. A pick is required to switch these so you don't accidently switch them. Finally, there's an effects loop and a DI jack.

This amp definitly has enough power for any gig. I jam with my band in my basement and I normally play on 4 on 100w and it sounds great and I can hear myself fine with the band playing. This amp does not have any reverb which I don't care much for anyways so wasn't any loss. My old amp had reverb and I barely used it.

This amp is versatile enough for what I play (Guns n' Roses, Slash's Snakepit, AC/DC). For that extra boost of distortion that I need for for Metallica and Silverchair stuff, I've got my trusty Metalzone pedal.

I adore the sound of this amp. I don't think I could've picked a better amp to purchase. I've always loved the sound Slash had but that I could never come close too with my old amp. Now it's a completely different story! Of course this is the amp that Slash uses and now I've got his sound and power. I've cranked this amp up to 10 several times and it still sound great at high volumes. I use a Squier Supersonic with stock humbuckers. I hope to get Seymour Duncan Alnico II Pro Humbuckers soon and replace mine.

The distortion on this amp is incredible; probably the best tone you'll find in any amp. The clean still sounds pretty good if you equalize the amp differently for it, but who buys a Marshall for clean, especially the Slash amp!

Slash's true settings: LEAD- Pres:7 Bass:7 Mid:4.5 Treb:7
Out. Mast:6 Lead Mast:10 Inpt Gain:6.5

CLEAN- Pres:0 Bass:9 Mid:3 Treb:5.5
Out. Mast:10 Lead Mast:0 Inpt Gain:4

I've only had this amp for about a month now and everything still works great. The tubes are still warrantied for 2 months and they are still the originals in it as well. I know I can depend on this amp, although I would keep some tubes around during a gig just incase.

I've never had to deal with Marshall, but Long and McQuade in Vancouver BC (where I bought the amp), told me to take may amp to them if it ever broke. I've still got a one year warranty on my amp.

I'm 18 years old and I've been playing for 5 years. When I finally had a chance to buy the Slash head I went out and bought it. I've owned three other amps in the past and this is my first tube amp/stack. This amp rocks on all of my previous amps for sure! I hope to buy another one in the future so that I can get a good clean sound with one and distortion with the other, although they are now almost impossible to find. If it were stolen, I would have to shoot myself because I don't know where I could find another! The sound is clear, the amp is powerful, and I've finally got a professional amp.

I feel that this amp has enough features just because it has such a vast array of sounds, but in order to obtain these sounds you have to use the amp differently from how most people use it. Basically instead of using the footswitchable clean and dirty function, use the amp purely on the dirty setting with the input gain around 2 or 3 (depending on the guitar being used) and you can get a fantastic JCM 800 Billy Corgan sound when used with a Strat Plus Deluxe the use a distortion pedal of your choice, i use a Pro Co Rat II and a Boss fuzz. This amp is very sensitive to different guitars when used like this and according to eq settings you can make it sound like almost any amp in the world, which is something that i have not encountered with any other amp. My style of music is a mixture of the early grunge sound mixed with Hendrix, Chili peppers, Janes Addiction and Soundgarden with a little Smashing Pumpkins for good measure. The amp is my main sound source for my live rig, but i used to use a Fender Twin for lead boosts, which has now been ommited from my live rig. For cutting solo's i now use a Boss Compressor at the end of my effects chain. I am going to give this amp 10 out of 10 for versitility because you have so many dirty clean Marshall sounds avaliable, and i you have a good clean sound then you have a good distorted sound (provided that you have the correct distortion unit). Most people think that these days versitility is smart channel switching, channel cloning etc but i have played through JCM 800's, 900's, Mesa Triple Rectifiers and Twins, but this amp has the sweetest crunchy clean sound of all. It is also the gutsyest 100 watt head i have played which can have it's side effects, like replacement of valves at least once a year due to loss of power, not meaning volume but just it's sound width.

