Marshall JTM-600

Two-channel valve head made in the mid 1990s. Features include series and parallel effects loops, XLR DI out with emulated speaker option, 3 band EQ on each channel, 2 speaker outs, spring reverb, separate volume controls for each channel, superb retro-cool looks, especially when used with one or two matching C410 speaker cabs. 60W is more than enough. I turn the master volume up full and switch in the pre-amp via an effects loop on a Boss GT5. This is the warmest sounding amp I have ever used. The clean channel sound is stunning and beats any other Marshall hands down. I play in 2 covers bands that play a range of stuff from Thin Lizzy, Led Zep, to The Clash, Beatles, Who, etc. This amp covers every sound I could with for and I have never found it wanting. Only slight niggle is that the presence control is on the back - but I tend to have this at about 2.00 o'clock and leave it there.

I use a Gibson SG with PAFs and it is a great match. The PAFs are a high output pick-up and drive the amp hard so the clean channel sounds extra warm with this guitar. The OD channel is a bit noisy when the gain is running high but no more so than any other Marshall amp I've used. Easily fixable with a noise gate. I've also used a custom tele through this and it sounded great too. The OD channel is not brutal so this amp would not suit hardcore metal heads - but it is perfect for blues, punk, classic rock. Play around with the valves (power output valves especially). Sovtek or Marshall valves (which were supplied as standard in a lot of these amps) are OK but you will get a much better sound with Groove Tubes or Svetlanas.

I know that the combo versions of the JTM range of amps got some bad reviews. I have owned 3 JTM-60 combos (2 of them were 2x12 and one was a 1x12). I had overheating problems with one of the 2x12 combos but the others were all fine and I still use one occasionally. BY CONTRAST, the JTM 600 heads are 100% reliable and has never let me down. I have 2 of them so I always take a spare to gigs but have never had to use it.

Although Marshall amps have suffered a bit in terms of their reputation for new models, I have always found their service department to be helpful beyond the call of duty. They have also mailed me spare parts (e.g. rubber feet, carry handles, etc.) free of charge in the past.

I am fortunate to own two of these heads and also 2 of the C410 cabs. I tend to use one cab for most pub gigs and at larger gigs I would use a head and cab on each side of the stage, or occasionally side by side. If my gear got stolen I would try to replace it but these amps are getting hard to find. They were not made for long and are quite sought after now I believe. I have owned a MArshall TSL100 head and 4x10 cab and I just didn't get on with it. The sound is too harsh and although the clean channel was great, it was still not as good as the JTM-600. I cannot recommend this amp highly enough!

This is a mid 90's 2 channel all valve amp head from Marshall. It features 2 channels with seperate EQ and reverb for each channel. The amp comes with series and paralell FX loops, DI and master presence control on the back of the head. The amp is footswitchable but only for channel switching. You cannot swith the loops or reverb unfortunately. The JTM is based on the plexi but has the added benefits of modern features.

This is probably Marshall's best looking amp and comes in a brown/tan coloured tolex, brown leather handle and white grille clothe with white emblem

Well, this is the amps strong feature. I also own a JTM 622 2x12 combo which I use for rehearsals and keep the head for gigs. I play in two bands which mainly covers blues right through to hard rock and this amp suits my needs perfectly. I play this mainly with a Tokai Jap market only 1959 LP replica, a fender standard strat and a Baja Tele.

First off the clean channel is very, very warm. I wouldn't say it is sparkly like a Fender but it is just as clean as a Fender at low gain settings just warmer and rounder sounding. As you push up the gain in the clean channel, you get a very nice vintage OD akin to a vintage amp that is pushed at loud volumes.

Moving into the OD channel, this is where my favourite part of the amp is. I normaly find Marshall amps very fizzy but the gain is exceptionally smooth for a Marshall almost santana esque. It is definately plexi voiced just with a bit more gain. I tend to run the gain at around 12 with high mids, high treble and mid bass and holy smoke the sound is there! It's somewhere between Jimmy Page and Slash. Since I've bought both JTM's having owned many more expensive amps (JVM, Supersonic, F50, Slash stack), people keep commenting and have been in absolute awe of my tone and I still can't believe it either I've completely found that tone after yeards of looking.

