Marshall AS50R

Made in 2003. Very versatile amp, takes on several varieties of guitar and vocal input. I play folk and rock and a bit 'o jazz and classical. 2 channels, reverb and chorus, effects loop, CD input, etc. This amp has never disappointed me in rehearsal or gig, whether with lots of others or just solo. Power and tone to spare - for big rooms or big bands, pipe it out through the PA system. Wouldn't mind a bit more EQ control.

The only flaw is that it can't hide the weaknesses of my a)playing, or b)instrument. It's very honest.

Never been an issue. Some plastic parts that on older models would have been metal, but they seem tough.

I've been playing for, let's see... 37 years. I've never used a better amp than this one. I'd replace this with the 100-watt model, maybe, if something happened to this one. I've compared it to the Fender and Peavy acoustic amps and much prefer this one, although the others aren't bad. The Marshall's more flexible.

Occasionally I???ve thought about selling this amp and getting a better one and then I have to remind myself how often do I gig with it? It???s a clean sounding classy looking amp and pretty straight forward to use with 2 channels one for either mic and guitar or two acoustic instruments if you prefer. You can also plug an acoustic bass guitar into it too with no issues, I checked this via e-mail with Marshall first just to confirm it would???nt damage the amp.

The amp is actually very clean sounding enough but I do feel it does colour the sound of your instrument somewhat. The feedback filter does actually work if you understand how to use it, simply turn the feedback knob until it finds the frequency of your feedback and it kills it for you. Great idea because this means you can get a good amount of volume from this 50-watt amp. I???ve used it at Big band rehearsals and smaller 4 piece gigs and it more than holds its own.

I generally use an acoustic guitar using an Schertler Dynamic G pickup (yeah I know they are expensive but worth every penny), occasionally a mic in the 2nd channel for vocals. The reverb is a nice touch although to much can add feedback issues.

Issues- the reverb unit died on mine and I had it replaced, its ok now. As mentioned already it does colour the sound a little but they are very reasonably priced. Can I justify spending several hundred on a better acoustic amp?

Overall for what I get out of it, I???m happy enough. If I was gigging more I would think about getting a better one but I have this feeling that no amp can perfectly amplify an acoustic signal without some discolouring.

Clean

Reverb died had to get that replaced, ok now. See above coments.

Marshall good to e-mail see above comments for details.

If lost or stolen i'd replace with same model or damaged i'd get it repaired.

This is an excellent amp with , in my view, an excellent reverb unit. the feedback limiter is very useful.
Have gigged this amp a couple of times, and on the last 2 gigs noticed a problem (see below)

I use this amp with a crafter acoustic, and occasionally a mic. Sound is excellent.

Unfortunately, this amp, now 2 yrs old, has started to let me down. At high volumes, it has started clipping and cutting out, especially when driven with a lot of bass freq. I am in the process of tying to find out what the problem is, but I can't therefore give a great reliability rating.

I am still waiting for an e-mail reply, but it has only been a couple of days.......

I play all sorts of gear, but I have been very impressed with the sound of this unit, I would definitely buy again, assuming that my experience is a 'one-off' and simple to correct.(if anyone knows what is wrong, I would like to know!)

Bought this amp 3 years ago for 200 pounds sterling. You know the spec'. I fell in love with how it looked...really classy. I play in a four piece 'Eagles'y ' kind of band and only use the guitar channel with vocals going through a mackie p.a. so cannot comment on the mike channel.

I use a takemine electro accoustic an46 which, after 4 years has a beautiful round rich accoustic tone. we play small venues at fairly low volumes so I have never had to push this amp, although it is loud enough on low settings and seems to have bags of clean power to spare. I love the genuine reproduction of my beautiful guitar sound and sometimes use a touch of reverb to make it sing!

It has been gigged regularly (weekly) for three years and has never let me down so all I can say it that it is very dependable.

Not needed to contact Marshall

I have been playing for 40 years. I own a fender blues deluxe, a tele , a mandolin, a fender accoustic bass and Randall 100w bass amp and a Remington S10 pedal steel guitar.
In the event of me loosing it I would replace my marshall immediately.
I didn't compare this amp with others, I liked it straight away and bought it, the price was such good value for my hard earned cash!
No improvements needed.. I like the anti-feed back features.
To share..... I gig with it on an angled amp stand to get it off the floor and improve what i can hear in amongst the other instruments.

Features already well covered in previous reviews. It would be nice to have more sophisticated EQ, an extension speaker socket, and phantom power on the XLR mic input, but I've managed to live quite happily without all of these for 3+ years and for the price I'm not complaining.

I use it with a Guild dreadnought with a (frankly ghastly) Dean Markley soundhole pickup and a (much better but very low output) BelCat soundboard transducer, and it works well with both. It has also been used to amplify vocals, electric guitar, keyboards, violin(s), a hammered dulcimer, and as an on-stage monitor. It has never failed to deliver. Not a huge amount of bass, unsurprisingly, but the sound is airy, clean and musical. The reverb is fine, the chorus is OK but best at minimal settings - turn it up and it becomes a bit of a parody of itself. I've never used the effects loop.

Has never let me down - for rehearsals, classes, barndances, and rock gigs. Given the price, it obviously isn't a professional "road-hardened" unit - as the plastic jack sockets, corner reinforcements and feet testify. The sockets and the corners have been fine so far. The feet did break, and I've replaced them with rubber ones from Maplins for some ludicrously cheap sum, which is fine. On gigs, it IS the backup...

Never used.

I've been playing for over 40 years, I suddenly realise. Tonic wine, anyone? This is the most versatile amp I own, very dependable, loud enough for small gigs, portable, and generally a good thing. Yes, it could have more features and better-quality hardware, but then it would cost twice the price. Very good for acoustic soloists and duos, but also very usable as part of the backline for a larger band.

New 2004, M.I.C., 2 channel, solid state 50W. Chorus and reverb. I like that both channels are identical in terms of controls and chorus. Not sure I like the reverb "pan" between the two channels as much, but it seems to work fine. As mentioned elsewhere, it's a very attractive amp, but small and low-to-the-ground, so I've bought an amp stand to get the sound up away from my ankles. Big improvement! Nice brown tolex, 2 8" speakers and a tweeter of some sort. No "DSP" effects, the lack of which I consider a plus.