I mainly use the amp with a Fender SRV Stratocaster for it's amazing organic tone and playability(at this point you might be thinking that i am a fanating of Slash and Stevie Ray but actually im not really keen on either), a Fender Strat Plus Deluxe and a Les Paul Standard. By switching i between amps i can get a world of different sounds. To help shape the sound i replaced the pre amp valves with JAN PHILIPS 12ax7wa's which totally changed the tone into a much higher gain amp and also increased the width of the sound fourfould. For output valves i use Svetlana EL 34's with keep the sound within the Marshall tradition. On the down side it is very difficult to omit the midrange frequencies from the picture without loosing cut. If you increase the treble and prescence then the mids pop right out at you again. To hear it in action click on this link and download the track. http://www.getoutthere.bt.com/music/shared/index_charts.cfm?gototrack=517

I have had this amp for 2 years an replaced the valves twice, it is used for about 12 hours a week in a rehersal and live situation at high volumes. It has been bumped around in the back of vans and cars and has never even crackled or blown a fuse. Solid as a Zepplin riff.

I called Marshall when i was toying with the idea of having it adapted to use KT66 output valves and the were very helpfull. I stuck to EL34's in the end due to weighing up pro's and con's.

I would be gutted if its was stolen because i would find it hard to track another one down. I really do believe that it is the most unique sounding Marshall ever and that is somthing that i have spent a lot of time and money trying to find. I love the fact that it oozes everything that Marshall have stood for in my opinion.
Only one thing that i would add though, and that is a second master volume so you can have a switchable volume boost (like the JCM900's).

Apparently not many, but still versatile; it's in your fingers!

The Slash amp, also virtually identicle to the Silver Jubilee, is perhaps the best amp ever made for tone.

Not a lot of features, but as they say, the tone (variety) is in your fingers.

This amp is very responsive to your fingers, that is what makes it good. Some amps have lots of bells and whistles, but they do not respond well to your fingers.

The Slash is good for a clean sound, rythm crunch, and stinging lead.
These three ARE the modes for modern music (ie blues, rock etc).

VERY IMPORTANT: You absolutely MUST have the right speakers for this amp (vintage types). A strat or les paul through the Slash is an excellent combination, TOGETHER with the right speakers. If you do not believe this, check out the rewiews on this site; the WORST reviews for this amp are on the HEADS!!!

Thus I suspect that if you play the HEAD through a 1960A cab, you are wasting your time.

Les Paul said "match your guitar to your amp"... I would say match your guitar to your amp AND your speakers.

Improvements: This amps needs and extra valve for more boost.(Just to boost your CLEAN signal to the amp). Also needed is a reverb unit. These two features added will make the Slash/Silver Jubilee a MOST DESIRABLE AMP... on the planet????

PS... at the risk of depleting the stock, get NOS Mullard valves for preamp and power amp (general tip for Marshalls)

As good as any, but the sound is so good, I don't mind if a fuse blows or somwthing. (No problems)

The store's knowledge of Marshall Products is terrible. They could not tell me what speakers were in a cabinet, as an example, and refuse to unscrew the cabinet so that I could PHYSICALLY SEE what speakers were in the cabinet.

Nowadays, I surf the net for TECHNICAL SPECIFICATIONS.

THEN I go to a store and try.

The stores opinion was "if you like the sound, buy it".

A cab is VITAL to the operation of your band, eg will it handle 100 watts flat out or not, are they vintage speakers or standard, are they Marshalls or Celestions???!!!

Playing for 15 years. Swear by Marshalls, just select your speakers carefully.

Definitely buy again if stolen.

I believe this amp was manufactured in 1996.
It's not versatile whatsoever, but has a great distorted sound similar to JCM-800's and Jubilees released in the 80's.
It's a 2 channel amp, with switching, and an effects loop.
I use this amp live and in the studio with the matching cabinet loaded with vintage Celestions. With 100 Watts of power it handles just about anything I throw at it.
I used to have a silver Jubilee series that I absolutely loved, but stupidly sold. I picked this up to try to re-capture the sound of that amp. So far I haven't been disapointed at all. The amp is all hand-wired and sounds great.

I'm using a Les Paul Classic Plus with a 496R and 500T pickups and it sounds great. I also have another guitar that I through together with EMG's. This amp is great for distorted tones, but essentially useless for clean tones. The distorted tones are pretty hard to match.

I've had it for a few years and it still works.

who knows...

this is not the most versitile amp in the world, but thats not why you buy a product like this. if you want versatility you get a multi-effects pedal. this amp has the basics: presence/bass/mid/treb/vol/gain. thats it there are some very useful things like the half power switch, and the ohm key: 4/8/16

Personaly, if you want the best out of this, or any marshall you have to use a gibson, or humbucking equivalent. i use a les paul, with Alnico proII magnets.
this amp has the sweetest sound ever. what it lacks in versatility it more than makes up for in quality. this amp sound expensive, as it should do, but it oozes class, even if you are playing the most mundane oasis riff. The amp was made to play loud, it has an awesome power output, without becoming messy.