As for the amp itself, it's pretty quiet even in the OD channel so my noise gate is not realy being used anymore. As for a recommendation with this amp, I use a Marshall BB2 in front of the amp in the clean boost mode for soloing and again they sound amazing together.

As for distortion, this amp is suited for blues to hard rock styles. Gain heads or peope looking for a metal amp would be much better looking else where.

Well, neither of my 2 JTM's have let me down yet - touch wood and fingers crossed.

As for reliability, as with all valve amps, get them serviced regularly etc and carry spare valves and fuses to gigs.

Marshall tend to build stuff to last so hopefully this will bring me many more happy years of rocking.

Dealt with Marshall directly a number of times and they have been brilliant. If you ring them, they are always very friendly and will quite often send you free parts like corners and feet for your amps. Emailed them a couple of times with tech questions and they've always reponded within a day so thumbs up to Marshall

I've been playing guitar for about 15 years and I now only use JTM amps, as for other gear, the guitars are listed above and I also use a load of pedals with this amp.

If either of my JTM's were stolen, I would get straight onto Ebay and the local ads and buy another (obviously I can't buy a new one as Marshall stopped making these years ago!).

I don't really have any hates with this amp - an extra channel might have been nicety or a bias pot at the back of the amp but between the 2 channels and my BB2 I can cover pretty much everything I need. As for what I love, I love the sound. This head is a serious tone monster!

I bought the JTM combo by accident as a cheap backup to my JVM combo, played it at a rehearsal and was blown away by the sound so I discovered this purely by chance. Although I didn't compare it to anything else, I have owned lots of mid to high end valve amps and this for me is the best I've owned.

If you're into blues and hard rock, seek one of these out in the used or Ebay ads as you can pick them up very cheaply and they are absolutely amazing amps

Marshall JTM-600 built maybe in 1996?
I found this head to be extremely effective for anyone looking for a kicking rock sound. This head is very versatile and would suit anyones taste in blues to hard rock.
The JTM-600 features two independent channels, clean and overdrive, respectively. Each channel has its own sets of Bass, Mid and Treble. It has a parrallel effects loop and a footswitch jack.
Personally i dont find much use for the reverb for the overdrive channel, but this amp has a beautifully warm drive when you crank the clean and use some reverb. I use this amp in my band, and 60 watts is enough power and kick to it.
The key sound to this amp is warm. warm. warm warm warm warm!

Im playing through a Fender mexican Stratocaster with stock pickups.
This amp really suits my style of playing because i love the simple things in music like chords and variations, octaves, etc. But if your looking for a metallica like solo, this amp may not be the right choice.
This amp really isnt all that noisy, its dead quiet on clean , but when you have the gain cranked on the OD channel, the amount of crap and hissing is minimal compared to other amps.
The JTM-600 is definately suitable for all kinds of sounds. I run it through a Marshall 1960A Slant Cab, 4X12. I originally got this amp with the stock 4X10 cabinet that came with it, but i was really unsatisfied with the lack of bottom, so i got the 4x12. Using the clean channel as a base, i think that any effect pedal, distortion or whatnot, really does nothing but compliment the great sound you get out of this amp.
The clean channel distorts when you have your guitar knobs all the way up and when it is pushed past 5 or 6.
The OD channel has got some big balls. With my settings, i have a very AC/DC grind coming from it, but the nasty distortion is clear enough so you dont get lost in the crunch. This amp is suitable for punk bands, rock bands, and blues groups.

The JTM came into my hands with the stock Sovtek tubes issued to it in 1996. When i got the amp in '04, i replaced the power tubes with Groove Tubes, and the sound improved signifigantly. This amp is pretty dependable, ive gigged with it alot. There hasnt been a time where ive had a backup to cover for that amp. Other than replacing the tubes, this amp has had no technical problems. Ive noticed though, that the amp performs much better when started on the clean channel. When i turn the amp on and its still in the OD channel, i switch the channel, turn it back off and restart it.