I demo'd this with an Ovation, but have found that my Martin, with no onboard pre-amp or tone controls actually sounds better. It's just a Martin transducer running straight into the amp. While I have a Boggs Para DI that I use, I evealuated the sound of the amp without it. Because the amp has no midrange control per se, you may find, as I did, that a Para DI or similar outboard EQ will give you more tonal options. That said, the amp sounds great for acoustic guitar. Clear and very loud. I compared this to the Fender 30 watt Acoustasonic, a Crate 30 watt, the Roland, and the Behringer that has all the DSP effects--god, what a cumbersome load THAT is! This amp, to me, was superior in virtually every respect. Warmer, brighter, louder, cleaner. I think the Roland (at $500) probably sounds "better," but it's too damn small, and I couldn't justify the $150 price jump for the meager improvement it may have offered. Not to slam Fender, but the Acoustasonic 30 struggled to even keep up, both in volume and tone. It seemed to be breathing hard even at moderate levels. The Crate was fine, but again, very small with a single speaker, and just seemed too bright. I kept coming back to the Marshall after playing each different amp, and it consistently made me happy. I was floored when I got it home and played the "naked" Martin through it, and even moreso when I applied the Para DI.
I also ran vocals through the amp while playing, and while it took some tweaking to get the sound right, it EASILY handled both, and sounded perfectly adequate for a small-room mini PA, which is how I envision using it. Again, some outboard EQ (maybe just a 7-band) would give your vocals more flexibility, but with a little chorus and reverb, it sounds very much like a "real" PA. Seems to have power to spare, as I never really got the thing past halfway, and it remained clean, even with enthusiastic strumming and loud singing.

5 year warranty. Seems solid. The salesman reported experiencing no problems with these, which he wouldn't (or couldn't) say about the others he carried (especially the Behringer, which he described as problematic), for whatever that's worth.

Ditto

I play acoustic in a singer/songwriter duo and sponsor a songwriter club at the school where I work. I plan to use the amp for small gigs and for the kids to play and sing through, and maybe I'll use it to record, since it has a nice direct line out. I've been playing for 30 years (not that you can tell), and plan to use this amp exclusively with my Martin 000. I'll be selling my Ovation, thank you very much, since it now offers no advantage over the Martin (I thought it would sound better than the Martin plugged in, but it doesn't, so I'll now do away with the annoying round back that wants to roll while I play--but I digress).

I'm sure that Genz Benz and Trace Elliot make fine products, and perhaps the higher end versions of the amps I compared this one to are also worthy. I would certainly advocate playing everything in your price range before making a decision, rather than relying on anyone's opinion. But since I needed to stay under $400, this was a remarkably easy decision for me, and one that I'm glad I made. It's light enough to carry around, and looks very professional with the unique brown covering. Hardcore acoustic performers who play large rooms may need more power, and recording artists may need more effects. But for general unencumbered, straight-ahead, plug-in-and-play usage, I consider this amp to be a great value.

two seperate channels, very useful when your singer cant be arsed buying a pa, xlr input is also useful if u want to do vocals and an acoustic without anything else. the chorus and reverb are both nice and really fill out your sound. for a 50 watt solid state its also VERY loud, and the brown tolex makes it loom cool too.
di is also really usefull, if u want to go through a pa go through this first and u can hear urself, allways useful that.

i bought the amp to use a yamaha apx-5 through, for an acoustic amp its perfect and id never change it, however the real reason its greatis that you can put anything through it, my strat sounds great as a clean setting, better tone than an mg, and if u put a pedal infront it will even do dirty (great as a backup if my jtm ever goes down)

THIS AMP IS INDESTRUCTIBLE, ive dropped it, spilt coffee down it, kicked it, u name it. u cannot break it. when the singers pa broke at a small gig we put 3 vocals a guitar and a bass through it and did it complain? no, honestly if u want an amp to reherse or put vocals thorugh look no futher, this will do, its even had my mates rediculous kirk hammet distortion through it when his amp went down.

no idea, you cant break it, aparrently marshall are very nice, they fixed my mates head when he put the speaker output into an amp (fool, luckily it was only an mg100, doesnt matter) if it did go wrong i wudnt complain, but its fine

ive been playing for 9 years, ive just got a jtm 60 for my electrics which is brilliant. but for an acoustic/vocal amp get one of these dont bother ashdown are overpiced, laney arnt as good or as cool looking. if it was stolen id hunt them down and beat them to death with my pacifica, if ilost it id kick myself, its not that small really! then id go on ebay and buy another one

the only thing i wish it had was the footswitch, which i forgot to buy *doh* and maybe larger speakers, or a powered output for an extenion speaker.

it is also exactly, and i mean exactly the same size as the boot of a mini, destiny, also u try getting a 3x10 in the back of a mini!

VERY NICE, just what you want realy, very clean and warm!

I am doing this review for reliability only!
I got the amp today and and it had been droped by the delivery firm.
3 feet smashed and a the tolex around the feet was ripped. It came with the box open and the amp upside down!!!! imagine what i thought!
Anyway its being sorted by this great ebayer! a real good chap! But I was amazed this amp still worked after such an inpact to brack those very hard feet! It must have been droped from a hight i imagine to damage the box like it did!

The Reverb did NOT work. But that was all that was wrong! I could have other intenal damage that could come later, and i hope not to find out! But what a tough light guy this Marshall is. I would say to anyone who is worried about reliability to NOT WORRY AT ALL. This think is like Built very well. If it was my LANEY VALVE AMP, i would be crying if someone droped that!!!
So Great going for 10 for this, after all the springs in most amps go anyway with out dropping them.

Really Like it, cant wait to get my problem sorted out, Its a really loud amp too. and lots of inputs and stuff too. Chorus is so sweet

2003 Marshall AC50R Acoustic Instrument amplifier ? all solid state. Two independent channels, one with xlr in. Amp has direct (xlr) out & balanced line out. Two 8" speakers with tweeter. Beautiful thick brown tolex with gold piping and panel, nice leather handle with gold pins. This is one fantastic looking little amplifier. Initially purchased to use with my Tacoma acoustic/electric dreadnaught.

This amp sounds beautiful with my Tacoma A/E DR16-CE4. Well balanced, deep thunderous lows ? somewhat scooped mids and beautiful crisp highs. Excellent reverb and chorus. Sound is very full and very balanced. Amazing that this amp has only two 8? speakers and it projects this kind of sound. With a mike plugged into channel 2 ? this amp is a singer songwriters dream machine. But it gets better. I Plugged my goldtop LP into this amp just for grins and I was totally blown away. This thing sounds absolutely KILLER with an electric guitar. I play my ES335 through this and the results are the same ?Huge sound that remains articulate and balanced. The cleanest of cleans. With an RP200 the thing also sounds fabulous on many settings. This amp and it?s tones remind me of Jimmy Page ? the thing is AWESOME. This is the most incredible amp I have ever owned.