I've had this amp for 5 years now, and have never had a single problem with it. i did have a problem with my dealer concerning the lack of accompanying booklet, and certificate, and snakeskin covers. but i kept at them, and they eventually dug these out for me.( 4years after purchaseing them). i also sent my certificate down to Jim Marshall, and he signed it for me, cool eh?

There are numerous luthers out there who will sort out any problems with your amp, and not all of them try to rip you off. marshall will do the job for you, if it is under warrenty, no problems, but it is a problem if you are one of those american types who decide to live so far away from milton kenes. unlucky boys.

the overall rating would depend on the reasons and uses you got this amp for. if your a bedroom player i seriously suggest you get a power break, torres in England do a good one. this amp oozes quality, style, class and a seriously heavy rock sound. if you want to sound like Guns, AC/DC, Aerosmith etc, it'll never hapen, but if you want to sound like you know what your doing then this is the amp for you. unless you were in posession of a grand in 1996 then chances are you have missed your chance to own one, because the second hand market in a limited edition like this is non existant. sorry, but if you ever come into some money (student loans?) and have a friend of a friend who knows someone who once met a bloke in bristol who slept with a girl who knew a guy that had one, then find this man, track him to the ends of the earth and buy it off him. it's worth the effort. a truly classic amp.

100 watts! Four EL-34 power tubes, three 12ax7-something or others for pre-amps.

EQ is real easy... Four knobs: Pres, Bass, Mids, Treb.

The Input Gain knob affects pre-amp gain. Turn it up and it overdrives.
It also is a push-pull knob that when you pull it, it distorts the clean channel. Not as much, or as thick distortion as the lead, but just perfect for riffs and power chords.

The Output Master does a couple of things... It is bassicaly the master volume for the amp: turn it up and everything gets louder. Also the more you turn it up the thicker the lead sound is, because you are also using the power-tube distortion which in my opinion, sounds far better and warmer than pre-amp distortion. This is why you have to crank tube amps for them to sound their best...
The Output Master is also the Clean/Rythym channel volume knob.

The Lead Master knob simply adjusts the volume of the lead channel compared to the rythym/clean. You can make it quieter or louder than the Clean/Rythym.

Other useful stuf...
An effects loop, 50/100 watt power switch (Very nice. Insted of the push button of the TSL's, it's a durable switch like the power and standby switches.), variable voltage for different countries (not like I am going to be touring in Japan anytime soon, though) Speaker-outs in 4, 8 (stereo), and 16 ohms (Again, very nice. Not the little switch that marshall uses on the new JCM 2000 TSL's, but on this amp you have to use a guitar pick to turn the switch between ohms. This is good so you don't accidentaly push it when you move the amp.), also it has a footswitch jack which lets you switch from Lead, to Clean or Rythym.

It has no reverb which I was bumming about at first, but all you need to do is put on your effects from the mixing board when you mic it, and you're in buisness. This is the way to go...
Also you don't miss the reverb when you're doing a gig. The room usually has plenty of natural reverb.
This amp is really a professional amp made for gigging and stadium touring. For normall practice, it is simply way too loud.

I give this amp a 10 for lack of the unnessecary... And for what it does have and do, it does it far better than anything else.

Ooooh, baby.
This amp has THE sound for me! I am a big fan of Slash's style and sound, and you really have to get this amp to have the sound.

I use Slash's settings for the Lead channel:
Pres - 8, Bass - 7, Mid - 7, Treb - 4 1/2
Input-Gain - 6 1/2, Output Master - 10, and I use the Lead Master to adjust the volume to the gig. I am sure Slash turns up to 10, cuz I turned it all the way up once and it sounded SWEET!!! But...people could hear me over a mile away.
It is still very loud at 50 watts too. You have to get the volume up at least to 3 with the Output Master all the way up in order to get a really good sound...
If you don't crank the Output master, the Lead channel sounds like shit.

Something else worth mentioning, is that is doesn't blend notes in chords together. You can hear each note VERY well, and it responds precisely to your picking nuances. In other words: It can make you sound like shit if you don't know how to play very well.

Also... wear some friggen ear plugs when you crank, man! I do. It will save your hearing so you won't have that constant ringing in your ears. Also, when you are wearing earplugs, you can hear the sound better because you ears aren't overdriving.