Ive never had to deal with Marshall.

Ive been playing guitar for about 5 years, and purchased this amp last year from some stoned guy. I also owned a JCM900, which i really dont enjoy all that much, its sound doesnt suit my tastes.
If this amp was stolen, I would most certainly be on the hunt for a new one. I got this head and cabinet for 400 bux, and ive seen this head at some guitar shop going for 2,000 just for the head. I love this amp.
I really love the drive from this amp, theres nothing i hate about it.
Ive played many Marshalls, Mesas, Fender, Peavey, and all sorts of amps, but for the price I got this amp at, I would choose it over some top line amps today. I kinda wish this amp did not have an LED channel indicator, but one of those glass gems that you can screw over the light source. I would so change that green/red feature to blue and red.

Mid 90's full tube head + matching 4x10 cabinet. Two channels with separate EQ and reverb, which many two-channel amps are lacking but which in my opinion is really necessary if you want to use both channels in a live setting. I don't really care for the series/parallel effects loop and DI-out but they are nice extra features and may be quite useful in certain applications. With 60 watts, this amp has power to spare. In my opinion, this is the best looking Marshall amp ever and I really love the fact that the cabinet is so light and small while still delivering a big sound.

This amp can produce a range of usable sounds. On the clean channel, you can get both a nice clean sound and a smooth breakup plexi-sound. The clean sound is not quite Fender-like but a bit thicker which I tend to like. The drive channel can do anything from Marshall crunch to metal (with scooped mids). I play an American Jazzmaster reissue and a Mexican Telecaster Deluxe reissue (with humbuckers). I found it rather hard to dial in usable sounds with the Jazzmaster but the amp really shines with the Tele. I play alternative rock and this is my first Marshall. In the past I've always used Fender amps (Hot Rod Deluxe/Deville) which have a great clean channel but I have always used pedals for drive sounds. With the Marshall I don't really need the pedals even though the MXR Distortion + sounds quite good as a boost.

I haven't had the amp long enough to comment on the reliability. Since it appears to have better ventilation and a bigger power transformer than the combo versions, I hope it will be more reliable too. However, I have already bought a fan to keep the tubes cool and I'm somewhat hesitant to turn the master volume past half-way due to all the fried-transformer-horror stories I've heard about the combo versions.

I bought the amp second-handed and it's over five years old so I can only hope it doesn't break down since that could be an expensive affair.

I've been playing for about 8 years and I have always been a Fender-through-Fender kind of guy but this amp definately won me over. I think I will keep using my Fender Hot Rod Deville + pedals with my Jazzmaster but it feels great to plug in my Tele Deluxe into the Marshall and just rock out. I can't really compare it to other Marshalls but I'm quite sure that this amp is a great deal. Because of its looks, I wouldn't even want to trade it for a JCM2000 or similar.

It has two channels, and seperate eq, volume and reverb for each of them. This is no more or no less than the typical two channel amp, so i see no reason to give it a good or a bad mark.

I really am amazed out how versatile this amp is. With the clean channel turned on, i can get a wonderful well, clean sound. If the clean channel is turned up to its fullest, you can easily achieve an interesting low overdrive tone that is quite pleasing to the ear. If you turn on the gain channel, you can get an array of classic tones that you would be wise to check out.

I purchased this amp used, and don't regret it at all. I have used this amp several times on stage, and because it is used, i always gave it a thorough inspection aterwards checking for any problems-none which i have ever come across. For this reason i see no reason as to why it should recieve anything lower than a perfect score.

Never had a reason to call.

I have been playing for about 7 years, and i-like many other guitarists have been searching for the holy grail of tones. This is not it. But it is an AMAZING amp that is worth every penny that you have to shell out to pay for it. I have never thought of the tones that i have revieved from it anything but spectacular.

Not sure what year this amp was made, sometime during the mid to late 90's. I play metal/rock and this amp can dish out what I need. (except high gain). 2 channel, effects loop. I wish it had another channel with some more gain so you could get some nasty crunch in there, but it's still good to go.

