TEST: Martin DX1AE

 A name like thunder, at least in the field of acoustic guitars. What the protagonists Fender and Gibson are to the common electric guitarist, the instruments from the house of Martin have always been to the steel string acoustician. Whoever wanted to pluck along in the tonal national league of the strumming or picking department could not avoid dealing with this manufacturer at some point. If any manufacturer has succeeded in establishing the dreadnought myth, it's Martin.

But like all the other American manufacturers who have built their reputation on mostly "pricey" products over the past decades, Martin finally realized that even a dentist can't stock up on D-28s indefinitely, and the ambitious youngsters discreetly abandon their budget sails at price regions of just under €2,000. What to do, said Zeus, and went in search of low-cost production facilities and concessions in the choice of wood, so that the American trademark is not diluted by Asian manufacturing in the value, but a lower price does not move into the unattainable distance.

The solution to the riddle continues to lie in American production, just a few miles further south, in Mexico. Here, the parent company can ship its components very clearly in terms of distance, the supervisors do not have to cross the Pacific first, and the extremely important "Made In America" remains intact. Labor costs alone, however, can't drive manufacturing costs down arbitrarily; the mother ship must also come up with something in the selection of components. Here Martin surprises with an unexpected move....



Design

At first glance, the DX1AE looks very familiar, nothing that would elicit a frown from the expert. A solid Sitka spruce top, just like in the tradition of the fathers. But then, in contrast to the commonly used rosewood orgies in the sides and back, the Mexican is equipped with HPL construction elements, which in turn are covered with an imitation wood. HPL is a composite material in panel form, which is composed of several layers of paper and resin. Composite material? Imitation? I can already see the first protruding veins of anger blushing at the classic country picker. What's next? Harleys with 500 cc displacement?

To round out the design in terms of "unusual component selection", Martin also deviates from the safe path in terms of neck construction and gives the DX1AE a neck made of Stratabond, a wood laminate that is used in hunting bows and rifle stocks, among other things. Better to build instruments with it, then. Finally, the fair plastic collection is joined by a fingerboard and bridge made of black Richlite, a rather dense material made of recycled paper and phenol. One is inclined to say the guitar is made entirely of plastic except for the top. Even Ovation didn't dare to do that!

Be that as it may, the tropical rainforest will be pleased, because wood from sustainable cultivation still cuts the best figure in unbeaten condition as the green lungs of the earth. However, I can understand the skepticism that occurs everywhere, especially since Martin is THE traditional company in acoustic guitar manufacturing. In terms of pickups, the instrument has the Fishman Sonitone, which is located rather in the spartan corner in terms of control. However, it is nice that it is housed almost completely invisible in the sound hole and the sides do not have to be drilled out as usual. Otherwise, everything as usual, 20 frets, a 644 millimeter scale, all optical trademarks, a real Martin just.



Practice

- When you pick up the guitar for the first time, you immediately get that familiar "Martin feeling". Despite the unfamiliar construction materials, nothing feels strange or even unpleasant. And then, the first critical chord.... Well, to be quite honest, I had imagined it differently. The guitar sounds really good! It would have been a lie to say that one would not approach new materials with a certain skepticism, but it is always nice to be proven wrong.

Logically, the vibration behavior of the instrument is different. The acoustic sound is tighter, richer in treble and harder, but this will ensure better assertiveness in live operation. Only the pickup suffers a bit from the plastic buildup, it sounds relatively harsh, but knows how to convince in the overall context. Purely acoustically, however, the sound turns out much better than I would have expected, which is why the sound samples were also made with a Fame large-area microphone in various positions. Once you get used to the treble-rich sound and find the right pick, you may not believe that you are almost exclusively surrounded by imitation, recycled paper and plastic.

Vibration-wise, the spruce top serves its purpose and transmits a balanced sound. This shows that despite all the alternative materials, a wooden top cannot (yet) be replaced with composite materials, although I'm almost certain that Martin will have worked on this as well. In terms of workmanship, there are no deficiencies to be seen and in terms of handling, as I said, a real Martin. Already the factory setting is very neat, subsequent adjustment of string action or bridge insert was fortunately omitted.

Since the X-series is dedicated to the beginner and the sales price should be kept as low as possible, the manufacturer has dispensed with superfluous decorations. No binding, no fretboard inlays and only a spartan rosette as decoration around the soundhole, paired with a standard scratchboard.



Conclusion

Well who would have expected that. Let's be honest, plastics wherever you look and such nasty words like imitation and laminate, doesn't that make every guitarist dread and doesn't it build up horror visions of children's hands and mass-produced instruments of Chinese construction? Martin shows that there is another way with his entry-level product DX1AE.

Despite a more than unusual combination of various materials, US-Finest succeeds in bringing a well-balanced, sometimes very good sound with a comparatively low price to the customers. Once again, a traditional company shows that with the appropriate research and development, it is actually possible to generate a low price without sacrificing quality or completely relocating its production facility to Asia and only flirting with the once acquired name of yesterday.