So far a 10 and I expect it to last a long time. No tubes to screw around with either.

Marshall has always been great for me.

This is the nicest amp I?ve ever owned and through the years there have been many. Since I bought this thing I?ve sold my Princeton Reverb and my Gibson Skylark tube amps and haven?t even thought about them. This amp does it all. For recording and XLR?ed through a PA it really, really shines. Well done Marshall.

9
2003 Marshall AS50R. I am just going to hit on some big points that may help some people. I play guitar and sing in country band, although we do some classic rock covers. We gig almost every weekend. All right, this is important if you are thinking about buying this amp.... If your band creates a lot of stage noise, watch out! This amp is not too loud. It has limiters built into it, so if you crank it up and and play too hard it will cut out. Frustrating. So we fixed that by running louder out of moniters and mains and not so hard out of amp. Now....BEAUTIFUL!!!! I am so glad I bought this amp. I run digitech RP100 through the effects loop. So now going from tranquil acoustic sounds (when effects box is on standby) to dirty lead tone is so easy. I play the peavey gen exp guitar at gigs. I used just the Marshall AS50R, my Ovation Celeb Deluxe, and a SM58 at a wedding reception, and it was perfect. Watch out if you buy it and get is straight out of the box. Have a phillips head screwdriver ready. You will probably need to tighten all of the screws on the outside...no biggy
Rock on musician's!!!!!!!

2003 Production line Marshall AC50R Acoustic Instrument amplifier. Two independent chanels, one with xlr in. Direct (xlr) out & Balanced Line out. Realy could use aux speaker extention. 2 8" speakers with Onboard non-switchable tweeter. Brown tolex with gold piping and panel, very sharp Leather Handle with gold pins. Is a fantastic looking little amplifier, always recieves plenty of gawks from other musicians on looks alone. All solid state design. Used with full alternitive rock band and for acoustic sets with the same.

Use mostly with Ibanez AE10l acoustic in a heavy range modern rock outfit. I imagine lots of folks who try this amp out are looking for mobile PA or for fingerpicking-folk rock type of material. This IS NOT a fingerpicking amp!!! If you need somthing to amplify country/folk, look at the fender Acoustisonic or the Behringer Acoustic amps. The marshall flat out rocks. Excells with complex open tunings and "slack" keyed tunings. great note Definition on complex runs over open strings and palm muting. Great for that "Alice in chains" sound of doom acoustic vibe with the mids scooped out (go figure.. it's a Marshall. Reverb is superb, airy and transparent. Chorus is serviceable expecially in minimal ammounts, but honestly if you need a chorus on your acoustic....

Just loud enough to get a good stage mix with my obnoxiously loud tool inspired percussionist, another guitarist with 100W marshall stacks, and a firebreathing Ashdown bass rig. Surprising how clear it stays IF you can figure out how to tweak out the Volume. Found that the thing will start to break up (distort) slightly with about 7.5 on the chanel one volume. Best to back off this puppy and use the master volume to get clean headroom.

Simply put... great transparent tones on the fly without breaking the bank. For modern styles (dave matthews to Incubus to tool) this is the winner over everything else I tried, including the trace elliots and SWR's.

This being said. had a serious problem with vibration at heavy volume on de-tuned bass notes/runs after a few hours of playing. Found the screws that hold the head into the cabinet do come loose from time to time, so bolted them in with lockwashers and rubber spacers (from my plumber) and no more noise period.

Other issue is clarity while performing with a full electric band. The small stature of this amp realy can kill your stage volume for monitoring yoursle in a working environment. Solution: Fits like a glove on a folding metal chair, or better yet a tilt back amp stand ($29.95 at musicians Friend) and no more problems.

General tone impressions... I am simply in love with this little marshall. Always have recieved compliments on my tone, but even the pickiest soundman in the room loves this little beast. Own one, and your wanna be James Hetfield lead player will never walk on you again.

Is the amp brutal... Yes it is absolutely brutal. Crystal Clear thunderous low end with bacon crispy highs. If you want that hammer of the gods Jimmy page acoustic tone.. this is your tool.

NOTE: the built in direct box and line out are Damn good.. But nothing beats this thing with two good mic's in in front of it. Preferavly 1 Sure sm57 straight on the left cone, and a Senheiser evolution 835 slightly off-axis ( about 3 o'clock at 45 degree angle) on the right

Other than the prob with the loose screws. no issues whatsoever. Have toured this amp solidly over the last 8 months (it hit the road 5 min out of the box.) and has logged about 40,000 miles and 1200+ operating hours without flaw. Has been kicked, slammed, used as a beverage holder, sat on, slept with, and had a run in with a fire extingusher while on stage ( no.. it was not on fire.. but the Mesa was!!!) With all the road abuse, only two scratches on the toughest tolex i have ever seen. Hell, it's a little bitty monster. think I'll name her Christine....

It's a Marshall. should never need warenty service. Have found however it's hard to find accessories like Marshall dust covers etc for this. Do have extra set of knobs and pots for it but at this rate, doubt I'll ever use them. 5 Year Warenty on unit.

Have been playing 20+ years, and am primarily an acoustic guy. Own craploads of high dollar and low budget gear. Love the sound I get through this amp with both my Yari's and Ibanez acoustics.. expecially the Ibanez models with fishman electronics.

No one will steal this amp. My road crew would pummel any into a little green pile with their eyeballs bugging out. My soundman loves it. Threw my direct boxes and old rack mount Sonic maximiser and eq gear into the corner of the studio where they still sit. If you do rock, or play with an agressive band. This is bar none the best value on the market. Look Out Trace Elliot & SWR.. there's a new kid in town !!!!!

Follow-up to my May 10/03 review of the Marshall AS50R. I still love this amp and all its features. I still get a great sound and have had no problems with it. Just one caution from a sound perspective... some like to push the sound by maxing the treble bass controls. On my Fender KXR Keyboard amp, this worked - great, rich, full. Not so for this Marshall. Particulalrly on the first channel, you will get a very bright, brittle tone which is definitely not what you want. I put the bass and treb in the 6 position and work from there. Great sound! Thanks

For what I paid for it this AMP the king of the hill, top of the crop, very beautiful sound, it doesn't have too many featrues but if you like to have your own sound and add effects to vocals independently and to your instrument independently then there is no worries... i should give this a 10 based on the fact that it is an acoustic series amp but i will downgrade it simply because i wish i could control the reverb on the channels independently from one another.