My rig consists of the JTM-600, through a Marshall 1965A cab. My main guitar is a Epiphone LP standard + and I really love the tone I can get out of this badass head. I love the sounds that can be obtained with this amp, if you use mass effects they wont get muddy as soon as other amps will. The clean channel is FUCKING PERFECT, I couldn't ask for more with that channel. It can get those glassy-like tones which are crystal clear. It has nice breakup and the clean channel doesn't distort unless your pushing it hard. The OD channel has a nice amount of crunch for hard-rock and everything inbetween. If you are looking for a high-gain head do not get this. But it can be a hellion with the right pedal in front of it. I use a Danelectro Fab Tone and this gives me the crunch I was looking for.

I've heard alot of bad stories about this head and how it has let some people down. So I was kinda hesitant after purchasing mine off of Ebay, but when it arrived my view totally changed. I fell in love with this head and havn't used any of my other heads and I feel there is no need for a backup. So far it's been very reliable and hasn't gave me any problems at all. The tubes get damn hot when playing for extended periods of time, I solved this problem with placing a small fan behind the head when playing live or for over and hour. It's been on the road and tossed around a little bit and has been quite the workhorse. I LOVE THIS AMP!

I've yet to deal with Marshall's customer service, and I'm praying that I won't have to.

I've been playing guitar for about 6 years. I own a Fender Mex Strat, Fender American Tele, Mesa Boogie Mark IV. If this head was stolen from me, I would hunt the poor bastard down.. break his kneecaps, cut his tongue off, then proceed to setting up a wall of Marshalls and annihilate him with the trooper solo. While doing so lasers will be emmited from my headstock, splattering him all over the place.

60 Watt tube head. A lot of features for a Marshall: two seperate channels each with volume and tone controls and seperate reverb controls. parallell and series effects loops. emulated speaker DI out. Presence control in the back, that's a pain in the @ss.

Great sound for this underrated Marshall. Pure tube tone. Don't know about the 4X10 cabs, but use a 4X12 or a 2X12 and you'll get plenty of low end. Play around with different tubes, this definitely improves the sound. I was very happy with some used Mullard 12ax7's I got off ebay and new JJ E34L tubes. This thing has tons of gain (for me anyway). Clean channel is very clean but nowhere near as loud as the boost channel. The clean channel starts to break up fairly early. I did find the boost channel to be quite noisy (hum), but I used cheap cables. I have a feeling it would have been a lot quieter with some Monster cables.

Did fine when I had it. People have had problems of overheating with the combo models. I found a way to mount a $20 Radio Shack computer fan underneath the tube grill and wire it to the mains switch. That kept the tubes REALLY cool!

N/A

I've been playing semi-pro for 27 years. Had a lot of stuff. This amp is among the better ones I have owned. Didn't really want to sell it, but preffered my stereo setup to this one. It was close, though! Great amp for the money, a lot more versatile than the coveted JMp 800's, and still has the famous Marshall tube tone!

Plenty.

clean sounds great. To get any bass response out of the OD channel, turn the channel volume all the way up- then set your drive accordingly. This is just the nature of this amp. THe OD channel sounds fantastic when you use it properly.

http://www.mattwhatley.com

Oh yeah, I use it with the JTMC410. The cab it comes with.

Got everything you need really. Split channel with separate controls, presence and 2 fx loops. Most important "pure valve tone!"

I use this in a rather unorthodox manner. It is ideally suited to blues really, it kicks out a nice ballsy overdriven tone with a 4x10 cab, (I got the one that goes with it). I do play SRV type stuff quite often, but mainly I play in a rock/hip hop style band where I play the part of a less talented Tom Morello. It copes easily with my ridiculous amount of effects and delivers a cool tone at high volume. I tend to keep it on the dirty channel with the gain down low and boost it with a tubescreamer and a big muff. This makes the valves roar. I like the "punchiness" of the 4x10's and feel it is a little tighter than when I tried it through a 4x12.

I have broken off knobs (my fault not the build quality), dropped it several times and took it to bits on the odd occaision when I was bored and wanting to "customise" Had no probs yet.