Now for the clean...
Slash uses 4 amps in his stadium set-up. Two for Clean and two for dirty. The clean on this amp is good if the EQ and Input-Gain are setup differently than the Lead. The only way to do this, obviously, is to have more than one amp. =)
Slash had his amps modified for the clean tones, using KT88 ouput tubes. His settings for clean are:
Pres - 0, Bass - 9, Mids - 3, Treb - 5 1/2
Input-Gain - 4
I tried using these settings for the clean, but I think I need the KT88 tubes to get the sound right.

So right now, I use the new marshall 2000 TSL for Clean, which isn't as good as they make it out to be. It just sounds too muddy and flat...
I am trying to get another Slash amp, but can't seem to find one anywhere. I guess most people like em as much as I do! =)

The sound of this marshall is quite 70's ish. Zeppelin, Aerosmith, Guns N Roses, you get the idea. It's a rock amp. You can get a good Zakk Wylde sound out of it too, if you crank the Input-Gain and adjust the EQ's accordingly.
Also, like with most earlier marshalls, the sound isn't compressed. The TSL's just don't have any feeling in the notes, and no matter WHAT I do, I can't make it sound like my Slash amp...or any other marshall for that matter. You can do approximations, but that's all. I took it apart and it was all printed circut boards...
Getting sloppy, marshall.

Also this amp has PLENTY of gain! Like I said, it can do a really good Zakk Wylde! (If you don't know who he is, go find out.)

I have had this amp for almost six months now, and it hasn't given me any problems yet. I bought it used from a guy who had it in a closet and almost never used it. It had the original tubes in it and I am still using them. I use it every day, and will be replacing the tubes soon to prevent any future problems. It has Svetlanas in it right now and thats what I am going to keep in them. Really good tubes...nice sound, long lasting. The best! =)

This amp is a tank, and as long as I replace the tubes, this amp will keep working forever. It is well built, hand wired, bulletproof, etc...
It even has spring loaded caps over the tubes!

I use a '99 Gibson Les Paul Custom. Wine red, and plays like a dream. I use stock pick-ups, only cuz I spent so much money on the guitar.
I want to get a Cherry Sunburst Standard and put the Seymore Duncan Alnico II Pro Humbuckers in it. That would RULE! =)

I also play out with a Nady 350 wireless unit. Very good for running around and falling off the stage. =) But hey! At least I don't pull my chord out of the wah! (The only effect I ever need)

If this EVER got stolen, I would find who ever it was who took it, stick a full-stack in front of 'em, crank my amp to 10, and let the amp do the dirty work!

Made in 1996, Marshall made only 3,000 of these. Came with a certificate saying you're the proud owner of a Limited Edition Slash Model amp. Not a true 2 channel amp but you can switch. Not a very versatile amp, but who cares. I don't play clean. Distortion on and rock! If I wanted clean, I'd buy a Fender!

I'm using a Les Paul 3 pickup Black Beauty and an Ibanez Jem. Both rock this amp. Distortion is classic Marshall. If your looking for Metallica or Van Halen, get a Soldano or 5150. This sounds like AC/DC, Zep, Kiss, Guns etc

Of course. They don't break unless you make them break.

Local techs are always the best. You can't reach Marshall

I've been playing for 13 years. This amp rocks, but if you want versatility get something else. If you play in a single tone, get it. I like it, I don't love it. The JCM 800 2210, I love.

I was lucky to find 1 of only 350 Slash Signature models. It was a limited run in '96, its a replica of the 88 silver jubilee (wich was a reissue of a 50's model)Slash out of Hendrix, Vaughan, Clapton, Beck, Page, Johnson, Perry, Young etc Salsh is the only to recive a signature cab. and head. Jimbo (Marshall) himself recignized Slash as a firey young selfmade guitar genius. It is very versitle, with in a music genre. It can get a bassy sweet clean tone or the greatist lead tone known to man. The only problem I found was if your clean settings are differnt from your overdrive, a footswitch wont cut it because youll have to reset the switchs. (I personaly use a Fender Hot Rod Deville or JCM800 for the clean tone)

Im a huge fan of SLASHs tone. I use his spacific sttings, and his pickups (Seymour Duncan Alnico II pro Humbuckers. With the write settings youll have a tone to blow away any one. I had to play in front of like 10 players like myself and like 2-30 old classical players, and i was ggetting complements on style and tone all night. If your in an apartment and have to keep it down then forget it. its tone on volume 1 is no better then a cheap solidstate but cran it up and its a whole differnt amp. its a rich distorion it can get pretty dirty if your put it on 10 but nothing like that heavyheavy metal crap. I play a lot of GNR, Aerosmith ACDC Beck Clapton etc but for free jams im strickly a blues player, the amp rocks all catagorys.