Vocals- Use a Peavey PMV 49 Diamond... sounds utterly spectacular through it

Guitar- Ibanez AW w/ Fishman Pickup... sounds completely beautiful, i thought i liked it in the store but once i got hot home and added my preamp to it and all of my bells and whistles it was great!

i haven't noticed any real issues with the sound, the problems that others face is diffrent than me, i don't seem to have the issues that they do, i keep all the knobs dead center and use my preamp to get what i want out of the amp itself, and from what i can tell it was the best money i have ever spent! i will never understand needing something hug on stage, when you can XLR or 1/4" it out to a PA, the sound that I want is at my hands, and with the ability to output to a pa, the EXACT sound I have been looking for is now MINE!! THANK YOU MARSHALL!! replicates the guitar and vocals with the right amount of reverb and with the cut offs i can adjust accordingly.

it is pretty heavy and with the name on it "Marshall" it should resell for preactically every penny i bought it for come time to upgrade. it is solid state built so no worrying about tubes or interferance, This amp will last and if it doesn't marshall is good from my past knowledge they will adjust accordingly.

I have been playing for 10 years and finally have the AMP that is what will give me MY signature sound, coupled with my setup I am confident that I sound like "ME" and that is what I have always wanted!!

Bought the amp in 2003. My Martin 000 sounds great through it. Chorus sounds nice, tone is very woody. Reverb is ok. I use this as a soloist amp. Mic and guitar. The mic (SM58) sound great running though it. Simple design, not alot of whistles and horns..but thats what i like for acoustic playing.

sounds great. 50W is pleanty for the small venus that I play. I play a folk/blugrass/Rock style...it seems to do the job just fine.
Amp has virtually no noise, a little his with more treble. Very clean... It should have come with a foot switch.

to early to tell

never dealt with them

Its a great amp for the price. Would have givin it higher ratings but nothing is perfect. Its nice and light and easy to travel with.
I run it through a pa and it sounds great. I would bye another if something happened to this one

Bought in April 2003. Chinese made, solid state 50 watts RMS ? 25 /side, 2 x 8 in speakers + horn, two channel system ? Vol/Treb/Bass for each channel + a Master Vol. Ch 1 for acoustic instru, Ch 2 for mic /other (1/4 in. or RCA or XLR inputs!! ? very nice feature!), effects loop, chorus (push button on/off for ea. channel), reverb, Feedback control that really work (phase reverse/notch filter), XLR and ? in outs on back (Great Features many others are missing ? see below), Footswitch jack (footswitch and amp cover are optional)
Standard Marshall look ? gold backplate + controls, med brown tolex with plastic corners ? looks pretty rugged and should stand up to lots of gigging.
Not the most powerful amp around, but for acoustic material, there is certainly plenty of room. I?ve used a 100 watt acoustic amp for the last five years and I am sure I have never used more than a ? of its capacity, so 50 watts is plenty.

Over-all I am quite pleased with the sound. On its own, the amp produces a very believable acoustic sound, with a deep rich bass and nice trebles. Ch 1 is voiced/eq?d more for acoustic guitar (don?t know about other instruments- mandolin-fiddle?) Channel 2 appears to be full range, less shaped and I have experimented with both. While I like to voice/eq on my own, (I usually put everything into a Mackie 1202 mixer), when I use ch. 1 ,the sound is very good. Ch 2 is a bit more open ? just depends on your setup and what you prefer. While reverb can add some hiss, I only add a bit to round out the sound.
The ? in and XLR line-outs on the back of the amp are fabulous. Because I like the sound from the amp, I have used the AS50R as a preamp, for some tv recording, and for going into house pa?s at gigs. This leaves the amp more as a monitor which is not bad. Actually, the sound produced using the AS50 used this way as a preamp is the best amplified acoustic guitar sound I have ever heard.
I gigged last night using just the AS50R for the first time just on its own for a bookstore gig. The sound was so good, I realized I was ready to write this review up and post it. My acoustics are all set up with Rare Earth magnetic sound hole p/ups as well as LR Baggs saddle transducers and microphones ? a lot to balance ? thus the reason for the Mackie ? and the sound from the AS50R is clean, credible acoustic sound, particularly rich in the low end but the highs still have a good sparkle.
Another thing that is good about this amp is using an electric though it. My Route 101 Solimar with 3 Duncan designed SC-101 single coils has a very rich clean sound compared to what you might get from a traditional guitar amp eg. Fender Deluxe. This Marshall is phenomenal for clean sound.

Too early to tell. This is my second AS50R. The first had to be returned due to some rough bumps in shipping ? the effects did not work and one of the corners was damaged.

Have not dealt with Marshall. My dealer, Woodshed Music in Guelph, Ontario, was great at replacing the damaged product within 2 days.

For those with lots of cash to throw at acoustic amps, you could look at the Marshall 100 or 150 or some higher end Trace Elliot, etc. But, for those on a budget and want to spend in the US$350 range and you plan to use at small/med venues or plugged into a PA at larger events, you just have to consider this product! I tried the Trace Elliots (not very impressed for what they want for them) and the SWR line ? very good as well but not necessarily better than the Marshall. And for those experimenting with rich clean sounds from electrics, you should check out the AS50R.

Bought it brand new in 2002. Two channels 1 guitar and one guitar and or mic. I wish it had the tilt back legs like the fender accousticsonic Jr. The reverb is not much use, I can't tell much difference. Plenty of power for me, I use this amp at home and for coffee house gigs and church. I like it alot, the sound is clear and bright with no distortion and a beautiful chorus channel. I bought a foot switch to turn the chorus on and off. It should have come with the amp.

I have a Martin SWD with a Martin Gold + under saddle pickup. The amp works great for me. I play Beatles, Dylan and folkie stuff. Its quiet as a mouse and I put it to the limit. No distortion at any level you can use. 6 was plenty loud.

Seems to be solid as a rock. Would definitly use without a backup

No problems

Been playing again the last 6 years. I have a AR accoustic amp. Its small and was just a starter amp. I can find other uses for it. I would rebuy the Marshall AS50R. I compared it to the Fender Accoustisonic Jr. The Marshall was less money and sounded as good or better. The Fender does not have a direct output to a pa system, so its less flexable that way. The Marshall is just plain a pretty amp, very classic styling. I think I will need to buy a better mic thought, the one I have is just a cheapie and does not sound as good as it could. Singing lessons could help that too!

