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