Marshall JVM 410H

Here, just look to what the others have said ! It's always the same.
I'll just say that this amp has four channels, maybe to much for me. I really appreciate the 2 "master volume" knobs. Just hit the footswitch and your sound "jumps" out of the mix for solo ! Great !
2 reliable serial/parallel loops. Great to set some fx on one side and, for example, an independant and permanent noise gate on the other side.
The manual is complete and instructive, really easy to understand. But, in fact, this amp is really simple. In 2 minutes, everything is understood. Absolute "plug and play" ! Hey, it's a Marshall ! So, rock it !

First of all my set up.
I mostly play live on several stratocasters (Fender and "homemade" strats - all with "texas specials"), but I also own a quite good Fender Telecaster, and a Les Paul (for studio applications)
So: guitar > wireless > JVM 410H preamp > (loop) Korg tuner > Lexicon MPX 100 (mod fx) > Boss ME 50 (wah - volume - mod fx) > TC G-sharp (delays) > JVM 410H power stage (reverb) > 4 x 12 Peavey loaded with Celestion Vintage 30

The clean channel is veeeeeery clean (green)! Waaaaah ! Real "Fender" sound (I've got a '64 Tremolux - same global characteristics). The "orange" and "red" mode could sound "clean" too, but with more mediums and crunch.
This amp is reallly one of the cleanest I've played. I've had a DSL 401, then a TSL 601... And there's nothing to compare. JVM 410H could be a really clean amp, with a punchy, "explosive", sparkling clean sound... Hit the Strat with a "7th bare chord" around case 5 ou 7... "Djiiiinnnnnnng"... So good !

Crunch channel is usefull in "green" or "orange" to get several kind of crunch. Please remember that your guitar as a volume pot ! (I put the gain on 10, and get everything in between with the guitar volume pot) You could get everything for decent "Mashall clean" to a muddy crunch... The "red" channel is the same that the "green" OD 1 but with some subbtle differences, maybe.

I play OD 1 in "green" position only (gain: 10). This drive level is enough for me (I play everything that rocks, from blues to "post-grunge"... ). Imagine what I could do with the "orange" or "red" levels...

OD 2 is voiced like some MESA amps (medium centered to 500 Hz instead of 650 Hz for a more "Marshall" sound). This makes the difference, but I don't like these "chain saw" sounds, so I've voiced it to set to my Telecaster, and I control the gain with the volume pot ("green" mode - gain set to 10)

Presence and resonnance pots are very effective, as for the preamp pots of every channel. A small move of medium, for example, really changes the sound. (Just like on my Fender Tremolux... my Marshall TSL 601 or my Peavey Classic 30 are NOT so effective !!! what a difference...)

This amp preserves the harmonics, the sound and "color" of your guitar and you can still hear every string of a chord, even with OD.

More: I also plug an acoustic guitar (Yamaha APX 7) in the front input of my Korg racktuner, bypassing, in fact, the preamp section of the amp. The sound is very good, very natural at low or middle volumes (just take care of feedback !). I control the overall volume, and the sound, with the preamp section of the acoustic guitar.

After 18 mounth, it's my... second footswitch ! Customer support is SLOW. So I've bought a 3th as an emergency replacement part ! The first broke on stage... ooops !

Well... I live in Belgium... and I've had some problems with other Marshall amps in the past (DSL 401 - just a piece of crap !!!). Customer support is effective, but too slow ! 4 weeks to get to get a new switch for my broken JVM 410H footswitch in unacceptable !

I bought my first guitar 28 years ago. I've played on many amps, I still have 5 amps at home, playing them alternatively. Sound is a matter of taste. But I've understood 2 or 3 things about guitar playing.
First: "your" sound comes from your fingers, at 80 percents maybe ! The amp is a part of your sound, but not the main part ! Of course, you'll tell me about guitars, pickups, amps, speakers, cables and so on... Yes, but, for example, a guy like Jeff Beck always sounds like Jeff Beck, whatever he plays on ! "Your" sound is in your fingers !
Second: every guitar fits to "it's" amp. Just try to find the exact combination. For example, my Les Paul sounds the best on my Tremolux '64, my Telecaster seems have been "made for" my Peavey Classic 30. I've got a "Classic '60 Strat", always at it's best with my TSL 601. Why ? I don't know... But it's a fact !

The JVM 410H is a very goog amp. Loud, versatile, with good low end, wonderfull clean sound, low price, easy to use, etc... It fits well with a lot of (my) guitars, it's reliable. Sounds like a Marshall, old or new, yes, but it could also sound like a Fender or a MESA...
It's definitely my best amp, I like it and I'll replace it immediatly if it was stolen. I've found, with this amp, what I was looking for since a lot of years ! Just try it...

4 Channels, 12 Settings, an active loop and a passive loop. A million combinations of tone. 2 masters, EQ per channel, built in reverb, one effects loop is assignable and midi controllable. 100 Watts EL-34 tubes.

Here is where I have to jump in. I have read several reviews of people slamming this amp in the tone. All that means to me is that you can't set the amp correctly or you have really crappy gear. A great amp cannot accommodate for a really crappy guitar. The amp is only part of your tone. You also have speakers and guitar and pickups. All play a vital role.

My rig
5 Peavey EVH Wolfgangs, 1 84 Kramer Pacer with KK EMG's, 1 Fender Heavy Metal, 1 Fender Strat with Gilmour EMG's.

Rack...Furman, X2 wireless, Rocktron Expression, Pro Rack G

Cab...One Asher Brown custom 4x12, One Marshall 1960 Lead

Floorboard. Boss tuner, EVH Phase, EVH Flange, BBE sonic stomp and rocktron midi controller.
All controlled with a Rocktron midi controller. It controls all amp function and my rack just by stepping on one button. Very cool. Very easy.

Here's the deal. Clean, one of the best. Green, extremely clean, Orange adds warms good breakup, Red gets into Early 800

channel 2...very 800. Pick your tone.

channel 3...Very Very rock and roll. This is where I get my EVH tone.

Channel 4....Molten. Gain, gain, gain. And then more gain. Incredible leads, very heavy for metal.

I play in an 80's rock band. I do bon Jovi, Metallica, Iron Maiden, Cooper, Tesla, Rush, Ozzy. you name it. It covers it all. Here is the trick. I use the OD1 and OD2 mostly, both on orange. The BBE sonic stomp is a miracle. I highly recommend it for any amp. Roll back the Treble. No need to ever go past 12. I can cover any sound from just about any band. I came off of a Mesa Tri Rec. It was junk. One tone, one very bad tone, and then a worse tone. the only way the mesa had gain was with the diodes on and then it sounded like a line 6 pod to me. Everyone in my band hated it. As did I. I bought the Marshall and it sounded good, but I made it sound great. I use my effects in the active loop turned to 12. That lets the sound of the amp shine through. The BBE is on all the time. I had a custom Asher Brown cab made which is very scooped and the Marshall is very midy, together they absolutely will rip your face off. I can go from clean to brutality and everything in between. If you can't find your sound with this amp, granted you have to like EL34's, then there is something wrong with your gear.

I have had no problem. I have read a lot of people having issues with the foot controller, I have never used it. trust me, get a rocktron midi mate. It is much better, alot more presets and a big red LED to let you know what channel you are on, and you can name the channels.

Never called.

I would replace is simply for the versatility. Now there are other great amps. Peters makes a monster amp, but it simply can't cover as much sonic ground as this Marshall.

I bought mine in November 2007 with my original band due to the cutthrough of sounds (my lead singer/guitarist used my Mesa Triple Rec while I shined through with the Marshall with solos and melody parts). I'm currently in a cover band as I've left the original scene. It is a very versatile amp for this purpose and that's why I went with it instead of my Mesa Triple Rec. It has 4 channels with 3 settings on each channel. The reverb is very good and the only thing I would change is having a way of making the footswitch lock onto your settings because if you hit the same channel button twice by accident, it switches between the three settings for the individual channel.

I use this amp with a variety of styles (rock, r&b, funk, etc...cover band stuff). It is a very good amp for versatility and the clean is very clean with the Marshall "gruff" sound. You buy a marshall because you want that high mid sound....simple as that. The distortion is brutal for a tube amp. Obviously, you're not going to match the brutality of a Mesa Triple Rec with Solid State selected but it is awesome for soloing, versatility, and doubling in the studio.