The amp under discussion is a two channel Marshall AS50R acoustic instrument amp. Channel 1 is specifically voiced for acoustic guitar and has volume, bass, and treble control. Channle 2 is more neutral sounding--no scooped mids. It has three choices of inputs: XLR (mic), 1/4 inch, RCA style. Channel 2 also has volume, bass, and treble controls. Both channels share on board reverb, chorus, and an effects loop.

The reverb and the effects loop share a single mix pot which allows the user to balance these between the two channels. The chorus has speed intensity controls, and can be switched on or off via pushbutton for Channel 1, Channel 2, or both.

You cannot control the channel mix of the reverb and effects loop separately, as mentioned before. This is the one design compromise that is most glaringly insufficient for me since I use the effects loop for a Trace 7 band EQ. So, for example, if you want onboard reverb and outboard EQ via effects loop in Channel 1, but only want reverb without the EQ in Channel 2, you are going to have to use a reverb stomp box in front of the amp for Channel 2...or move your EQ from the effects loop to the front end. Most users probably will never use the effects loop, so if you fall into this category, no worries. Also, I suspect that many users will only use one channel at a time, so again this is not an issue.

In addition to the effects loop, this amp has a balanced XLR out and a line level 1/4" out on the back of the amp; so you have a couple of choices for hooking into a mixing board or larger PA system. Both outs are pre master volume which makes the most sense for an acoustic amp.

The 50 watts of solid state power are quite adequate for most acoustic coffee house or church applications. In larger venues, you can always use the DI or mic the amp and still use it for monitoring purposes.

Overall, for the price this amp has an excellent set of features, all of which I plan on using at one time or another. What's missing? A footswitch for the chorus, perhaps. I also wish manufacturers would all start installing 8 ohm speaker outputs on these small amps so that you could add a large woofer or try a different cab for some alternative sounds. Also, phantom power for the XLR input would be great.

I bought this amp because my wife started playing acoustic guitar in our band and co-opted my Trace Acoustic TA40 CR (40 watt, two 5" speakers, reverb, chorus). Occasionally we have a need for two acoustics, so I did some homework and settled on this Marshall to fill the void.

I play lots of styles--acoustic rock ballads, folk music, blues, gospel, and modern rock--with my acoustic guitars. The major feature that I was looking for was accurate acoustic sound reproduction. In reality, there is no such thing if you are using piezo pickup systems, so I guess what I wanted was an amp that was flexible enough to make these undersaddle gizmos sound cool. This amp fits the bill nicely.

I have five acoustic guitars, and a madolin...all fitted with LR Baggs or Fishman pickup systems. I have two Martins (D-18, 000c-16RGTE) an Ovation Custom Balladeer, a Takamine 12 string, and a Tacoma Papoose. My mandolin is a Kentucky KM 200s with a Fishman under saddle transducer. All of these instruments feature solid wood throughout...except for the Ovation of course.

I have to say right off that my five year old Trace Acoustic amp sounds noticably better balanced from bass to treble and more natural than the Marshall. But the Trace, with its two 5" speakers is not nearly as loud as the Marshall. Also the Trace is quite pricey and has very limited features.

That said, the Marshall sounds very good. Channel 1 is slightly scooped in the midrange, and my Martins sound large and powerful. The bass is good, not great, and the high end rings nicely. Overall, with all of my guitars the sound is very convincingly acoustic.

Channel 2 is shaped more traditionally with more midrange. Depending on the application this may be a good choice for some musical styles--perhaps slide guitar. My Rickenbacker 360 twelve string sounded fantastic through this channel! I plugged an AKG C5900 condenser stage microphone into Channel Two, and with a bit of tweaking I was able to get some reasonably accurate sound reproduction. I even sang into the mic and my wife said it sounded pretty good. So this amp may be a good choice for coffee house giggers.

In general, this is a good sounding amp that has lots of potential especially through the use of outboard effects. As I mentioned, I hooked a Trace Acoustic 7 Band EQ (no longer available--too bad, great unit) into the effects loop and it really improved the sound of my big dreadnought Martin D-18 and Takamine 12 string. A good EQ will help make the top end shimmer and tighten up the bass.

I was able to get the preamp to clip into some pretty nasty distortion, even though the built in limiter is supposed to prevent this problem. I was really leaning on the strings with an aggressive attack when it occurred, but if you play your axe hard, make sure you audition this amp carefully. Under most circumstances, this will not be an issue.

I have not been able to get a great mandolin sound out of this amp yet, but I have not tried very hard, and I am not a great mando player. I'll get back to you on this.

Bottom line: less detail and not as evenly balanced as a comparably powered Trace Acoustic amp. With some additional effects, especially a good EQ, you can get it to sound surprisingly close to the Trace Acoustic...which clearly makes it an outstanding amp. For the money, this is a fantastic sounding amp!

No idea...yet.

Have not dealt with them.

I am in my mid 40s and have been playing for more than 30 years. I play all kinds of music, but I prefer good old fashioned straight ahead blues and rock in the vein of Tom Petty, Govt. Mule, Nickelback, Kenny Wayne Shepard, Stevie Ray, Peal Jam, etc. You can check my website for some examples of my original stuff and photos of some of my gear:

http://home.attbi.com/~drjeffreyb

I own lots of gear including two Gibson Les Pauls, an American Series Strat, an American made '52 Tele reissue, three Rickenbackers (my favorite guitars...check my website), and some other odds and ends. I have lots of amps...a Vox AC15TBX, a Fender Hot Rod Deluxe, a Marshall JCM 2000, and an Ampeg Jet.

When you put it all together, this Chinese buitl amp is a great value. On the surface it appears to be as well made as any of my US or UK made gear, however, I am sure that the components are not as robust as what you would find in a US built Fender. Attention to detail is evident in the construction.

In my opinion, the Marshall sounds better than its Fender cousins (Acoustasonic 30 or Jr.). Listen to Pete Townshend's DVD "Lifehouse" for a good example of the Acoustasonic sound. Pete obviously loves it, so who am I to disagree:-)

I have not tried the Crate acoustic amps--I have a Crate and an Ampeg tube amp, both made by the same parent company (St. Louis Music), and I have not been impressed with the quality of these amps. I decided not to buy another product made by St. Louis Music. It took me months to work the bugs out of my second Ampeg Jet (don't even ask about the first one). It does sound fantastic, but some of the problems in both the Ampeg and the Crate were related to the design of the cabinets...and I was sick of having to fix the rattles and squeaks. So, I did not even consider another St. L Music product.

