Tube Amps / Music Electronics
For current discussions, please visit Music Electronics Forum. New: view Recent Searches.
New: visit Schematic Hell!
The sunn still shines online!

Listen to great tunes streaming live right now!

ampage archive

Vintage threads from the first ten years

Search for:  Mode:  

Re: marshall mod?

5/28/1999 9:13 AM
Re: marshall mod?
I don't think you'll gain much by moving this tap but you are of course welcome to try! :-)  
As Liam said, I'd look at the bypass caps and for adding more bass but I honestly think your problem is the fact that the amp is a JCM900 to begin with.  
These are different beasts from all the Marshalls prior (except maybe the Jubliles and the 2205's) These amps use diode clipping and Leds to get all that MONDO gain that sounds fuzzy and buzzy.  
I've had more and more people ask me to try and make their 900's sound like the 800's I've modded for friends of theirs. I've seen a site somewhere on the web where a fella came up with a mod for the 900's but it's a serious project that basically turns the 900's into an 800.  
The biggest problem is this sort of mod would be pretty pricey because it takes quite a while to do. If you type in "Marshall mods JCM900" for your search critiria i think that'll pull it up for you. I almost think he offered a book that takes you step by step through the mod.  
I guess maybe it's time to grab a 900 and mod it so it does sound good! (ha, ha)  
Chow for now;  
5/28/1999 11:20 AM

JCM 900 mod - the gifs with the schematics are broken links!  
Miscellaneous complaints about the jcm900  
"Plexing" a metalface Marhsall  
Now something controversial. Gil Ayan posted a copy of an article in the boogie-talk list where Richie Blackmore says he hated Marshalls, he wanted his amps to sound like a VOX - he only liked the look of the Matshall stacks. Marshall tried all kind of mods to please him and in the end they gave up and installed a VOX amp inside a Marshall head :)  
Has anyone read this? Gil can you post the article here?
Book Of The Day The Ultimate Tone, Volume III by Kevin O'Connor
Have you ever wondered if there is a better way to build a Bassman, Champ, Plexi, an 800, AC-30, Bulldog or Portaflex? Or you wanted to build an SVT with off-the-shelf parts? How about a master-volume amp that doesn’t change tone with the master setting? Everything you need to know is right here, including: proper grounding techniques, wiring methods, and mechanical considerations. Eighteen chapters cover the “iconic” amps everyone knows and loves, with schematics and layouts for each, along with the technical history of the product. Eyelet-board and chassis-mounted tube socket construction is used throughout, for easy servicing and modding. TUT3 is very accessible even if you cannot fully read a schematic and is a "must have" if you are going to build an amp for your self.

Note: The Ampage Archive is an Amazon Associate site. A small commission is paid to the site owner on any qualified purchase made after clicking an associate link such as the one above.
5/28/1999 11:54 AM

The whole "plexing" bit can be done (and more or less agrees) by matching the 1987/1959 pre-amp circuit from whatever amp you're starting with.  
The output tranny stuff is all 100W specific Those imps are 1/2 of what you see in the various 50W units. The 50W Parks used 5K OT's and are supposed to sound the best, so I hear. (not in person though..) The JTM45's wer 6.6K and then by the time you had late plexis with EL34's you're looking at the 3.4K area. (1/2 those for 100W). The older amps just look more like Bassman basically.. Definitely play with the filtering..
5/30/1999 4:50 PM

I'm would disagree with the fact that he was after the Vox tone. I know two guys who used to work for Blackmore on teh road and a keyboardist who toured with him.  
He was a really BIG LOVER of those Marshall Majors. He didn't like alot of distortion and those Majors were LOUD! They used KT88's.  
He still buys the Marshall majors. He likes the cleaner distortion on these. He always had these modded with a Master Volume.  
For what it's worth;  
PS: his tone never really sounded like a Vox to me but that's just my ears :-)
5/31/1999 6:32 AM