This is where I HATE the Marshall. Now, when I bought this Marshall, I was NOT a fan of Marshall amps but needed something that would complement soloing and doubling and outlining chords around a MESA. They made this amp with plastic knobs (those have survived so far). Currently, I am unable to use this amp and had to switch back to the Mesa due to the effects loop wet/dry switch coming loose and then ultimately the amp not working at all. It is still under warranty so I am sending it in and hope that everything works out. Again....a $1799 amp just sitting and not able to do anything. It is not built like a tank like my Mesa but it has the sound I need. They should have built it with a metal front and without the delicate effects loop button on the back. The only thing that saved me at a gig at first was the line direct out with XLR which we went right to the board with.

We're going to find out about this. I believe there is a 90 day warranty on tubes, and a three year warranty on the amp itself other than tubes. I'll let you know. Of course, if it was built well in the first place, I wouldn't have a problem and wouldn't have to send it to an authorized service center.

If it were stolen, I would claim it under my homeowners policy and but another one if I wanted a Marshall sound. I don't like any of the other Marshall amps but found the JVM 410H to be versatile and basically Marshall's version of a Mesa with the Marshall sound. I just wish it was built to withstand the rigors of the road. It was a great amp for it's versatility and features...just the construction...it's terrible.

I don't know the year this amp was made but I've bought it in 2007. By know most people will know the layout but here we go: 28 knobs (don't let it scare you, I figured this amp out in ten minutes and I'm not the smartest guy around) 4 channels all switchable with each 3 voicings (so in theory you have access to 12 different sounds) , two effect loops, one parallel and one serial, midi control, two masters (GREAT!), each channel with its own digital reverb, line out with speaker simulation, resonance and presence to control the sound going to your speaker cabinets. It's a 100 watt all tube top, so it is loud! It is delivered with a programmable 6 way switch. I am using it with two stock Marshall 300 watt cabinets, but am thinking about switching one for a 100 watt cabinet with greenbacks in it. Anyway I think it is as versatile as the best you can get nowadays so I'll give it a 10 out of 10.

First of all, I am amazed about some of the reviews. People bought this amp and then burn it down because they think the sound quality is crappy, don't people testdrive equipment anymore these days? Of course this amplifier won't suit everybodies needs, it is a Marshall. If your not looking for Marshall sounds, then (besides the clean channel) this amp is not for you. If you do like the Marshall sound, this baby is worth saving money for. I normally play a 1987 american standard american strat and a Yamaha AEX 520. I really need 100 watts of tube power as I normally play pretty loud. I used to use a Fender twin Amp, which was awesome but not very suitable for all the different styles of music I play with the band I currently play in. Although I use the clean channel in orange mode (to break up the clean a bit) the green mode is probably one of the brightest and richest CLEAN clean channels I've ever heared. This is coming from a guy who used to say that only Fender tube amps have the best clean sounds, so I guess it must mean something. I must be honest and say that I don't use the amp to it's max. For me, the two OD channels have far to much gain in the red stages, in fact I've never played on a amp which can produce such absurd amounts of gain, probably far more than 99% of it's users will ever need. This is what makes this Marshall so versatile, it can produce sounds as clean as a baby's bottom to nuclear mayhem. And what is more important, it sounds right too. In all the channels the bass mid and treble controls are very responsive and make it easy to find the sounds you're looking for. So I'm sorry I must give 9 out of 10.

Although the band I currently play in, is not a proffesional band, we score 25 to 30 gigs a year with more than 3 hours playing time each. Haven't had any problems with this amp yet. That said it is always important to be a bit carefull with tube amps and give them proper time to cool down after a gig (if possible), and of course to have a proper flightcase for it. I've read in some reviews that people don't like the way the knobs are installed. But I guess you don't have to hit them with a hamer do you? Anyway, it feels sturdy enough to me. The only component which could have been made a bit sturdier would be the 6 way switch as it is lying on same stage, as our hyperactive singer is jumping on. Haven't had a problem with it so far but it is not build like a Boss pedal for instance.

Never had to deal with Marshall, for customer support I'd go to the music store and let them sort it out, so; no opinion.

I've been playing guitar for 25 years and the greatest deal of that 25 years in bands. Over the years I've had some crappy amps, but also great amps. This is without a doubt the greatest amp I've ever owned. It is simply a supermachine which hasn't let me down yet. This amp is worth trying in the shop, the chance is big you leave the store owning one.

Versatile? Of course. That's what it's all about. 4 channels, 2 fx loops and a really cool programmable footswitch. That means I can have my delay pedal on all the time and set a channel up to come in with more/less gain, boosted and with delay (or reverb, or both). How cool is that? No more tap dancing on my pedal board!!
I grew up with LIne 6 PODs and all that digital crappery, so this is going back to my roots with a fat set of balls dangling between my legs.

I'm using a Gibson Les Paul Standard, a 1972 USA Strat and a 1982 Gibson Dot.
I was looking for an amp that would cover my needs of versatility and quality. I traded in my AC30 and JCM 900 112 and bought an Orange Rockerverb. Should have been amazing but after rehearsing with my band it made me want to cry. No no no. Where's the bottom end? Where's the glassy shimmer? Why the ridiculously long and unusable reverb? It was ugly, man. I ran back to my dealer and begged him to trade my orange for the JVM. After all, I'd settled into the JCM 900 with ease so I wanted the best Marshall I could get for my money.
Basically, it sounds cool. Love it.
Yes, it's compressed and heavy but that's the sound. We may as well be discussing whether red is better than blue, or brown better then pink. It sounds like it sounds.

I play in a different band as a bass player and at one point both our guitarists used JVMs. I wanted to smash them up and piss on them cos they would make my ears bleed in stereo. I used to drive the amps around and would smile as I heard the JVMs crashing around on the floor of my van. Surely all that complicated circuitry would give up soon? Nah. I think a valve went once. That's all.
Now I'm the guitarist in a new band and I HAVE THE POWER. Also my friends' JVMs were the combo versions, with the valves cooking underneath the circuit board. Not so with the head. Just wish it had the fail-safe valve system that my 900 had. Hence the 9.

3 year warranty. Lovely. I live in England and Marshall are great with repairs. They are happy to service any old Marshall at a reasonable price and are on the end of the phone with friendly advice.

It's really good. Built in England, loud as fook, ugly as sin. I'm getting mine re-tolexed in white next week and I intend to have sex with it when it gets back. I'm gonna get the VOX NIGHT TRAIN as a backup though, I'm a happy man!
Incidentally, I'm playing it through an Orange 212 closed back cab with a Vintage 30 and a G12 Heritage (55Hz). Yes, I have a spare G12 for when the other one melts :-)

This is actually the first time I write a review here but reading about all the reviews on this amp I really think I have to give my opinion because people who write they don't like it don't know how to setup this great amp.

Having said that, this amp is pretty versatile. 4 different channels all with own EQ controls, reverb and midi switching. 2! FX loops of which one can be turned on/off with the footswitch (or midi switch) which is extremely handy since now you can put a noise gate in the fx loop and leave it off when you use the first 2 channels.

I can't think of anything I would add to this amp, maybe that the second loop was switchable as well haha.

I play Rock ranging from Queen, Guns 'n roses, pearl jam, thin lizzy, neil young, black sabbath to metallica. We also play alot of clean ballads so I was looking for an amp which also had a great clean channel (and this one hits the spot)

First of all I play 20 years and am very very very critical about my tone.

My path is most of the time; Ibanez JEM7VWH (vai signature) -> TC Nova dynamics compressor -> Amp -> loop 1 noise gate from Nova dynamics -> loop 2 G-Major (also with a slight noise gate)
I use a bit of delay and chorus on the g-major and thats it.

The amp by itself has very humming OD-1 and OD2 channels (typical for this high gain stuff) but with the 2 noise gates set on a moderate gating it is COMPLETELY gone (even with volume and gain at full), no noise whatsoever and I retain the full dynamics of the amp and sound. It sill sounds organic.

The amp can make all classic and new rock sounds. (it CAN do all the marshall sounds, I have owned all types of marshalls)

In the past few years I have played a Triple rectifier, H&K Triamp, Triaxis w/2:90, Brunetti EVO XLR60, VHT sig;x, Mesa Mark 4, Carvin Legacy, VOX AC30CCx2 and all didnt do the trick. The triple rec. had a very unuseful clean channel and the 2 gain channels were alike. The VHT was to grainy and again the 2 gain channels are alike. The Brunetti was actually quite good but it needed constant adjustment and the presence was a bit to harsh, the Triaxis (2.0) was not bad but the triple rec high gain was better and the Mark 4 had better moderate gain sounds. The Triaxis was also rather noisy. The VOX is a one trick pony, the Carvin is AMAZING but lacks a master volume control and has to be set very loud.