N/A

Good for whatever I've thrown at it. If you want that Marshall tube driven crunch you shouldn't be disappointed. It's not as powerful as a TSL but crank it up and drive it hard with a decent pedal with the level on max and it will sing. The volume is right as is the size, (not too cumbersome good for slotting in alongside the drums in the van). I like it.

Seperate Dual (switchable) channel 60W head amp! Everything you could look for in a amplifier head! the 60W of power is just the right amount to get that excellent marshall tone! The tone on this head is awesome! and all the controls are layed out quite well... but i can't figure out why they placed the presence control in the back??!! series and parallel effects loop as well as a parallel effects loop mix is cool! I've been told that they don't make this head anymore and that these heads are hard to come by. I can understand why because once you own one, you don't want to let it go! I think I may have paid too much for this head ($680)... i think $575 would have been more reasonable, but I strongly feel that the price was well worth it! I bought this thing used 6 months ago, and am looking for another one for a friend... hard to find this thing for under $575.00 if you can find them at all!

I play this through a 4x10 1965A cab and the bottom end is just awesome! A friend of mine has got a 4x12 1060A and this head drives that cab just as well if not better! I've got an incredible tone on this in overdrive and the clean channel is "CLEAN" and bright!

Have had no problems yet... and don't think I ever will!

don't know.... never had to deal with them. i'm sure they're okay though.

Just like what the previous reviewer said.... this is in no way the same type of amp as the Combo JTM60 version!! This head is very distinguishable on its own compared to the combo version! Bottom line... IT ROCKS!

1997 model, vintage style grey/green tolex, no longer sold (bought mine used in 1997 with very little use/wear and tear). The JCM600 head is NOT the same model! (JCM600 is voiced differently; more midrangey). 60 W all tube (EL34/ECC83) head. Two fully independent footswitchable channels (with their own EQ, gain, and reverb controls), master volume, master presence, XLR direct out with switchable speaker emulation, series and parallel effects loops. Very versatile for classic rock, blues, metal, and even jazz and country. This is my main amplifier; I use an Allen Class Act for practice/quiet jams. Check out my review of the Class Act if you are interested in a 7 Watt Marshall Plexi (many people out there are looking for that wonderful crunch at low volumes...) which can also turn into a Vintage Fender Champ or a 6L6 type Fender.

Used with a homemade strat (solid one-piece tung-oiled swamp ash body, Japanses 60's reissue neck, and Seymour Duncan Vintage Rails in all positions) and a Mesa Boogie Rectifier 2x12" cabinet (better construction than Marshall cabs, sorry...) with Celestion Vintage 30's. The Marshall head sounds wonderful with this guitar and cabinet. No hiss/pops/noise at all. Goes from Vintage Plexi to modern high gain easily. Smooth buttery distortion easily controlled with your guitar's volume knob. My preferred setup: Groove Tubes E34LS tubes (hardness of 7), Groove Tubes ECC83's in all preamp positions (smoother/higher gain than 12AX7's), clean channel: all controls to ten (classic plexi), boost channel: gain maxed, bass and highs to ten, mids to zero (classic scooped mid thrash metal). Presence on zero. Easiest modern amp to setup!

Though I have heard many Marshall horror stories (most involving blown transformers), this amp has never had a problem. I even accidentally left it on over night once after passing out drunk and the next morning it worked fine! No blown transformer/tubes! The trick with tube amps, and especially Marshalls, is that you have to baby them. Be very careful when transporting them, and always power up and let it warm up for about two minutes before hitting the standby (always have a speaker plugged in with the correct impedence!). Also, use matched power tubes, and bias the amp correctly. If you do this, the amp should remain reliable. I do wish the preamp tubes weren't mounted to the pc board, but oh well, cheaper amps are built like that these days, and I'm not willing to pay several thousand for a point to point hand wired boutique amp that doesn't have all of the features that this one has.

Never had to deal with the company. No idea about warranty.