The Kustom may have some promise, but it looked too cheesey to me. The one amp that I may look into in the future is the Ashdown. I could not find one anywhere in Colorado to audition.

My advice...if your budget is unlimited and you have a strong back, buy the 100 watt Trace Acoustic amp with the four 5" speakers.

If you have lots of money but don't need alot of volume or features, buy the Trace 40 or 50 watt acoustic amp.

A cheaper alternative to the Trace Acoustic is this Marshall AS 50 Acoustic Soloist. It sounds almost--but not quite--as good. It is less than half the price of a small Trace Acoustic. With some outboard effects it comes very close to the best sounding acoustic amps. Invest in a good acoustic guitar EQ and perhaps a multi effects device (The Yamaha Acoustic Stomp is probably overkill unless they decide drop the price significantly).

Oh yeah, almost forgot--this amp carries on the traditional classic good looks of the entire Marshall line. It looks fabulous with its dark brown tolex cover, brushed gold alloy front panel, and delicate gold piping. It puts the Trace Acoustic to shame in the swimsuit competition.

Don't forget to check out my website for some photos and sounds:

http://home.attbi.com/~drjeffreyb

...call it a bargain, the best I ever haaaaaddddd.......the best I ever had

The features are listed in the other review. However it has a line out that will run to the pa if you need extra power. I have no real need for the second channel but the primary is awesome. I play in a primarily electric band and in small venues this amp can cut through anything we throw at it.

Mine didnt come with a footswitch, but I dug an old one out of a drawyer and it allows me to bring the chorus in and out, the left switch doesn't seem to do anything. I wish it came with a footswitch or at least some description of what a footswitch can do... I haven't used the effects loop, but it is there if I need it. I am sure that eventually I will have a distortion pedal and a wah wah hooked up to it!

This amp sounds great! Prior to this I have been playing through our Mackie 808M PA and this has virtually eliminated feedback problems. It also frees up a channel on the PA. Those two issues alone make it worth $300. Its great having controls right there instead of the soundboard, much more practical. It makes NO noise. I am amazed at how clear it is at all volumes. Naturally no distortion.

Loud, clear, melodic, flexible... Really loud....

I have only had it for a week, however I cant imagine needing any customer support, it is solid state and it works...hence I assume it will always work!

I am a little disappointed with the manual. It is a page and a half of irrelevant descriptions (in 18 different languages) of the knobs. With an acoustic amp I would have appreciated more of a BOOK explaining how to achieve different tones, eliminate feedback and use peripherals. Basically you have to figure it all out yourself. I have only ever owned tube,(electric) guitar amps and have no experience with this sort of amp. Anyway, I eventually figured it all out. With acoustic/electric when you are doing it wrong,you know...immediately!

I have been playing for 35 years. I own a 01 Taylor 614ce Limited, 76 Les Paul Custom, 84 Tele, 80 Epiphone Sheraton, 96 PBass, 99 Prosonic, 65 Bassman (amp and 2.12) and a 00 Bassman 60. If it were stolen I would replace it immediately.

I like everything about it, especially the cool look and leather handle. The sound is huge and incredible for a little amp. I bought it because I have spent too much money on gear this year and couldn't bring myself to spend $459 on an Acoustasonic JR. I saw this on MusciansFriend in the scratch and dent section and read a couple reviews and ordered it. New it cost what a used Acoustasonic would cost. I am amazed at what a tremendous value it is! I have played it at 3/4 volume and my ears started bleeding! The chorus is practically bell like and the reverb is cool. I would say it is at least as good as the Fender if not better.

I've never owned a Marshall, and I have never owned a solid state amp, but you cant go wrong! Great choice for an acoustic in the midst of an otherwise electric band, and I am sure it is great for the coffee house/church crowd as well...

Brand new Marshall AS50R acoustic guitar combo amplifier purchased in 2002. I currently play classical and jazz in solo and small group settings. The amp, which is 50 watts RMS, is perfect for these small groups and for playing small venues. For larger groups and/or performing spaces (which I don't currently do), I would probably send the balanced line out of the Marshall to either a PA or a separate bi-amped extension speaker.

The AS50R features two channels each with separate volume, bass and treble controls. Two 8" speakers, 1 piezo horn in closed back combo cabinet. Master Reverb and reverb channel balance control. Chorus with speed and depth assignable to either or both channels. Anti-Feedback controls comprising a phase switch and frequency sweepable notch filter affects both channels. Master volume control. 1/4" phono input on channel one. Channel two has the following possible inputs: 1/4" phono, L/R RCA (for input from a CD player), or XLR in (for a balanced mic). Though you cannot switch channels (without an external A/B box), you could simultaneously input your guitar to channel 1 and a mic to channel 2. Line out, DI out, parallel effects send/return.

Brown tolex with leather handle. The amp looks so beautiful that I bought a separate padded Tuki cover to protect it! Weighs in at only 31 pounds which even a classical weakling like myself can lift with one hand.

This is an acoustic amp offering clean sounds; no distortion channels. Before describing exactly how I use this amp, let me say that in general it offers a broad frequency response with a warm, punchy bass and crisp highs. The AS50R has little to no hiss at all. At very high volumes (Master past 7 or 8), or with the treble all the way up, there is some hiss, but even this is less than many other amps (such as Crates, the Peavey Ecoustic [sic], Fender Acoustisonic series) I tried at low volumes! The reverb, produced by a spring unit, is natural sounding and can be dialed in or out of either channel with its overall intensity being adjustable by a separate master. The chorus is subtle and beautiful, and while it can be turned on or off, and adjusted for speed and width, there is no control to graduate how much chorus is in or out of your signal path. Nonetheless, combining the reverb and chorus leads to heavenly, magical sounds. (Nothing extreme or unusable, i.e., no effects-for-effects-sake).

I use this amp in two ways. . .
With my very expensive classical guitars (which have no internal pickups or electronics) I use a microphone and send the lo-Z balanced XLR directly into the AS50R's channel 2 XLR input. With this method the Marshall is very accurate in reproducing the sound of both of my classicals (one has a spruce top, the other a cedar). Marshall offers no frequency specs either on their website or the manual which comes with the amp, but I suspect the frequency response is much, much wider that a normal guitar amp (which is all midrange). The Marshall contains not only two 8" speakers but a also a piezo horn which helps in more accurately reproducing the higher transients of my natural acoustic instruments. As the volume increases, the possibility of feedback also increases. The AS50R's phase switch and notch filter help in dealing this, though the notch filter really does cut: 10db at the specified frequency (not sure what the Q is, again no specs!). So while it helps eliminate feedback, it also does lower the overall volume noticeably. I'd like to try the Marshall using a classical guitar with internal pickups and electronics, but for this I'll have to wait to buy another guitar (my current instruments are too expensive to take any chances altering).