In the end I have a taste for EL34's and find the 6L6 amps rather uncharacteristic.

The Marshall however is responsive, has gain ranging from clean to bluesy to AC/DC to 'almost' metal. It combines very well with my guitar, the sustain is unbelievable and I can hear EVERY note , even when playing chords. It cuts through the mix like no other amp (well maybe the VHT which did a good job being heard)

I takes effects very well but believe me; Buy a good noise gate (or 2) buy a good transparent studio compressor (use with moderation) and buy a good guitar and you will have found great, quiet, versatile and responsive tone!

Gigged with it 3 times now, no issues. So really no comments here but then again I have never had problems with any of my gear.... I only buy quality :-)

Never dealt with Marshall. I only deal with suppliers in the netherlands of which I have to name a few I REALLY dont like;

1) Dijkman (for being only interested in making money and even though you have been there for over 10 years you still have to empty your bag when you leave the shop though you have bought for over 10k in gear over the years)
2) Dirk Witte (for having to wait for hours before you get help)


I DO Like

1) Sound plaza, great service, hot coffee and quality stuff
2) Max guitars - same as above
3) Feedback, no coffee but enormous range in gear and testing rooms

Playing for over 20 years
Owned PRS's , Gibsons, Fenders and now my main is a Ibane JEM 7VWH

Actually you name it and I probably would have had it for either a logn or a short period of time ;-)

If it were lost I would buy it again immediately, there is not better rock amp out there in the 1200-2700 price range, I am serious.

Marshall JVM 410 Head. I play it through a 1960A and a 1060AV, everything is completely stock, with the exception that I changed the amp's V1 to a TungSol 12AX7. The features are awesome, with the major exception that I would prefer there to be a Presence control on each channel like the Mesa Rectifier and other amps.

My review will heavily compare to the 3 channel Mesa Dual Rectifier.

I've had this for a year now and have only played it through the two cabs I mentioned above. It's an early model made within the first 3 months. (BTW - never a problem with the footswitch). For live situations I've only used it through the 1960AV. First impressions were that the tone was really thick, probably because it doesn't have the high end buzz that the 2205/2210 and other amps of its class had. After the novelty wore off I realized it's actually pretty thin and compressed. The whole thing lacks balls. The tone is generally bright and shrill. There's none of the traditional Marshall warmth and punch (ala JCM 800 and earlier). You can get some lows out of it mostly via the Resonance control, but that just adds sub-bass, which isn't conducive to a live context. It's feels like the power amp never really kicks in and takes over; when you turn up the Master(s), it just gets louder and brighter. There's no pick attack, there's only bright and brighter. In fact, the Mid knob seems more like what a treble control should be. The Presence and Treble controls only take this amp from bright to brighter and shriller. There's a certain "shwang" to the tone that just grates on my ears.

The OD1 Orange mode is the best this amp has to offer. But even that sounds thin, compressed and lacks expression. The OD2 channel's Mid control is just useless; scooped no matter what you do to it.

The Crunch channel's low-end is too unfocused for it to be useful for anything, though it does sound "rockin'" I suppose.

The Clean channel is not bad. It doesn't shimmer, but it is certainly brighter than Mesa's Rectifier clean channel.

I've tried almost $2,000 in speakers and $300 in tubes. The character of the amp remains what it is despite the differences tubes and speakers make.

This amp doesn't sound warm and electric, it sounds cold and electronic.

It's been reliable, but it's built really cheap. The knobs move because they're not bolted to the faceplate like even my $179. Marshall MG15DFX is; they're simply slapped on a cascading PCB and poked through the holes, where a knob is placed on a plastic shaft (for this alone, Marshall should be ashamed). The pots aren't the typical qaulity large/round diaphram pots, they're cheapass mini-square pots on the PCB that can't be easily fixed. All the input jacks are plastic... everything... everything is as cheap as a Dell computer on this amp. You can love it all you want because of the money you spent, but you can't convince me that this doesn't fall below the quality line of even the original SS Valvestate series.

The bottom line here is, Marshall's JVM line IS the new Valvestate. It's BUILT like a Valvestate, LOOKS like a Valvestate, and most importantly, it SOUNDS just like an older Valvesate. The features are great, but in the end it doesn't sound like a nice big fat warm Marshall, it sounds quite like a computer motherboard, borderline hi-fi at least in some respects (but not at all like modelling).

I used to own a 2205 and a 2210, and have played a small handfull of earlier Marshalls. I can say without regret, that this doesn't live up to those standards. If you want quality, you'll have to look at either the Artist or Handwired series, pay a lot for them, and sacrifice features.

I like to believe Marshall tries hard, after all, they are my favorite tone of all time. But my ultimate opinion on the JVM is that it sounds like the next Valvestate and it's way overpriced. The Valvesate 2000 (AVT) failed, so now they decided to add a full tube compliment and call it a whole new series. But they still sound solid state-like, and tube changes have minimal effect on tone compared to the "real, old" tube counterparts.

It's time I got past the white logo and the old-time mistique, and moved on to better quality and tone for the money. I have a Mesa 3 Channel Dual Rectifier that, although it doesn't sound like a Marshall, it sure does please in tone and quality.

This amp was built in 2007. The features on this amp include everything except the kitchen sink. I play classic rock to metal. It covers them all. It's a 4 channel with three levels per channel. Has a serial loop for pro gear, and a parallel/serial loop switchable for pedals and semi-pro gear. 100W is overkill today. I wish the 50W version had the four channel option

I play with a Gibson Les Paul and SG. Theoretically the amp should cover everything, but with the stock tubes it tends to squeal like a pig on the OD Red settings, borderline on the Orange. You need a noise gate or two just to even be able to use the overdrive channels. The clean is the best clean Marshall has done, and it does break up at high volumes. The distortion is brutal and IMO overkill. After having one for several months IMO the sound quality is not $1200 better than a Peavey 5150. Don't get me wrong it has some great tones available with one caveat -- when it works.

No. I cannot depend on this amp. I would never gig without a backup, because it is so complicated that something will eventually malfunction. I'm not hard on gear. This amp just acts strange sometimes. You'll think you have the sound dialed in then something will change. Mine ate power tubes for breakfast and preamp tubes for a snack. Tubes on one side would redplate or start arcing, yet the same tubes would work in other amps. It's a mystery. The amp drove me nuts. It worked properly for less than a month out of several. It reminds me of a car that was made in Yugoslavia. I just unloaded it. Good riddance.

I just love the fact Marshall has no contact numbers for Marshall USA. Your total contact with Marshall is through your local amp tech or through their UK web site from which you might get a reply. I really feel sorry of amp techs with this thing.

The dealer was the best support here. I'd give the dealer a 10 for customer support, but I'd give Marshall a 1.

I've been a musician for over 4 decades. Guitarwise I have more gear than I need. We'll leave it at that. If this amp were stolen I'd pity the poor bastard, report it to my insurance company, and get a cash check and get something that actually works. The sad thing is that it has so much potential. I liked the versatility of the amp. I liked the tones I got during the test. I compared it to a lot of other amps: Mesa, Bogner, Egnater, Soldano. I couldn't afford two of the brands. The JVM pushed my limit. I chose it because it had the Marshall bark, and that's something my Peavey doesn't deliver. Peavey gets bashed a lot, but they're workhorses. What do I wish the JVM had? Reliability.

As mentioned earlier, the amp has 4 channels and 3 modes per channel. I am into blues, rock, pop and commercial music amd mainly doing studio recordings. I was using GT6 bofore this as a effect processor. Now i have switched to MArshall JVM 410H and I also use an external effect processor G Major (TC electronics) for Chorus,reverbs, delays etc. When i compare this to any other effect processor, the effect processor sounds very thin as compared to JVM 410H.
I mostly use it for my recordings and i feel this is awsome. This is pure tube based circuit and i personally love tube based equipment.
The only thing i feel this lacks is that the line out is not connected to the master volume. So, if i want to use the line out in my live performance, i cant give this directly to the PA coz i would loose my master volume settings.