I have been playing for about ten years, and ever since purchasing this amp, I have never needed another full size amplifier. I did want to find an amp similar to this with EL34's but in a smaller package for small jams. I tried the JTM combo versions of this amp, but they are NOT the same! The combo's have different transformers (different sound), and do not have the ventilation grill on top to allow heat to escape! EL34's get very hot, and so I decided against one of these. I finally found the Allen Class Act amp, and for any EL34 Marshall fans out there looking for a small 7 Watt version of that same sound, check out my review!

Haven't a clue about production year. I'm currently playing medium-hard pop-rock with a touch of blues rock. This amp suits my needs very well. Series and Paralles effects loop. Direct out. Plenty of power for a retired rocker playing garage jams. This head is all tubes, don't know what kind, probably EL-34's. Possibly a solid-state rectifier. Plenty-O-Features guitar tube head.

Guitar is a Anderson Swamp Ash Classic. S/S/H. The guitar is superbly crafted, but doesn't really inspire me. Got the guitar in part of a trade as well as the amp. This amp seems to be really quiet for a Marshall amp. The bass does sound "farty" every now and then but not so bad. Of course, bass players always tell me that's why they play the bass and to stop worrying about it and stay out of their way. I'm not playing medium or large venues anymore, so can't tell if noise would be a problem at higher levels. The clean channel can stay fairly clean or can be moderately over-driven. Great sounding clean channel for a Marshall and good for a "British" sound pop-rock. No arguments. The disortion channel brings back memories of my past. Seems to be very creamy and smooth, like butter. With the bridge humbucker in the Anderson, it screams very musically. I'm currently using a no-name 2x12 cab loaded with Vintage 30's. I think the cab is 8 ohms, hope I don't blow the damn head. The Anderson guitar, coupled with the Vintage 30's and this head provide a very musical and "brown" sound, both clean and distorted. The distortion isn't overy brutal, but when I kick in a Boss DS-1 into the overdrive channel for over-the-top fun, it's pretty dang heavy.

Haven't a clue, never owned this particular brand of Marshall. Like all major amp companies, there are going to be some lemons, some average pieces, and some tone monsters. I'm knocking on wood, no problems yet. At my age I would gig with a back-up, if it farted I'd go home and snooze on the couch and laugh it off.

Never dealt, in all my years of playing I've never relied on any company except Mesa Boogie. Although Boogie falls down now and then, on the average their customer support is superb. With all the Marshalls and other brands I've owned, I've always used local repair.

I'm 50. I've been playing since I first saw Santana and Chuck Berry at the Fillmore West in San Francisco before I went overseas. Thought playing would be fun and gave it a try. Probably should have gone the car-mechanic route instead. I usually only try to own one guitar/amp combination at the same time, so this is the only equipment I currently own. I don't care, less confusion. Obviously my age dictates I've been through every concievable amp/guitar combination. Most of them sounded good at the time. I get the impression this line of Marshall amps is scoffed at, I could be wrong. Personally, I think this unit provides a sweet, buttery brown tone. A perfect blues-rock or British pop-rock guitar head. I know some have been frustrated in the quality of the combo amps in this series, however the very few reviews I've read on this head haven't indicated too many problems so far that are unusual for tube amps. Personally I highly recommend this head and your choice of cab. If you are on a budget, this series would get you that great Marshall sound at low cost. Other owners are encouraged to contact me and share their tricks, and potential buyers are welcome as well.

This amp is really versatile,
made in england, 2 channel, is perfect

He is perfect for Malmsteen, Blackmore, Roland guitar sound.

he doesn't break with easiness

He is perfect for who likes of a very clear sound.

This amp is really versatile. It has a presence knob, series and parallel effects loops, dual reverbs, master volume and an eq section for each channel. Being 60 watts, its not too loud small clubs or practicing but can hold its own in a larger show. It's all tube, too. My only complaint with features is "why did they put the presence on the back of the amp?"