My other setup is with a nylon-string Soloette. This is a travel guitar which sets up to feel exactly like a classical guitar and is so incredible sound-wise that it is of use during real gigs. Check out Soloette's website for specifics, but in essence this is an electric nylon-string guitar which has a normal 1/4" phono plug out, though no resonating chamber. The benefits of using this guitar is that you get all the warmth of a nylon-string without the possibility of feedback at any volume! I use this setup for mainly for jazz. Since this is a direct input (i.e., no sound loss as in the microphone-only setup), the Marshall's volume is much louder when I use the Soloette. The sound in general is wonderful - warm and rounded for chords, though with clear highs to ensure the chord voicings are clear. At louder volumes the sound gets a bit muddier, but that is par-the-course for almost any amp I've ever used and can be cleaned up considerably by turning down the bass as you increase the volume. Especially with the Soloette, the Marshall's reverb and chorus sound wonderful. (Not that I'm a big fan of his, but the sound approaches that of Pat Metheney with this setup.)

Here's the one drawback, though it may not be entirely the amp's fault. At higher volumes using the Soloette, or with the bass on the amp at anything past mid-way, there is a vibrating type noise from somewhere in the amplifier. I don't know what exactly is resonating, whether it's the reverb tank, the circuit boards, or the speakers themselves, but when the amp is really pushed, I do hear it. However, I know for a fact that the model of my Soloette from Sept. 2000 has a ve

I have had this amp for 2 months now and have had no problems. I have used it, and will continue to use it, on small gigs without a backup. As the amp has no tubes (it is totally solid state) I think it should remain rather maintenance free (fingers crossed!).

This amp was made in China under Marshall's supervision and is impeccably constructed - I have owned many American-made products which were not constructed as well. Not only does this arrangement seem to have resulted in a well-made product, but it also must contribute to the incredibly low price compared to similar amps on the market from other companies. (More on this below).

Sweetwater, from whom I purchased the Marshall, has knowledgeable and friendly salesmen, and is an overall super company. I was told they offer tech support on the amp should I ever need it, but to date I have not had any reason to contact them.

I have never dealt directly with Marshall. Marshall's website is not up-to-date in that they list not only the AS50R, but also a no-longer-available 100-watt acoustic model, as well as a manual download for the no-longer-available 80-watt acoustic model. How hard should it be for them to delete these obsolete items from their web site?!? Hope I don't have to deal directly with them. . .

I've been playing for 25 years. All previous amps I had were more the garden variety rock/tube amps with distortion channels and limited frequency response, such as Mesa Boogie Mark II, Music Man, a few Peaveys. For my current tastes and needs, an acoustic amp is currently the only way to go. I tried and compared MANY acoustic amps before purchasing the Marshall. They were Trace Elliott, SWR California and Strawberry Blond, Fender Acousticsonic series, Peavey Ecoustic, Roland's acoustic model, and Crate. The bottom line is that the Marshall was absolutely the best value for the money. (Note that I got a great price from Sweetwater, $325, because the amp was not in stock and I had to wait a few weeks for delivery. Normally the amp sells for $379, which is still great value). I would replace the Marshall immediately if it were stolen. Since I did try many other amps, for comparative purposes, I'll note a few of my findings below. As a matter of fairness, please keep in mind, that the Marshall is only a 50 watt RMS amp, while many of the other amps I tried were 100 watts. This means that some of those other amps might have been better for huge gigs, and for those who play with large, loud bands (which I do not), and it will also, at least partly, account for price differences. . . (I would have preferred a more powerful Marshall, but both the earlier 100-watt and 80-watt acoustic models are no longer made).

The Trace Elliotts, which are lauded by so many purists as the best-of-the-best, did not impress me at all. For an amp which retails at close to $1200 (!), it was not only hissy, but also buzzy on low notes, and employed only 16-bit digital signal processing (which is fine for a stomp box under 100 bucks, but an utter joke on a super expensive amp touted as the top-of-the-line. It should be nothing less than 24-bit DSP!). I purchased an SWR California Blond, though returned because it had a defective reverb unit. Though the SWR amp sounded quite good, I did not replace it with another because I did not think that it was really worth the $800 I paid. Keep in mind that all these acoustic amps are solid state with pretty basic circuitry - no tubes, no huge transformers, no huge speaker magnets. There is not all that much to charge one for - though I guess they will try to convince you otherwise and charge what the market will bear. (Perhaps a company like SWR has higher labor costs being based in the USA than does Marshall with its factory in China). The Peavey Ecoustic model was barely on the border of being a professional amp as the hiss which emanated from it at even low volumes was extreme. The so-called Presence knob should have more accurately been called a Hiss knob. Try it and see. Same problem with the Crate amps. The Fender Acousticsonic amps were very muddy, buzzy in the bass, and noisy at high volumes. They also had some sort of special patented circuitry, called String Dynamics I think, which in essence acted as a compressor, changing the dynamics with which you hit the strings. I've spent 25 years perfecting a classical technique - do the people a Fender really think I am going to pay money for some cheesy circuit which is going to change my dynamics?!?!? I cannot believe their target market is serious professionals.

If I could change anything about the Marshall AS50R amp it would be the following. . .
1) I wish it were a bit more powerful, say 75 watts.
2) I wish it had switchable phantom power for channel two.

A very well made, versatile amp. 2 channels, one for guitar, one for another 1/4" or XLR mic. Plenty loud to be used as portable PA for small coffeehouse gigs...I've been playing it in a band for about 6 months...started out just playing acoustics thru it...then started playing my electric thru it too...it's very very clean, and i use TubeScreamer for distortion anyway, so what the heck? Don't get me wrong...it's not a Fender Deluxe or anything, but more than loud enough and versatile enough to do the job in the band. Pressed for space in our band, and I just play rhythm anyway, so it works for me.

Again, very very quiet, very clean. I like the chorus effect, and reverb is very sweet...not overpowering, even at higher levels. Suits me perfect...when playing acoustic, I play a lot of James Taylor, Buffett, typical acoustic stuff...this amp plays very clean and very true. Also forgot to mention, has notch filter as well as phase switch to dial out feedback...i usually use a feedback buster anyway...we're crammed for space in our band and I can't really hide from this thing, so feedback is an issue with no 'buster in my acoustic.