I have Ibanez Prestige series RG2550
I feel this amp is very versatile and gives all kinds of tone from clean to heavy distortions. I really like OD2 mode too. It has been discriminated by many in the reviews but i really like this for solos specially when i loop it with my G major and use a gate over there.
For clean tones i generally use my middle single coil pickup with the clean green channel. it gives a very clean tone till 1 o clock. after that it starts distorting.

I have not used this much so cant comment on it.

Till now i didnt have any problem with this unit so cant say much abbout it.

I have been playing this for about a month and i hve fallen in love with it. Yes , of course if i had the money then definitely if it was stolen, i would buy it.
What i love about this is its versatility and the warmth in the sound.... it really sounds big in my recordings compared to my previous recordings. Now i know what was missing in my recordings. No digital or solid state technology can beat tube... Tubes rule!!!!
I compared this with Line 6, Fender and Pevey. Its not that i didnt like them. I would rate Line 6 as 5/10, fender as 10/10 Peavey 10/10 but the problem with fenders and peavey was that they were not versatile. I would definitely buy them as a second amp when i have more money. But this is definitely a good buy if you want to be a versatile player.
Let me tell you i am from India and I specially went to US to buy this amp coz it was not available here in India!!!

4 channels 3 modes p channel a lot to chose from other specs were already mentioned aswell

clean-one of the best cleans on any amp period! ive played through fenders and vox's that are in theory top of the line
crunch- great,very punchy very rich harmonics coming through and it cleans up great very responsive
od1-great!very creamy smooth typical marshal sounding and it cleans up great :)
od2- i dont use it that much, but it can be usefull for sure

i havent had any problem so far, i usualy play gigs 2/3 times a week andi do have a backup(laney combo)

haven't dealt with them

tube amps do not make miracles for your playing,if you suck, buying a tube amp, especialy marshalls(JVM) wich are very dynamic and responsive,wont improve a thing in fact it will only make you sound worse and another thing,those eq knobs that say bass,mids and treble are there for you to use it!so dont be afraid, if you cant get a great tone out of this amp youd better off just playing acoustic or not even playing at all(no disrespect)

Its a great amp, try it out!

I purchased this amp around November 2007. I was looking for a full valve amp, and was almost sure about getting a DSL or TSL. I like to have as many options I can, since I play a big variety of music. WHen I heard abot the 4 channels and MIDI I wanted to give it a try. Most of it was already said here, but I would like to mention the MIDI implementation, which is great, and incredibly easy to program: just dial in the preamp settings you want, push a button twice and push your MIDI pedalboard where you want to save this configuration and presto, you are all set. I programmed 10 different setups in my Roland GP-16 in half hour. Some "glitch" sound can be heard when your MIDI patc turns on and off the FX loop settings of the amp, though. But nothing too serious, I have it always pressed and that's it. It lacks a headphone jack, probably because they assume this is not a practice amp, but it is a feature I would like to have. I never saw a Marshall with that many features, it is impressive, but easy to use to it. The dual Master Volumes are a great feature, and the pedal board is also easy to program and it can work very well if you don't have a MIDI pedalboard.

I tried my favored guitar, Ibanez FGM 100, my Gibson Les Paul Studio and my Fender Strat Plus (the one with Lace Sensor's). You need to play with the EQ knobs every time you change guitars, but that's OK I guess. To my surprise, the Fender seems to be the best for this amp, it never sounded soo natural before. The Ibanez only feels good at tne OD1/OD2 channels, which seems pretty obvious. One of the best sensations is that with this amp your guitar's volume pot became very important. You can dramatically change your tone just by fiddling with the volume pot, and that's amazing. For isntance, I feel I could do almost everything with tne OD1 channel, Orange setup and the guitar volume pot. I never feel that level of tone control from my guitar ever before (I guess my other amps weren't that good). The first two channels has the Marshall history since the JTM45 to the JCM800, and some more, the Clean channel being the cleanest I ever heard from any Marshall before. The OD1/OD2 channels doesn't sound like a Marshall. They reminds me a MESA I had long ago, with lots of gain and lots of sustain. Reverb is OK, but I don't use it. As per today (Sept 08) I couldn't find any sound spot where I would use anything else. I think I have every possible sound within the 4 channels. I am more than happy, and buy it again in no time.

So far so good. Not a single problem. I heard that the pedal is not as hard as it looks, but I don't use it, so I guess it will last.

Never use it. The manual is not good, but the amp is very easy to set-up, although intimidating at first sight, because the fornt panel is crowded. But I had a MESA Mark IV, so I got used to play with knobs.

This is no doubt about it the best amp I had/have. I tried everything from solid states, hybrid and full valve, and this is awesome. Probably my ears are not exquisite enough, but definitely the famous Marshall sound are in there, and a lot more. I am happy I got this one instead of a TSL. I run it through a 1960A cab, and it seems fine, but I would like to try a cab with Vintage 30 on it, just to see what happen. I don't need anything else, I got every tone from it, without the need of any processor or stomp box, all pure amp sounds. I am a happy man.

I don't need to run through the features again. This amp scores a 10 easily. Instead I will use this section to tell you that there is another review of the JVM 410H (a double up) and after reading it I was highly annoyed. Some idiot has ended up in an argument with another member, and in his reviews he gives the amp a VERY low rating. Thus bringing the overall rating of the amp down. It's complete abuse of the review system. So thankfully this review doesn't have the same monkey spouting off and gives and honest overall impression. It also seems that purists that don't even own the amp are giving it a bad wrap. I'm a sound engineer so I'm fairly confident I have good ears.

I'm using this amp with a Les Paul style guitar made from mahogany with a quilted mable top. I'm running a Dimarzio Fred pickup in the bridge. I have been playing around 14 years and owned a few different amps including a Mesa combo. The amp suits almost any style EXCEPT metal, which is a good thing! I play all styles blues, rock, jazz, dub, funk etc.. On higher gain settings on the OD1 and OD2 channel, this amp is quite noisy/feedbacky. But guess what, a gate fixes this problem. As said a million times, OD2 isn't fantastic but it has it's uses. OD1 is sweet. I only ever use green and orange on OD1. The crunch channel is just awesome. If I'm looking for a sound that breaks up when the strings are hit hard, and stays sweet and clean with softer playing, I use the Crunch channel with the gain turned down and volume up. It would be wise to buy some kind of attenuator like a THD hotplate if you're playing in the bedroom, this amp sings beautifully at medium to high volumes...After all it is 120W of tube power. The reverb is pretty good, I have never been a fan of spring reverbs so I was quite happy to have a digital reverb.

Okay this is the amps downfall. Unlike other Marshalls, it's not built like a brick ###thouse. In the first 2 weeks of owning it the footswitch crapped out, and the amp needed re-biasing. So I was without it for 2 weeks. It's all fixed now though and sounds as sweet as ever. I'm nervous about owning this amp past the warranty period. The knobs are a bit plasticky and I don't think they're a traditional pot held to the chassis with a nut. I may be wrong.

Customer support was great. I didn't deal with marshall, but rather the retailer i bought it from. They were more than helpful.

I'm giving this amp a 9. I would give it a 10 if I felt it was a bit more robust. If it were stolen or lost I would get another without a doubt. Just remember, it's a Marshall. If you want a Mesa sound, buy a Mesa. If you want a metal sound buy a 5150..This amp is a jack of all trades and master of most styles. My next amp with probably be a Bogner, but who can afford one of them.

If you are reading this, you already know the features: 4 channels, 3 modes per channel, dual master volumes, independent reverb controls, compensated recording out, programmable footswitch, etc.

The amp is designed to be a "be all/end all" Marshall for the working musician and tone freak alike.

Tons of features, front panel is pretty easy to figure out. The pedal board is great and easy to program. You can even switch master volumes here, making your "boost" pedals obsolete!

I have played this thing left and right, with everything from a Les Paul to a PRS to the cheapest Fender. I cannot get a bad sound out of it! Period.

The clean sound is absolutely wonderful, the best they've ever done. The channels are designed to take you through each era of Marshall, from JTM 45 to JCM 2000.

Now on to the tone. I own a '71 Super Lead, so I am VERY picky about tone, especially gain. This amp does not disappoint. You can get everything from that wonderful "singing" break up to AC/DC raunch without getting out of the Clean channel.

Going to the Crunch channel is where I seem to find the most pleasure here. Even with all the tone controls set on "5", simply toying with the Gain and Volume controls dials in some awesome tone.