Typical of a Marshall, the amp really starts to show it's true character when you crank it. Its distortion is fat and robust, unlike the fuzzy distortian of other marshalls. The clean channel has a crystal clean sparkle that's as good as any amp I've heard (and I've heard alot!). Great for jazz and finger picking. Wind up the pre-amp gain and get a bluesy, overdriven sound. WARNING: IF YOU LIKE BIG BASS - DON'T GET THE 4-10 CABNIET. I'm running it through a 4-12 marshall slant cab which put the bass back. The 4-10 may suit some situations, country for example. I play in a thrash metal band but also do solo blues and medateranian style stuff in small clubs, this is why this amp appealed to me. It is a little bit mild for pantera style crunch, but, this is easily fixed with a 7 band eq. The tone I achieved with this is VERY aggressive and soild with that amazing tube sustain that makes each note sing (Did I mention I like this amp alot!). Winding up the presence helps give a shred type bite, but this sounds a little too crisp on the clean channel.

It's had a few blown tubes over the years but that's to be expected.

Pretty bad - it took a long time. Its probably better just to find an private amplifier repair man.

I've been playing ten years. I use a custom made guitar: neck through mahogany back and neck, ebony finger board, koa top, sperzels, wilkonson vibrato and semore duncan pickups. It's got amazing sustain. This amp suits me perfect for its variety of quality tones. When I was looking at buying a new 1/2 stack I tried over 10 other brands. Nothing compared to its huge tone. If it were stolen I may look into getting a soldano which has about the same features. But the price of a soldano is about double this amp. It's great value considering it's all tube. This line of amps however I think has been discontinued. Coincidentally it has exactly controls as the new JCM600 - I'm guessing it's probably going to be about the same sound too. Marshall probably realized that no one wanted the 4 10 cabinet.

Made 1996 Very Versital amp. Great clean Channel. Has all of the latest features, switching, FX loops ect

Great clean channel, but the drive channel, while have ing plenty of gain has no bottom end whatsoever. I tried it through a number of cabs and it made no difference. I usually use a Peavey Wolfgang

Wouldnt buy it again

60 watts, two footswitchable channels (normal and boost), each with independent volume, bass, middle, treble and reverb controls, boost channel has gain control, master volume, series and parellel effects loops, parellel loop has mix control, master presence control on rear panel switchable speaker emulated/normal line out, 8- and 16-ohm speaker outputs
4-12AX7, 2-Svetlana EL-34 tubes solid-state rectifier
Wish reverb was footswitchable; other than that its feature-loaded, but some might wish for extra footswitchable tone-shift or extra boost (that's British for gain)
Channel voices range from sparkling near-Fender clean (with lots of clean headroom) to reasonably high gain (although nowhere near Boogie- land) with earlier Marshall tone color. With the help of an Ibanez Tube Screamer I have found it useful and flexible enough for all of my blues/classic-style rock playing (I'm not a high-gain kind of guy) plenty more than enough gain for my use, but alternative or metal players might want more gain
Cabinet enclosure is thin (7/16?) pressed fiber board (seems flimsy) Green-brown tolex seems thin and not very durable, but the latest models have heavier Marshall black elephant-hide-grain tolex