The ONLY problem I've ever had...when sitting level, if bass is turned up past say, 2 o'clock, it has a tendency to vibrate a little, almost like feedback on the open A string....and i've found 2 solutions to this...either turn the bass down some, or for some reason, if you tilt the cabinet back about an inch or inch and a half, or set this thing on a tilting amp stand, the problem is SOLVED. Not sure why this is..haven't asked an expert. I have had a person or 2 tell me this "vibration" is sometimes typical of any amps with onboard reverb and is probably the spring vibrating...don't know about that, but I always play with it in my stand, so it's not an issue. Don't let this one thing stop you from trying this amp...it's well worth the money.

N/A...never had to contact them.

I've been playing for 12 years or so...I play a Larrivee OM body, a Tacama DR20, and a DeArmond el-cheapo electric. I'd buy another Marshall in a heartbeat if lost or stolen...might try to get the AS80, but just because I like volume...even though it wouldn't be very practical. I played Acoustisonics before playing this...no comparison in my opinion as far as tone. Marshall has done very well. Also, I waited a year before I made this review, so I think I'm being pretty honest.

Great. This amp is perfect for what I do; Studio Recording. It has Line out and a digital out (XLR) plus loop effects send and return (which I dont use)and the option of connecting up a foot pedal. It has two channels which I suppose would come in handy but I only use channel 1 as channel 2 is a little dirty. It is very versatile in the range of sounds. I can get get the perfect sound when recording on to my BOSS. Reverb is quality, and adding a touch of chorus, well enough said!!

I use my Yamaha APX 5A and combining the EQ on that with all the sounds on the amp gives you endless different sounds. I play travis/phonics kind of stuff which this amp suits very nicely, but its so versatile you could do almost anything with it. (No Nirvana though!!) As previously mentioned this amp has great chorus and reverb which can be changed seperately for both channels. You can also change treble and bass, but a really nice feature of this amp is the "anti-feedback" This is great and really needs to be heard to understand why its so good. The amp has two 10" speakers which give a surprising amount of oomph! NICE

Fine so far. This amp is only for my home studio so I cant see there being any problems here.

Never needed it.

Ive been playing five years and own a boos br-532 which I link up to my PC. I use my beloved Schecter PT Elite through a Zoom 707 and my Yamaha APX 5A through this little beauty. If this amp was stolen I would find the fu**er kill him, then buy another!! Thanks Marshall, this amp suits my studio needs perfectly.

The amp has some good features. The chorus is nice. The reverb is nonexistant. I believe that mine is defective. It doesn't have a speaker out which would be nice.

I play a Koa Taylor. Music style is rock driven/ alt. The amp has a real nice bright sound, but has no real bottom end, hence, the speaker out would be nice. I have used it for a couple weeks now with by band. It doesn't seem to cut through the mix on stage which is very important to me. I will be returning it soon.

Well as I said, the reverb is nonexistant. Remember, this is made in China. I don't know if this is by design or just a defect with this unit.

I can't find a phone number in the owners manual.

2 Channels: Acoustic & Electric/Mic/Line in
Chorus and Reverb effects onboard
Offboard effects loop input & output
DI & Line-level Out

I use it as an amp and as a monitor. It is exactly what I needed.

My main guitars are a Yamaha nylon string guitar and a Martin D37K2 guitar with a Rare Earth blended pickup. I play a strange mix of folk, classical, jazz, and pop music. The amp has a very clean and honest sound. It's loud and doesn't distort. What else can you ask for in an acoustic amp?

No problems so far. I'm pretty much dependent on it.

Don't know. No problem so far.

I've been playing for over 20 years. I own several guitars (probably too many) and have used several acoustic amps including Fenders. This amp has everything I need: a clean sound, sufficient volume, and a direct out. It's seems like Marshall designed this amp for me.

I play a wide variety of acoustic styles, including ragtime, classic blues, folk, classic and modern rock (and even a little classical). I usually strive for a clear, full, natural sound, and this amp is wonderful for that. It has two channels, one for an instrument the other for vocals - both the chorus and the reverb can be manipulated separately for each channel. It also has effects loops. The amp has all the features I need, and has plenty of power.

When I need to plug in, I use a Tacoma Chief with a fishman transducer. The sound is wonderful, and I have not been able to get the amplifier to distort even when I tried. It is not noisy - at least as quiet as the other amps I tried.

I have been playing guitar for 17 years, and aside from the equipment listed above, I own a 1979 Martin M-38, a La Patrie collection classical guitar, and a Dobro WB-90. If it were stolen, I would buy it again. I played through many other acoustic amplifiers, including a Trace Elliot TA70, Fender Acoustasonic Junior, a Crate CA-60, and 125. The Trace, which I expected to be the best of all the amps I tried since its list price more the double the others, had an exceptionally clear high end, but the guitar did not sound natural through it - it sounded like I was playing through an amp. Also the Trace did not have the features to control the reverb separately on each channel, it weighed a ton, was not very loud, and made a buzzing sound. The smaller ones are lighter, but I doubt they sound better. The Fender and Crate were O.K., but I still liked the tone of the Marshall better. It is also loud. I have learned to not pay attention to wattage because this amp, which is only 50 Watts, fills the space with sound (very full sounding), while other amps I played with higher wattage were not nearly has powerful. These things, coupled with the fact that it is lighter and cheaper made it the clear choice. I was willing to spend whatever it took to get the sound I wanted, and ended up buying the cheapest amp I played through. I wrote such a long review because I think this is a great product (sound, price, portablility, features, etc) worthy of praise. If you play small gigs and need to plug in, I would definitely see if it is the right amp for you before you buy another.

Made 1999
Pretty limited scope - not many functions (A lot for an acoustic though)

2 Channel - Acoustic & Electric/Mic/Line in
Chorus and Reverb effects onboard
Offboard effects loop input & output
Twin-button footswitch
DI & Line-level Out

Used as a personal foldback and practice amp
Stereo (I think!)

Takamine EG510C
Suits music well - playing mainly single-finger and light acoustic music (Gomez, Travis etc...)
Can hiss when turned up loud, not suprising though
Reverb adds too much hiss
Chorus function, when matched with limited Reverb sounds NICE!!
Not noticed any distortion as yet - not really turned it up too much though really

No problems as yet - had it about a year and nothing other than slamming a boot on it and chipping the casing really.
3-year warranty as per

Hard to say really

Deffinitely get again if anything happend - might get the AS80R just for future-proofing though.