The OD1 channel seems to take you into the "modded" JCM 800 tone and beyond. Nice crunch, great singing sustain.

The OD 2 is a bit much for me. I would never use that much gain, but metal players would have a field day, although a noise gate would serve well here. The OD2 channel gets noisy. That's fine with me, I'll never need that much.

I love the distortion on this amp. I have always been critical of "newer" Marshalls for that "Bacon frying" distortion they seem to get once you pass a certain point on the gain control. The crunch this amp puts out is much more "organic" and packs a whallop! It really moves the air at high volume and is very musical.

A quick note: I have read some negative reviews involving the use of Hot Plates and such. You guys are MISSING THE IDEA completely! This amp was designed specifically get great sounds without the need for modifications, power attenuators, and preamp pedals! Using a Power Brake or Hot Plate defeats the purpose of the amp completely!

No issues to report.

I have not dealt with them in a long time. The people at Korg were very helpful when I needed an output transformer for my Plexi years ago. I have not needed to contact them.

As a longtime Marshall owner and tone snob, this is the best Marshall I've heard in 20 years. I owned a JCM 900 and it was good but not that Tone Machine I was seeking at the time. I have not been crazy about their modern amps for a long time. I can't say enough about it.

I don't like taking the Plexi out anymore, it's far too precious to me and it's not replaceable. That's why I love this amp. I can get that good loud crunch and still manipulate the gain level with my guitar volume, just like my old amp. It's almost as dynamic and responsive, which is hard to find in modern day Gain monsters.

The only other thing I would recommend is using it with the Greenback loaded cabinets. That's a personal preference, but I use the Greenbacks with it and it sounds better than the setup in the store. Better breakup and more pleasing crunch, at least to me.

My amp was made in mid-2007. It has 4 channels and 3 degrees of each which supposedly give you 12 different tones at any given time. Has a parallel/serial FX loop that is bypassable. They give you a wet/dry knob but then tell you in the manual that it is best to go full wet when you use the loop. Why even bother putting one there? It has plenty of power. It features 5 ECC83 and 4 EL34 tubes. It is an all tube circuit.

Here's where it gets sticky. I use a Gibson SG Standard with stock pickups and a Schecter C-1 Hellraiser modded with a Duncan JB/59 set. I bought this amp in hopes that it would cover the styles I play which are "heavy metal" and modern metal. It handles tones from the 60s through the 80s and early 90s quite well if you don't push it.

I run the amp through a THD Hot Plate, but with that set on -8 db which is still loud enough through a 412 to get some speaker cone breakup. Master 1 is dimed. Master 2 is at 1:00. This is to compensate for the difference in output between the X Channel/Green and their Orange/Red. I use Master 2 on the Orange/Reds on all channels.

For some reason, Marshalls seem to be very anal about incoming signal. Initially I plugged my pedal board that was practically noiseless with a Fender amp into a Marshall and it hummed and hissed all continually. I ended up replacing power supplies to solve that. You cannot use the OD1 and OD2 on Orange or Red without a noise gate. ISP Decimator G-string. There you go. Noise problem solved.

I find the amp is prone to signal overload. It doesn't like overdrive or boost pedals at all. With signal overload it turns to mud. I noticed this in particular with the Schecter. The SG has no such issue. I thought it was the pickups. I pulled the EMGs on the Schecter because they were too loud into it. The Duncan passive replacements made no difference (yes I changed the pots to those spec'd by Duncan). It's that particular piece of wood that just is so dense everything goes into the pickup, even though it is mahogany. So volume knob time. No problem into the 5150.

I'm not impressed with its ability to handle low tunings like C and Drop B. I really don't understand why, but I suspect it might have something to do with the EL34s instead of 6L6s. But it does standard E and Drop D well enough.

And regardless of what you hear, Marshall does not recommend pulling the two outer power valves to reduce power to 50W even if you rebias. They say it could damage the amp. They recommend a Power Brake instead. Okay.... technically you can do this, but if you do, look at this as a way out of honoring the warranty. So Hot Plate time.

Overall because I'm satisfied with Clean, Crunch on all settings, and OD1 on Green, and OD2 on Green but the OD Channels on Orange and Red I'm still searching I give an 8 in this category.

If you're going to play this amp only at bedroom volumes, but you want a tube amp, do yourself a favor and get a Blackheart. It's like a why bother?

You know I wouldn't gig without a backup. I'll have my 5150 available. Failing bringing another head, get a POD XT Live or X3 Live and have a bank set up to be able to run with an amp model through the PA.

The pedal switch unit it comes with seems to be flimsy which isn't good if you don't have a POD, GT-10, or G-system, or other means of channel switching.

Mine has been reliable, so far. I know someone else who has had a nightmare. So I can't in good conscience give a 10. I have to give a ... 7

The warranty is 3 years parts and labor and 5 years parts. Mod it at all and you void the warranty. Not that it is that good. Tubes are only covered for 90 days. Any warranty service by an authorized center and you might be without the amp for about 4 weeks or longer -- I know this from a previous Marshall. This is probably because techs get paid squat for warranty service so the stuff sits on the shelf. It's not like getting your car fixed. Also on the Marshall web site they reiterate over and over that any valve changes (including preamp valves) should be made by a qualified technician. What's a qualified technician?

Then there's this friend's unit, and he's had a nightmare. Korg is friendly and all that, but....

This brings me to an opinion about warranties on musical equipment: you buy it; it's yours.

I also have a 5150 II and a POD 2.0 w/ Footswitch, but I mostly use a pedal board with my FX in the loop.

I wish the handle on it felt more solid. The handle on the 5150 II doesn't feel like it would break when you grab it, but this one doesn't give me that sense of security. I like the four channels. I like the tone on most of the channel settings. I'm not fond of the way it tends to be subject to signal oversaturation. I compared it to other products and it is a big step up from the DSL and TSL. It has the Vintage Modern covered in the Clean channel alone.

Granted tubes should last a while. Preamp tubes about 4 to 5 years, and power tubes about 2 to 3. So I'm thinking I shouldn't have to change tubes for a while. However, when it comes time for a power tube revalving, the bias trim pots are not accessible. The test points are not accessible. You have to pull the amp out of the chassis. My 5150 has the test points on the back panel. So when this time comes if I want to do this myself in the future it will require a mod to the amp that will void whatever is left of the warranty. Basically this amp does not have user serviceable parts unless you just don't say anything. Keep the original valves in a safe place if you change them so if there is any trouble you can swap them back in.

The store where I bought it had a 30 day exchange period. I had another Marshall initially but didn't like it and exchanged it for this one. If this amp were stolen, I'd probably go for a Splawn, Ceriatone, or an Orange with the insurance money.

You all know it is a 4 channel, 3 mode per channel all valve amp, with digital reverb, look up any other specs you need

I bought this amp in March of 2007. I was a bit apprehensive due to the cost, and it's unproven design, but since I have used Marshalls forever, I made the plunge. I have to say that it is the best amp I have ever played thru, and It meets all my sonic needs. I did buy a decimator prorack G to calm the high gain noise on the orange and red modes of the OD1 and OD2 channels. The amp remembers your last setting on a channel, so when you switch back, it knows if the loop was on, and what mode. It has all the old Marshall tones in it. Don't use an attenuator-Duh, I repeat Don't! You can find a balance for whatever tone you need if you have some patience, (or experience-saves time), and a little understanding of gain structure. You can overdrive the main power and cut the channel volume while maintaining pre gain on any mode and any channel. The Green clean bypasses the volume pot, and has reversed Eq, like a Fenders config, and it will shimmer if you want that. It takes no work at all to get the best clean you ever heard, especially out of a Marshall. It does it all. If you can't get it to do it, either you got a dud, you can't hear, or you work for another amp company and write reviews as a shill to Dis Marshall.

Not one issue with any of my Marshalls, except the retubing as needed. No maintenence or retube or any issue with the JVM. I play about 10 hrs a week, and no issue. I use a road case, and move it hot sometimes, but still on stock tubes. Very tuff!

Never ever ever needed them. Hope I don't, but hey, every experience with any companies Customer support is individual, and varies, so there.

I want another as a spare, to keep at the house so I can play thru it all the time. I leave mine at the studio, so I miss it during the days we aren't playing out or rehearsing. It is that good. Go try one, you will love it. You can find every marsh ever made, and then some new ones--all in this amp. Do you believe the words of the one or the words of the many?!?!?!?