I test it day in day out, and its never failed me. Aslong as the tubes werent too old, i wouldnt consider bringing anything else. Marshall are hand built 80%, but this "custom built" Marshall is 100% built by hand 1 by 1 all the way to 350.

Ive never delt with Marshall, id imagin it would be hard beings there based in the UK. When i lived in S. Jersey, "the Music Place" Berlin was helpful and they somehow got me a un-used 96 Slash (in 98) that was left over in the factory. Ive herd that there owner has a good connection with marshall.

Ive herd almost all the amps in the world, i play a 88LPaul standard, a historic 99 ES-295 and a couple other pauls, all with Duncan Alnico IIs. theres no better team. If you want Slashs personal (as personaly given to me by Adam Day his tech) amp settings e-mail me.

Check the other reviews for the controls of this amp. It's a reissue of the 2555 Jubilee that Marshall made in 1987. A difference between this amp and the regular 100 watt tube heads in the JCM 900 line, is that the Slash head offers impedance selections of 4,8 and 16 ohms. This allows you to drive four 4x12" cabinets in parallel.

I use a Gibson Invader with a Seymour Duncan Seth Lover and a Custom Custom. I use this amp with my band; it's a bluesrock-powertrio.
When I went to the store, I compared this head to a JCM 2000 DSL. After ten minutes of fat, organic and brown Mars-hall tones of the Slash, when plugging my guitar into the DSL, it sounded thin, with no body and much to modern to my tastes. (This was even when overdriving the powertubes). A few months later I bought the amp at a different store without listening. Trying it at home it sounded much different than the one I tested. The sound was very bright, it had a piercing top-end and utlra heavy bottom.(My 2x12 cab contribu-tes to this but my old JCM 900 Dual Reverb sounded much warmer through these speakers). After replacing the marshall ecc83-tubes with better ones (these sound much smoother than Sovteks btw), the sound I was looking was there. Big, fat and warm crunch and when playing solo's, you get articulated hard-burning notes whith a nasty bite, which you can shape any way you like it. It's not the fully compressed sound of a modern high gain amp; everything is more open and breathing. Replacing the EL 34's with Svetlanas will probably add even more character. Although it's actually a one channel amp, the big advantage is that you can play dirty rock riffs and chords on the crunch channel (on band volume level) and getting a very, very big volume (and fatness) boost stepping into lead-mode. The Lead Master control beefs up the pre-amp gain levels. With the JCM 900 I needed the second channel for dirty riffs and a Drivemaster to accomplish the volume boost. Another interesting thing is that the amp sounds very different using different guitars or even pickups.

I bought it a month ago so there is not much to say about it. My Dual Reverb, which I had to sell in order to buy this one, had been performing flawlessly during 5 years exept for a broken tube. I gigged with it only a few times a year though.

This is a one purpose amp I'd say. It's great for blues and 70's rock (from Free to Black Sabbath). For what I play I love it, but if it's versatility you want the JCM Slash is not what you're looking for. It's a shame these things cost so much, but I had no other choice since the old Silver Jubilee's are hard to find. And if you are going to try one, remember to bring your own guitar.

I got this new at my local guitar store. At first, i liked it but then i realised that it wasent all i thought it would be. I thought it would be great because it was a Marshall but it wasnt. The features are very limited , shares the same EQ with overdrive and what they call clean, i call it shit.

The distortion is pretty brutal. But it lacks some meat and low end. It can prwetty much sound like Slash's live rig. But thats basically it. This may be good for you...but i think i speak for a lot of people when i say that this amp is very limited and not versitile one bit. If you were gonna have more than one amp io would recomend it because the gain on this amp is good if your gonna have a bunch of sounds to switch between. But overall i dont think its that good.

No problems yet. Im sure im gonna have to replace the tubes again though. They get Hot as shit and need replacing pretty often.