I play this head with a JTMC212 cabinet with Celestion G12-70s; until I tried the new JCM2000, the clean channel was the best I'd heard from Marshall -- very clear and bright, nice balance and bass response, stays clean at high volumes, breaks up slightly with channel volume maxed and master set low, but this distortion is thin and not rich; it improves considerably as you increase the master and the output tubes get cranking. Best sound from the clean channel is with channel volume in 2-4 range and master dimed, here you get no preamp distortion and the power tubes give you full, harmonically rich, throaty, warm, fundamentally clean tone; presence control can really add sparkle. Much cleaner with a Strat; a humbucker- equipped guitar will cause power amp distortion much sooner. At this level, however, you're way too loud for small club -- you're drowning out your drummer if he's not miked.
Boost channel is considerably darker and more midrangey, sounds its best at medium-gain settings. If you're looking for round, bluesy, bright, low gain distortion like Stevie Ray, its difficult to achieve with this head without a pedal. (A Tube Screamer through the bright clean channel sounds great -- alot like whatever Kenny Wayne Shepherd used on his first album.) Low-gain settings in the boost channel are dark, but do have a vintage purr. They improve beautifully as you turn up the master, and you get real good cabinet thunk, grind and blast depending on which type of pickup you're playing. Again, however, amp sounds its best at volumes too loud for small clubs. The medium-gain zone -- very classic midrangey nasal Marshall sound. Higher frequencies begin to shine in and darkness fades. At low volumes sounds suspiciously like it's getting help from a transistorized preamp distortion circuit (it probably is), but that still ain't bad. Again a twist of the master to the right tells you why Marshall's got its reputation -- get the tubes working and you get the sounds you have in your head when you think "Marshall". You're in the early-Gibbons period and you don't want to leave. Bridge humbuckers bark, snarl and howl. Single coils bite, scratch and whine. Harmonics are great, and feedback is a quick turn around to face your cabinet.
Not to be repetitive, but this amp sounds GREAT at volumes which are way too loud for small clubs -- but in a medium-sized club where drums are miked, it comes into its own. I've had two sound guys tell me, unsolicited, that this is a really cool amp.
High-gain zones -- great for lead everything is enhanced for single notes -- but chords lose definition. Cranking the master doesn't help. But again, I'm not a high-gain kinda guy.
Complaint -- unlike some of the higher-end stuff I've tried recently, the boost channel, to my ears, has its own tone which somewhat obscures your guitar's individual tone signature. When I bought the amp I was playing a Strat with a Duncan Hot Strat Stack at the bridge. This pickup, to my ears, gives just a dab of humbucker bottom and mid which in my taste is an improvement over the stock Strat single coil, but has single-coil output strength and still sounds close enough to a single coil that you don't forget you're playing a Strat -- makes your Strat more versatile without losing its identity. I just purchased a Hamer Artist, a beautiful chambered solidbody with Duncan Seth Lover humbuckers and a fat sound. With JTM600 boost channel, if I back off the tone on the Fender bridge pickup, I could mistake it for the Hamer bridge pickup. I've made this same comparison with other amps, and feel that the JTM boost channel does dominate your guitar's tone with its own. I might attribute this to solid-state distortion circuits in the preamp. However, I have no such complaint about the clean channel. It lets your guitar's real tone shine through. Speaker emulated-line out: You can use this instead of miking. I've only tried it once, seemed to sound pretty good, but my ears were hearing both emula

Have owned it for 6 months, have had not experienced any problems in rehearsal or at gigs. However, playing is my hobby and not my profession; I only gig once or twice a month, so this amp's not been truly tested as a road warrior.

Haven't dealt with the company.

Been playing for 20 years. Have owned old Peavey Classic (late '70s hybrid -- tube output -- crappy sounding by itself) Old early 70s Ampeg VT-22 (all tube -- cool tone switch and controls, great great clean sound but no gain until it was cranked so loud the speakers couldn't take it and they didn't -- sold it to some kid for $50 and he probably probably put better speakers in it and is still laughing at me) Fender Princeton Chorus (solid state -- not a real amp but a toy -- no warmth at all -- wouldn't gig with it), Fender Champ 25SE (hybrid -- tube output -- good clean but cheesy distortion -- practice amp only) Fender Blues Deluxe (tube -- cool for what it aspires to be) Fender Hot Rod DeVille (tube -- cool for what the Blues DeVille aspired to be -- the extra gain feature is not going to make history) Marshall JCM800 combo (a one-dimensional, but bona-fide, rocker)
Of these the JCM600 and the Fender Hot Rod DeVille have the best clean sounds of amps I've owned, but I give the Hod Rod the edge in that category. The JCM600 has the best medium-gain distorted sound (although the JCM800, a U.S. version with stock 6550 power tubes which I had rebiased and fitted with EL34s, rocked pretty damn good).
Highly recommend the JTM600 on the sound/price scale -- give it a "10" in that regard. If it were stolen I'd probably buy another, but I'd shop more first; I'm skeptical about the amp's apparently flimsy physical construction and ability to take abuse.
Again, on the true overall, I have to reserve some space for the real high-end heavyweights I've tried recently.