Usually, I only bother to review equipment that I like. I don't like to waste words on equipment that isn't to my taste, but I feel a word in edgeways is needed here to counterbalance the superlative, glowing reviews.

It has a lot of features. I don't get scared by having so much control of the sound as I like the better multi-effects units on the market, but I do mind if the features are bloated. Here, they are. Too many things cluttering up the tone stack. You don't need a bunch of knobs to make an amp sound great. You can have a simpler control scheme with better versatility. So although it has 12 different sounds most of those are too mediocre to be usable, in my opinion.

Right. This was a store tryout. I was using my own Burns Brian May replica modified for 21 different sounds instead of the standard 13, a Gibson SG '61 RI, an Epiphone Les Paul fitted with active Zakk Wylde EMGs, a stock AVRI Fender Jaguar and a '72 Tele Custom. That's a fair gamete of guitars right there. I chose a high quality noiseless cable straight to the amp for some tests, and two noiseless cables with a clean boost (MXR Micro Amp) for others. The amp was running through a 12 ohm THD HotPlate (great piece of kit) into a 1960A cab, standard Marshall stuff.

Basically, I tested the amp as if I'd be using it for all my tones. I figured, what the hell, with 12 available tones there's gotta be a handful of good ones, right? Sadly, I didn't find this to be the truth.

It started well enough though. We had the usual weak clean channel when set on GREEN mode. Even with the amp cooking on about 7, THD Hotplate on -12dB, the clean didn't move me. It lacked bottom end unless the bass was dimed and the Bass Boost on the THD was on. It wasn't dynamic, it didn't sparkle much except with the Jaguar with 'strangle switch' on plus the Micro Amp where it got a little piercing. And it did break up, but it sounded like someone had stuck some opamps in there to make it do that. Not a good sign.

Moving on to the ORANGE and RED settings of the clean channel, both channel and master at about 6, things improved. We were in Plexi territory with ORANGE and in JMP/JCM800 territory with RED. As these are famous, distinct tones I was pretty happy with them. Although, unlike the amps it so shamelessly wants to be, the tone sounded more compressed, less responsive to picking dynamics and lacking that special something. Playing around with the channel volume, master volume, Micro Amp boost levels and such didn't help that much. But it was here I did find two tones I could use.

The second channel picks up where Clean left off. More aggressive, more of that high midrange that Marshall is known for. Perhaps a tad too much actually; the EMG-loaded Les Paul helped bring it under control. GREEN setting was fine. ORANGE was a good solo tone, although it seemed by the time I racheted up to RED, the tone was all about oppresive midrange and the bass felt even more loose. Messing with the Bass on the channel and the bass boost on the THD helped a little, but not too much.

The third channel started to worry me. I don't know what it is, but Marshall cannot get high gain tones right. They have lots of gain, too much midrange, the bass starts to disappear and the whole thing feeds back and enchances instrument handling noises like no-one's business. GREEN reminded me of a DSL or TSL with the gain just past noon on the dial. ORANGE and RED were messy. If I tried to compensate for noise and excessive middy gain tones by turning down gain and/or channel volume, the tone just felt weak and weedy. No balls. The THD was still on -12dB with the Master still on 7. If an amp can't sound good under these conditions, you have a problem.

The fourth channel felt like an afterthought. Everything that was bad about the third channel was intensified here. I like Laney amps one hell of a lot, and Mesas aren't too bad either because when you have a lot of gain those amps still retain a tight bottom end, great for palm-mutes and sustained solos. They also don't compress too much. The Marshall does, and on singlecoil guitars is completely useless. Even the potted pickups of the AVRI Jag produced so much hum, I couldn't tell what I was playing. Having lots of gain is fine if the dynamics and individual sounds of each guitar you use shine through.

Although the JVM sounds okay with the volume down, channel four seeming usable, at gig volumes they fall apart. As if Marshall expected everyone to be buying these huge 100w heads and running them on master set to 2 on the dial, without a powerbrake.

Modern Marshalls are terribly made. If your modern valve Marshall (post JCM900) is out of warranty, do yourself a favour and open it up. You'll find lots of thin circuit boards, brittle cheap componants, cracked solder joints or ones just about to crack thanks to cold soldering processes and - biggest crime of any valve amp - valve bases mounted directly to the circuit boards which are brittle to start with, just aching to warp under heavy use. I'm not expecting hand-wired P2P construction on a multi-channel beast like this, but I know I'd rather have a bigger box for the amp and thicker ply circuit boards. I used to see this generations of amps come in for repair all the time, whereas my old JMP heads could go years without ending up on the bench.

Crap. I've had more luck finding out about my Marshalls, old and new, over at Plexi Palace. I think I've sent them five emails - some praise, criticism and requests for advice - and never heard a word back. My motto is 'the first line of customer support is building a great sturdy product' and they don't do that, nor do they reply to anything else.

On the plus side though, ordering replacement parts over the phone for the many damaged Marshalls I saw was a breeze. I had a very interesting talk with one of the techs down there who even went as far as calling some of the latest cost-cutting measures 'questionable' and said he'd never upgrade from his '69 plexi, '71 master volume and '87 Silver Jubilee heads. Wise choice!

I've been playing since I was six, starting with classical-style acoustics. I'm 23 years old at the time of writing, you do the math. I've done about one hundred gigs up and down the country, in various styles of bands. I'm no veteran old-hand, but I'm at least semi-pro and know the ins and outs of getting great tones, even on a tight budget. My current rig includes the guitar I've mentioned, a Boss GT-8 and a Laney LC50. By keeping it simple and not using too many effects I can get a tone that even boutique snobs can appreciate.

I didn't buy this. I wouldn't buy this. I wouldn't use it even if it were offered to me. I'm basically saying Marshall would have to pay me to use this. And even then I'd make sure I had my actual mic'd amps hidden behind. Ever since the 6100 head, I've been getting annoyed with how poor modern Marshalls are. They cram in more features every model, but at the cost of tone. They have complex tone stacks, they have some elements of solid state that you can't switch off. It isn't pretty. I could care less about those 'tone purist' issues if the amp sounded killer. As it is, the only sounds worth a damn on this are pale photocopies of superior tones, the ones that have kept Marshall afloat for this long; Plexi and JCM800.

It's an interesting idea, poorly executed. Being able to save a handful of your favourite tones is nice too, or would be if the tones were worth saving. As it stands, amps are the one thing in a guitar rig that works best when simplified. All the best tones I've heard or used come from one or two channel amps, and even on the two channel ones I tend to stick with the clean side. Get an amp with a killer clean sound that takes well to OD pedals, don't use too much gain, make sure your pickups are up to snuff and you're away.

I compared to this every amp I've used, and apart from the fact it's valve it doesn't do anything for me. You'd be better off running three seperate amp heads with a switcher... the Plexi for your cleans/slight grit, the JMPs for your classic rock overdrive and the 1987X Silver Jubilees for the hard rock tones, maybe with a clean boost to add a little flavour. Although it'd be more expensive, that combination would whip every single tone this over-engineered thing has to offer.

Please note that this review is entirely subjective and by no means am I a Marshall hater. I just think that all their best work is behind them. All attempts at making modern high-gain amps have not delivered the goods. Better luck next time.

Made in 2007.

This amp is very versatile and can pretty much do any style you want. I play rock/shred and a little blues and it nails it.

I won't go into the features you can get that on the Marshall website. Suffice it to say this thing has them all.

I am just a bedroom player and obviously it has more power than I will ever need.

I use a Gibson 1991 Les Paul Goldtop and a 2007 Fender Malmsteen strat.

The sound quality is great. Classic marshall and then some! I have the half stack but I plan on buying another cab to have the full stack.

It can be a little noisy but I have a Rockman Noise Gate so no big deal.

I LOVE THE SOUND ON THIS AMP!! Brutal distortion if you want it and also fantastic clean and anything in between.

I just bought it a few days ago from Guitar Center so I can't comment on the reliability.

no comment.

I have been playing for 30 years and have owned several Boogies and this amp blows them away.

I would definitely buy another one if this one was stolen.

I just smile everytime I play this amp. I always wanted a Marshall and I am just giddy over this one. I tried out several Marshalls at Guitar Center before choosing this one. I recommend you do the same.

It cost me 2800.00 including the half stack.