Nope

Decent amp, but at a ridiculus price. and you have to turn the fucker up so loud befor it even starts to sound alright, you cant stand it if your playing in your house or garage. If it were stolen i would probably bot buy it again. I have messed with many amps and i dont think this one is a keeper. I would save a little mony and get a Line 6. I know that nothing is as good as the Real Thing. But the Real Thing dosent have a ton of rich lucious effects with so many great sounding amp styles plus much more versatility and portability. And you wont have to spend up to $150 replacing tubes every 6-8 months.

The features on this amp or horrible, It shares the same EQ for both clean and overdrive channels. If i want to cut or boost the mid on the overdrive, i have to do the same for the clean and that sucks. Slash switches between amps on stage so this isnt a problem for him.

Its ok...definently not worht the money i paid, 650. It is really brit and brittle. Not alot of meat. I have bean playing Marshalls for 22 years now and this does not really live up to the name. A JCM 2000, or even a 600 or 800 is better.

No problems, except that it sucks.

I asked them why the amp sucked so much ass and the wouldnt give me a straight answer. The kept jerkin me around

Pretty shitty amp, i'd go with a jcm 2000 used or something like that if your gonna get a Marshall. Trust me I have been playin a long time and this amp does not have good tone. Not worth the money, even used.

Channel switching: Clean (push-pull for crunch) and Lead. 100 watt tube head with half power swich (which I usually use). It has an effects loop. It has a shared pre-amp for the clean/crunch and lead channels. I wish it had seperate controls for each channel but nothing is perfect. No reverb.

Thisamp has the best sounding distortion out any of master volume Marshall. I usually run the amp at half power. This amp does sound buzzy at lower volume levels, but once you crank this sucker past half way, look out! It really sounds nasty. It has a ton of bottom head for a Marshall. The distortion is so rich and fat. The crunch channel and the lead channel clean up very well when you turn down the volume pot on the guitar. The clean channel is good for a Marshall as long as eq it properly. I harldly ever use the clean channel. The crunch channel is very good for blues but it is a little nasily sounding. The lead channel however is incredible. Tons of sustain and as I mentioned earlier, crank it up past half way and get those EL 34's nice and hot and this amp sounds great. I'm into the Allmans, Gov't Mule, Black Crowes ect...this amp is perfect for me. This amp is not noisy. I have tried this amp through many different speaker types and configurations. A closed back cab with vintage 30's sound the best. I'm using a Les Paul standard and a Strat through it.

Never had a problem.

never had a problem.

The distortion channel on the amp is killer. Great Bottom end, rich mids. Great rock/blues amp.

Switchable lead and rhythm channels, and pull clip for the rhythm channel which basically just adds diode clipping to the clean sound. The clean channel would sound much better if it had it's own pre-amp volume, but you can obtain usable clean sounds with it the way it is. I can't complain however, since my other Marshall doesn't have any type of switching options.

I use a Hamer FM Special and an old Kramer Pacer with it, and play mostly newer rock and alterative, along with some classic rock. The amp sounds excellent for what I'm doing since I hardly ever use any clean sounds. I can make the rhythm clip channel sound almost identical to my 1971 Marshall JMP 50 watt head by setting it as follows: Input gain 5, Output master 7, treble 3, middle 3, bass 6, presence 3. This gives me the option of having my normal Marshall sound along with a footswitchable high gain sound. At low master volume settings, the high gain sounds are kind of buzzy, but once you get the master above 5 the amp kicks ass. Don't expect good sounds at apartment levels.

I've been using Marshalls for 15 years and have never had a problem with any of them, except for bad tubes. I use it on gigs without a backup every weekend. I do take extra tubes though.

I ordered some parts from Marshall once. No problem at all. They do have a $25 minimum order though.

I think this is one of Marshalls best sounding amps. I would buy it again. But if it it came down to getting rid of this amp or my 71 JMP, the Slash would have to go. I'm just lucky that I can have both.

This 100 watt all tube head features a clean and an overdrive channel with a pull cut on the clean for a sort of Hendrix style slight overdrive. There is no reverb, no Parallel effects loop, this amp is purely a reissue of the 100w Jubilee head. Features are not the reason you buy a JCM Slash. One nice feature is the ability to run your cabinets at 4 Ohms in mono mode. This gives you more volume, more tone, and more power.