I always thought of Blackmore's tone as the BEST Marshall tone ever recorded (followed by Angus Young and EVH), so this interview sounded strange to me too. Maybe it's fake, or maybe you can't trust what Blackmore says on interviews just like you can't trust EVH or Jeff Beck.  
Here are some quotes (thanks for posting the link that Dai):  
"I remember going up there a couple of times, and I used to blast out, because they'd say to me, "Come up and try the amps", but obviously if you're going to try an amplifier out, you want to try it out as loud as you're going to play on stage, so I'd be blasting out, and all the women would down tools and start complaining, saying they're not going to assemble the amplifiers with me there! And then Jim Marshall would arrive, saying, "I knew you were here, I could hear you down in the offfice" - across the road!  
But they had a hell of a time trying to duplicate - I wanted a sound like a Vox, my AC30, which was perfect. But it wasn't politically correct, it wasn't a Marshall, so they tried everything. And you know what they did in the end, after six weeks of trying to copy it? They put the Vox in a Marshall cabinet... And I used to use that on stage, in the combo amp - it looked like a Marshall, but it was a Vox."
"It took me ages just to warm up to a Marshall. But it just - it looked really good, didn't it? But it was really hard to play, the sound was just totally uninspiring. You had to really get a good preamp to boost the signal to get a bit of an overdrive sustain - I found that there was just nothing there.  
I changed the whole Marshall circuit - I went there, and the guy was adding resistors, all sorts of things in front of me, and he said, "Don't you dare tell anybody else how this is done, we're not going to do this for anybody else". And they put an extra output stage on to just give it more sustain. I did have the loudest amp in the world, it was like 280 pure watts. That was the secret - "Don't you tell anybody how we did this for you, because we'll just say that we never did it, if they come here and they want the same!"  
It took me ages to get used to them, but they looked so good, you had to get used to it. I like the smaller amps, with one or maybe two speakers. As soon as it gets to four, or eight speakers, it gets overwhelming, it's just too fucking loud. I'm glad it's gone back to the smaller amps, and not just big showy things, cause there was a time when you just couldn't be serious if you went on stage without about three stacks behind you. That was the wall of sound that had to be there."
"Well, being brought up on a Vox amplifier, I suppose, and trying to emulate that sound - but trying to get it louder. As you know, the Vox, you could get sustain, but you also got a true note, and the two don't normally go together. You usually get that grungy sound, or that fuzzy sound, when what you really want is sustain. And I always used to want a clean sound, but with sustain. Jeff Beck used to get it, too. And so I knew it was possible. I think it's just an ear sound, you're just not content until you track that sound down. The Marshall took me forever trying to get the sound, but it helped when I used this tape recorder that was just lying around the house as a preamp, and overloaded that signal on the input stage, and it seemed to work."
6/1/1999 2:13 AM
Mark Cameron

I heard that Blackmore used Vox AC30 for almost every studio recording only live did he use a Marshall Major.
6/7/1999 7:48 AM

Here's something Gil posted at the boogie-talk list. I've found it interesting and so I'm replicating it here:  
Date: Wed, 2 Jun 1999 13:52:11 -0700  
From: "Gil Ayan"  
Subject: More on Blackmore  
If at any point in time you guys get fed up with my "retro" trends, let me  
know and I will pull the plug. However, after buying my now beloved Deep  
Purple boxed set (it's been a month and I'm wearing the CDs out), I can't  
help myself... I used to love Ritchie Blackmore as a kid, and then the  
jazzier players messed with my head. Now, in denial of imminent middle  
age, and because my jazzier heroes have decided to "retire" (it has been  
one fiasco after another), I guess I am bowing to my old rock heores  
again. Without any further adieu, this is a message from my buddy Carl  
Fiadino, which I hope you will find of interest.  
* * *  
Gil, Blackmore's sound, pre "Burn" ('74) was his 200 watt Marshalls with a  
Hornsby Skews (sp) treble booster, an English brand. This is what you hear  
on Made in Japan and the earlier albums. Machine head was aVox AC-30 with  
that booster or something like it.  
Then, from 74 on, he started using his Revox tape recorder for echo and  
overdrive (overloading the input....and still uses it to this day.  
To get his sound.  
Well, Malmsteen gets close with a DOD 250 driving a DiMarzio Very Metal  
pedal. Don't laugh, my buddy photographed his rig a few years ago.  
On my tape I played a few Purple tunes with the Guytron, and that was  
close, but believe it or not, if I was shooting for a close proximation of  
Blackmore...I would use a 4-input Marshall and a Boss DS-1.  
Think of the sound Satch gets with his Marshall/DS-1 and substitute a  
Strat. The DS-1 has good clear sustain and also the ability to turn the  
guitar down at full distortion and it cleans up very well. The thing about  
the DS-1 is you must tweak the amp to get the best from the pedal....and  
leave the pedal on all the time. Things like Fulldrive II and overdrives  
aren't going to get the sound...neither are buzzy high gain amps.  
I'm glad I sold the Guytron. I used it 5 months and tuned a $300 profit on  
it due to the Guytron buzz. I used the $$$ to "undo" a mistake I made and  
ordered another Bogner.  
<<First Page<Prev Page 2 of 4 Next> Last Page>>