I won't repeat. Read here or go to Marshall.com

Fantastic. I've been through many amps and this one I kiss when I'm finished. If you can't find the perfect sound/tone you're after with this amp, you must be hearing impaired. You can achieve Fender clean (wow for Marshall) to Boogie onslaught - Everything between (all the Marshall classic sounds). - Yeah, you may need a noise-gate on some high gain stuff... but don't you usually? I literally give the amp a little peck when I'm finished playing it... I love it!

Been fine thus far...so I can't fault it.

Never dealt with them

errr... I kiss my amp when I turn it off. Is there an option for '11'? It sure goes there... Look, I've been playing for 16 years, been in many bands, played hundreds and hundreds of gigs (including big day out) and I rate this amp 10+. The only negative aspect of this amp is when it's off.

Purchased new in 2007 from Victor Litz Music---[Great place to deal with].I had already written an earlier review of this head. A very favorable review that I won't be changing. I had not commented on a feature on this amp [I hadn't used it yet when last review posted].I'll talk about it below..The features on this amp are second to none!!

Simply awesome! Any style covered with this head. From great cleans, to blues, crunch, and the heaviest tone you have ever heard.Now the feature I talked about above.On a lot of amps I own or have owned, I have always been less than satisfied with the cabinet voiced speaker emulation, direct line outs.This Marshall has an XLR direct out that is so good I hardly use a mic anymore when recording guitar parts on my VS2400 digital recorder. The tone using this line-out is that good! It sounds like a real 4X12 vintage cab that it has been modelled to emulate.Just great!!

Very good finish on this one. Very well built.Quiet switching, and it looks great as well.

I refer to this head as a 'one stop-tone factory'...Excellent live at full out volume, or low level practice volume in an apartment or whatever [the volume controls bring levels down smoothly without abandoning the tone]. The direct out XLR is excellent, the best I've heard.This amp is a must in a studio or live. Every Marshall tone imaginable as well as Fender clean/crunch/and Blues tones.With the 12 modes and the very well thought out foot-switch you will definitely program in your favorites [you don't have to use all 12 if you don't want to, but it's great to know you have endless choices!!]Take some time dialing in your tones. Use the Resonance control in the 'master' section as well. Very effective. I bought a Carvin V3 [new head], Carvin XT-112 [single 12 combo 50 watt-'hot-rod' mode] [used-rare], and the JVM all in the same week [a bit of an amp binge]. I am the luckiest guitar player around! All of these amps are fantastic!

The Marshall JVM410H is the first end all, be all, all in one amp. Sticking true to the Marshall tone, and even spicing the High Gain end up even a tad more than I've heard on many other previous amps from Marshall's right out of the box. Honestly, compared to Mesa's, and hell any amp on the market right now that is at all easily accessible, this is the best sounding amp I've played out of many.

The amp has actually now totally replaced my need for any sort of digital distortion pedals, and the reverb is pretty nice as well for being one of the first tube marshall's with digital reverb, it sounds great and each of the 12 voicing channels all have their own amazing tone. The JVM410H's 4 seperate 3 Band EQ's-Gain-Volume-Reverb controls, and also the 12 total channels (3 on each of the main 4 channels), and also a great resonance and presence controls as well.

It has enough power to play any gig, except maybe a house party, unless you have it hooked into a 2x12. Nonetheless, the 100W of all tube power, is more than enough.

Double FX Loop is also very nice, and silent recording is also pretty good quality.

I mainly use 2 guitars. A Gibson Les Paul Studio, with Seymour Duncan JB in the Bridge and 59' Humbucker in the neck. And then my complete custom built by myself, which is strat style body, with a thru-body SG neck with 2 Burstbucker Pro's and a Seymour Duncan Hot Rail single coil in the middle.

Now I must say, this amp sounds one way, and then the way that I've made it sound that has pleased my very very picky ears, especially distorted. I must say this amp's quality is about an 8 on a good day with no preamp.

Now with a Line6 PodXT Pro running through the FX loop, this is by far the most insanely versatile amp I've ever heard, and using only a Boss Noise Supressor in front of the guitar to cut out the high gain feedback.

Now that is also the other thing, with the JVM410H you need to definitely check out getting a NS-2 or some type of noise supression because the Gain is insane especially with Hot Output picks up's used in both my guitars.

But honestly, YOU HAVE 12 POSSIBLE CHANNELS, and trust me you'll have you're number one favorite in each of the 4 channel. And with the 6 way footswitch with dual master volume control, bumping the volume up for leads and chorus's is so amazingly easy now.

It's Marshall. I've had it since about a month and a half after they first came on the scene. And never HAD to replace tubes. No tubes have burnt yet and I usually play for 2 hours at least. And this amp is not one to be neglected. Marshall's reliability is long known.

I Dunno?

I'm very much into the recording and overall ability to reproduce sounds as beautifully or as the most disgusting, singing, clean, high gain sounds. And this amp, it covers everything it needs to cover.

Not to say you won't ever need another amp. But this is worth the price, but takes a little time with tweaking, and having a preamp at the very least for it is a must to, to achieve the ultimate Marshall tone we all think of and love.

Imagine that, no amp's perfect. But this is close.

Do you know what year the amp was made in?

* I would assume it was manufactured in 2007 because that year is part of what is on the serial number stamp on back the amp!!


Is the amp versatile enough for you and the styles of music you play? What are those styles?

* I honestly don't think it gets any more vesatile than this in an amp head. And yes it can cover all styles of music no matter what you throw at it. I play in both a pop/rock cover band as well as an original pop/rock cover band. In the cover band we cover everything from Ozzy, to Lifehouse, Bon Jovi, Theory Of A Deadman and even Christina Aguilera. It works well for all styles!!

How many channels? Does it have channel switching? Effects loops? Headphone jack?

* 4 Channels and each channel has 3 accessable modes which can be accessed on both the amp and floor controller giving you a total of 12 useable channels all with diffeerent gain structures. There are 2 effects loops, one series, one parallel, a direct recording out, loop level for both pedals and rack units which is adjustable, several different cabinet plug in options and full midi implementation.

What features do you wish it had? Why? Are there features you never use?

* Maybe I'm being picky here but I kind of wish that the footswitch had memory capability to remember different settings in all the different modes (ie: 12 different EQ settings to go with the 12 modes). Features I don't use???? Well right now I plug my pedalboard directly into the front of the amp so I don't use the loop HOWEVER, as you read down, that may have to change as I will explain so read on....


Where do you use this amp? Does it have enough power for you?

* Every gig, every recording session. It's the swiss army knife of amps!! It has MORE THAN ENOUGH POWER!!

Feel free to enter any other features (stereo, tube or solid state, etc.).

* I like the 4 discreet reverbs that are assignable to any channel and user defineable as far as the level goes. Plus you can punch it in and out on each channel and with the different levels it's really useable for anything. Plus I like the digital reverb in there better than any of their spring verbs. This amp has a resonance knob for the low end!! Nice!! And I like the two master volumes so I can use one as a boost!!!

What guitar and pickup styles are you using it with?

* Les Pauls, Esp Eclipse II Standard with EMG ZW pickups, Music Man Axis Custom Made


How does it suit your music style (and what is that style)?

* It suits me perfect otherwise I wouldn't own it!! ;~)


Is it noisy? On what settings, and in what environments?

* YES!! On the high gain channels when using my pedalboard too!!




What kind of sounds can the amp make? How much variety?

* It can do anything


Is the clean channel distorted at high volumes? In what settings?

No not in the green mode!!


How brutal is the distortion?

* Seriously, about as brutal as it gets!!

Can you depend on it? Would you use it on a gig without a backup?

* Too early to tell. It's only a week old!!

Has the amp ever broken down? Because of neglect of regular servicing (as in tubes), or just plain neglect?

* Not yet!! It's still new!! I take care of my stuff anyway!!

If you've dealt with the company, how helpful/friendly were they?

* I have talked to tech support several times (Mike) and he is always prompt to answer the phone and helps me with everything providing great answers to all of my questions!!


Ever try and get it repaired? Was the repair done under warranty?

* Not yet! I have owned plenty of Marshalls with no issues whatsoever! This should be no different!!!

Were you able to findan authorized service center easily?

* I know where they are!! Will I need them in the future?? Perhaps?? Only time will tell!!


How long is the warranty?

* 5 Years!! 90 days on the tubes!!

How long have you been playing? What other gear do you own?