The JCM Slash Signiature series amp sounds just like the amps you hear Slash playing in concert. This is the ULTIMATE rock guitar amplifier. I play punk myself, with the crunch this amp produces, my fast paced rythyms do not get lost anywhere.
Just as Slash does with Slash's Snakepit, I plug into this amp with a '97 Wine Red Les Paul Standard Plus.
Just for pointers for any punk that wants to play the JCM Slash... 1. Use the Drive Channel 2. Presence 5, low 4, mid 9, treble 10 3. No pedals necessary
I know that this is not the only amp one should have in his arsenal. I use a Fender Concert Amp (1x12" 60watt all-tube combo) with the reverb all the way up on the pull cut("bright '59 Bassman) channel. I always plug in my American Standard Stratocaster for that SKA sound that I want sometimes
I use a Fender Prosonic Half-Stack for a more modern distortion sound. It has dual gains that are cool. I usually plug in my Les Paul Studio that has Seymour Duncan pickups into this amp.

This amp has been around me for about a year or so and It has never had a single problem. I'll probably re-tube it soon just to avoid any future problems. It has performed about 15 gigs and survived lots of beer.
Interesting Note: Slash still uses the same 3 that Marshall gave him when they first came out as the Jubilee. Two he uses on stage, the other, he has never used because it is there as a backup if one of the others goes out.

I'd like to have another one of these, unfortunately Marshall only made them for a year, so I am really having a hard time tracking one down. Oh well, It looks like my amp is already worth more than I paid. If you have the means, I suggest you pick one up.
If you don't have the means, get a JCM 800, not a 900 *too many friggin' features.

OK. This is the re-issue of the 25/50 Silver Jubilee series of amps that Marshall produced in the JCM800 1980's (1987, to be exact). The head is a 100 watt, 4 EL34, 3 12AX7 tube affair. It has an interleaved transformer, a custom snake skin cover, and a footswitch. A clean chanel is available via a pull master volume knob or footswitch. Also, the clean chanel can be made more "crunch" like with the use of a pull knob. It has an effects loop as well as dual power (pentode/triode) modes. What it DOESN'T have is ANY control over pre-amp gain! The "Input Gain" control is the only poor excuse for pre-amp control, and fails to provide enough flexibility--you keep it at7, or face flat, dull tone! I am not a Slash fan, but figured you could mess with the amp and achieve a cool 1980's tube on fire tone--I was wrong!

To me, the problem once again is the lack of pre-amp control. Because of the use of Diodes to create most of the gain, you basically have a gain on, or gain off situation. The clean section isn't too bad, but I didn't buy a Marshall to get clean tones! Plus, the distortion you DO get is weak ! What this amp is missing is a knob marked "Preamp Volume"...period! I never did like Slash's sound, and now I know why! IT's THE AMP!

Reliable as all Marshalls. But who cares? I'd take tone over reliability any day!

Here's another laim example! The amp has a Master volume, and a "Lead" master volume. I called Marshall in England to get a straight answer on these knobs, and got a WRONG one! The tech there said the Lead Volume controlled the pre-amp gain. That, it turned out, is totally wrong--the lead volume simply adjusts the volume between the clean and gain channels. You could have the lead volume at 2, or 10, and the amp sounds the same! Only the Master volume affects power tube distortion. Blaaaaa!!

Needless to say, I returned this thing to the store. Now, don't get me wrong, I love the Marshall sound. But this head is a lame excuse for a Marshall! I cant believe they re-issued this thing, instead of their other JCM800 amps. I was so sickened by the lack of tonal control on the Slash head that I went and ordered an SLX head via catalog! It sounded 10 times better than the Slash, and if you want Marshall tone but don't feel like killing your ears on a 1959 or 1987, the SLX is (saddly) the only way to go, for now--4 pre-amp tubes, 2 pre-amp volumes--gain city! Add a power-brake to crank the power tubes at home, and you'll be set! If only Marshall wakes up and starts using EL34's for all their amps, the world would be a better place!

This is the deffinitive Marshall, I think they were only made in 1984 and are a grey colour.It is a two channel amp all tube 100 watt rock'in beast which can be tamed to be a 50 watter, it also has an effects loop

It is a strange amp in the scence that it doe'snt sound too great on its own but when combined with other instruments it becomes incredibly musical with a smooth low end and i would perscribe one for most genres. I use a Tele and a Les Paul which provides many cool sounds from country to Black Sabbath.

Im amazed when every time I turn it on it goe's. But no problem yet and i've had it for one year.

I would never sell it to need another. Perfect for me.