* Been playing 32 years, 28 faithfully!! I used to own a ton of amps, racks etc.... It's all gone now ampwise and I only have this head and a very old Marshall Lead 20 combo as a backup!! I have my guitars as mentioned above and a pedalboard with all Dunlop MXR Pedals except for a few fine gems on there being the exception to the rule. My pedalboard is: (Wylde Wah, Rotovibe, MXR EVH Phase 90, MXR Wylde Overdrive, Boss CE-5 Chorus Ensemble, Maxon Vintage Series AD999 Analog Delay, Peterson Strobostomp 2 Tuner, Dunlop DC Brick, and an MXR M135 Smart Gate on its way this week!!

I run this amp and pedalboard combination into a single Genz Benz G Flex 2/12 Ported Cabinet with the flexed baffle and for speakers I pulled the stock Eminence Drivers and put in a pair of Electro Voice EVM12L Black Label Speakers!!


If it were stolen or lost, would you buy it again or get something else?

* Without question I would buy this!!



* Truthfully no, because this amp is so feature laden and contains the tone of every Marshall known to man I can't see owning anything else!!

What do you love about it? What do you hate?

* I love the versatility. That's why I made the purchase!! And the tone???? You'll never find better IMHO but that can be debated person to person!! What do I hate??? The noise floor on the higher gain channels (OD1 and OD2)

Did you compare it to other products? Which ones? Why did you choose this one?

* Mentally to my previously owned gear I just got rid of yes!!! And as well, I tried the H&K Triamp Mk II. I chose this because it had everything I could ever need. With all of its features it seemed timeless and I wouldn't be replacing it soon. Plus I just love the Marshall tone!

Anything you wish it had?

* Yeah, actually I wish it would accept not only EL34 tubes, but like the Peavey JSX I just sold be able to accept more than one type of tube. Ithis amp I would have honestly preferred 6550's for their beefiness and as such would have loved to see them add a user friendly bias section like the JSX.

Anything else you'd like to share?

* As a logtime gigging guitarist on both the studio and live spectrum I tried to make this as unbiased and to the point as possible. I know alot of people who force feed reviews here do so because they own the product reviewed and love it, as is the case here. But bear in mind that over the years I have owned anything and everything and was compelled to finally add as honest a review as possible regarding this fine product. A true testament to how good this amp really is lies in the fact that I just sold every amp I owned (11 total) and just have this and my small Marshall Lead 20 combo as a backup now!! It's all in here trust me! Once you tweak it and crank it up there is no equal for your dollar!!

If are you reading this review, i supose you know what are we talking about: 100 Watts,four channels,plus three modes per channel, two master volumes, plus digital reverb, two effects loops,all switchable by a single footswitch touch or by midi. If you need more features than these,then you need a high quality rackable preamp and power amp system, like a triaxis or so,but believe me, if you like the Marshall sound, this is the ultimate and the last amplifier you'll buy in your life, cause you can make it sound anyway you want.

I use mainly a LTD Eclipse guitar(Les paul style) with EMG's in bridge and neck, and play in a cover band a lot of different songs in many different styles,from Pop to Metal(REM, Mana, Beatles,Lenny Kravitz,Rolling Stones, Whitesnake, The Police, Deep Purple, Bon Jovi, Metallica,iron maiden,Pink Floyd, Maroon 5,etc,etc).As you can see, i need a lot of different sounds from pristine clean to metallica gain, and all in between. This amp cover all the sounds i need. For cleans, i use mainly Clean channel green mode.I don't know how clean a Fender amp is, but this amp is for sure very clean in this mode.It sounds great with a little bit of reverb and chorus. For blues sounds, i use Crunch channel in orange or red mode, it depends on the song. Very beautiful crunchy sound.OD1 orange mode is the mode i use for clasic heavy metal sounds like Iron Maiden,Whitesnake, even Van Halen brown sound. You have to be careful with the level of gain in this channel(OD2 too). If you want to use high levels of gain(for modern metal sounds), noise gate is a must, particularly if you play very close to the amp. OD1 Red mode is my favorite sound for leads.i use the OD2 red mode for metallica sounds. It has more gain than you'll need in your life. I set just at 12 o'clock, and is perfect for agressive modern metal sounds. As in OD1 channel noise gate is a must.This is the only complain i have with this amp, is noisy at high gain settings, so i give it only 9, but...well, nothing is absolutely perfect.Reverb is ok for me, but i don't use it very much, cause i use a TC electronics G-System for fx.For me the JVM-G-system is the ultimate gear for a player who dont' want to carry or who can't afford a Bradshaw big and ultra expensive system.Pro sound reasonbly priced

I own it only a month ago, but in the past i owned other Marshall amps (JCM900, 30th Anniversary), and had only the typical problems with old microphonic tubes. So is as reliable as a tube amp can be

Never deal with them

I've been playing electric guitar for more than 20 years, and now i play in a semi-pro cover band.At this moments, my other amps are a Jcm 900 1x12 little combo that for me sounds fine(not very low end), and a Laney TT100 2x12 three channels combo, also a great amp. I sold my 30th anniversary Marshall to buy this new JVM, and belive me, 30th ann. was great, but JVM is better in variety of sounds and flexibility. If were stolen or lost, i have no doubt I'll buy another one. I love all the sounds, and hate a little the noise. I didn't compare it to other amps before the purchasing, cause a mesa boogie road king II it doubles the price in Spain, and is far away from my budget, but Marshall do great stuff to. It has all the features than a pro guitar player could need.For me is the ultimate amp.

4 Channels w/ three modes each, plus two master volumes for volume increase for solos. Reverb and the best switchable effects loop ever..bar none.

Channel 1: tone circuit before the gain like a Fender amp, each mode (green, orange, red) increases gain but the volume stays the same.

You can switch through any mode within any channel (12 switchable sounds) You can switch the reverb and master volume in and out and can program the pedal to switch the effects loop.

When you set the effects loop on, it stays on for each channel. You can set the crunch channel without the effects loop. But hav ethe others with it on.

I have been playing in clubs since I was 15. I bought an amp a month and if it sounded bad it was in the paper for sale.

I had every Boogie and have kept my Tremoverb and MKIV. The only other non Marshall tube amps I have kept are a first year (block letter) 5150 half stack and a JSX head.

About 15 more amps were never good enough to keep. (e.g Fender Prosonic---PLease don't make high gain amps Fender)Stick to the clean and blues stuff.

I have been collecting Marshalls for 30 years now and here is the deal.

1. Plexi is a benchmark.
2. JCM 800 2203 and 2204 are just master volume versions of the Plexi circuit. I know the transformers are different and the like so Plexi snobs don't get mad.

These amps are the supreme Marshalls but need a distortion pedal to help with solos.

For this reason, I do not own them. I like super high gain amps.

The Jubilee was yet another great amp. I had one but still needed more gain.

Then I got the JCM800 2210: THE BEST high gain JCM 800 and I LOVE THIS AMP. Brutal 80s hair band sound..TIMELESS. I still use it to compare new amps. This is my standard and not too many amps can hold a candle to the 2210.

Then came the JCM 900s....What happened....I lost faith after having one.

Then came the 6100 and 6101 30th anniversary. In blue tolex (EL-34s) these were the best newer Marshalls. I have a combo and half stack.
I LOVE THESE AMPS!!!
The punchiest Marshall since the JCM 800s. Tone was godly. In the lead channel, if you turn the mid to zero and push in the mid scoop, it sounds like a tube version of a Rockman.


Then came the JCM2000s... Had both a DSL 50 and DSL 100. The 50 sounded better but no punch from these amps. Sounded like worn out power tubes.

The tone however was great and only the guitar player can feel the lack of punch. They still kick! and on stage with a band, no one would tell it had little punch.

I then got a TSL 100 and it had a bit more punch but was more midrangy. Still a great amp though and you could scoop the mids anyway with the switch.

I was very happy with my TSL until now! JVM 410H

Let me just say that this Marshall has the best clean and lead tones I have ever heard. I wont say that about the crunch channel though. Any JCM800 or Plexi will cruch up better. I think the 6100 also crunches up better.

Back to the two lead channels

I am still blown away by the liquid sustain while retaining punch and definition. My solos are the best ever. It even sounds great next to my 6100 and 2210 Marshalls. It also has a much better solo tone than any Boogie I have ever had and the 5150 and JSX.

If you say this amp sucks..you must be dead from the neck uo!