Additional Informations:

Martin Guitars: A Legacy of Excellence and Craftsmanship
Introduction: Martin Guitars, formally known as C.F. Martin & Company, is a prestigious American guitar manufacturer that has been crafting exceptional instruments for over 185 years. Founded in 1833 by Christian Frederick Martin, the company has built a stellar reputation for producing guitars of unmatched quality, innovation, and timeless beauty. This comprehensive report explores the rich history, notable achievements, and enduring legacy of Martin Guitars.

Founding and Early Years: Christian Frederick Martin, a German immigrant, established Martin Guitars in New York City before relocating to Nazareth, Pennsylvania in 1839. Martin's commitment to superior craftsmanship and innovation laid the foundation for the company's success. The early years were marked by the introduction of groundbreaking design features, including X-bracing and the "fan" internal bracing system, which significantly improved the tonal qualities and structural integrity of the guitars.
The Dreadnought Revolution: In the early 20th century, Martin Guitars introduced the Dreadnought, a larger-bodied acoustic guitar that would go on to revolutionize the instrument industry. The Dreadnought's powerful, balanced sound and increased volume made it a favorite among musicians, particularly in the realm of country, folk, and bluegrass music. This iconic design has become synonymous with Martin Guitars and remains highly sought after by guitarists worldwide.

Legendary Models and Innovations: Martin Guitars has an extensive lineup of models that cater to diverse musical styles and preferences. From the iconic D-28 and D-45 to the versatile OM and 000 series, each model is meticulously crafted with attention to detail and precision. Martin has also been at the forefront of guitar innovation, introducing features such as cutaways, acoustic-electric models, and alternative tonewoods, while staying true to the company's commitment to exceptional sound and craftsmanship.
Commitment to Sustainability and Responsible Sourcing: In recent years, Martin Guitars has taken significant steps towards sustainability and responsible sourcing of materials. The company has implemented initiatives to promote responsible forestry practices and has introduced alternative materials, such as responsibly harvested tonewoods and high-pressure laminate (HPL) options, without compromising the superior sound and playability for which Martin is known.

Endorsements and Influence: Martin Guitars has earned the respect and admiration of countless musicians across genres. Renowned artists like Eric Clapton, Johnny Cash, Bob Dylan, Ed Sheeran, and John Mayer have turned to Martin Guitars for their exceptional tone, playability, and enduring craftsmanship. These endorsements and collaborations have further solidified Martin's reputation as a leading guitar manufacturer and contributed to the instrument's iconic status in popular music.

Custom Shop and Limited Editions: The Martin Custom Shop offers discerning musicians the opportunity to create bespoke instruments tailored to their specific requirements. From customized tonewoods and inlays to personalized bracing and finishes, the Custom Shop embodies Martin's commitment to individuality and craftsmanship. Additionally, Martin Guitars releases limited-edition models each year, featuring unique designs, rare tonewoods, and special collaborations, further captivating guitar enthusiasts and collectors alike.

Legacy and Cultural Impact: Martin Guitars' legacy extends far beyond the realm of instrument manufacturing. The company's guitars have been integral to the creation of countless iconic songs, spanning generations and genres. Martin's instruments have become symbols of artistry, craftsmanship, and musical expression, embodying the rich heritage of American acoustic guitar-making.

Conclusion: Martin Guitars' unwavering dedication to crafting exceptional instruments has solidified its position as one of the most respected and revered guitar manufacturers in the world. With a legacy spanning nearly two centuries, Martin continues to inspire musicians, set industry standards, and redefine the possibilities of acoustic guitar craftsmanship. Whether in the hands of professionals or aspiring musicians, Martin Guitars represents the epitome of excellence, innovation, and the pursuit of sonic perfection.

- Dreadnought Acoustic Guitars: The Powerhouse of Acoustic Music
Introduction: Dreadnought acoustic guitars hold a prominent place in the world of music, renowned for their powerful sound, versatility, and iconic design. The term "dreadnought" originally referred to a class of large battleships, and it perfectly captures the commanding presence and robustness of these guitars. This comprehensive report delves into the history, characteristics, influential models, and enduring impact of dreadnought acoustic guitars.

Origins and Evolution: The dreadnought guitar design was first introduced by the C.F. Martin & Company in the early 20th century. Martin's innovative dreadnought model, with its large body and square shoulders, revolutionized the acoustic guitar industry. The design was inspired by the desire to create a guitar that could produce a powerful, balanced sound capable of cutting through ensemble playing or providing a robust solo performance.

Iconic Features and Construction: Dreadnought guitars are characterized by their large, square-shouldered bodies, deep bodies, and wide bouts. These dimensions contribute to their deep, resonant tone and enhanced volume. The guitar's top is typically made of solid spruce, while the back and sides are often crafted from mahogany, rosewood, or other tonewoods. Dreadnoughts usually feature a 14-fret neck joint, providing easy access to higher frets.

Versatility and Musical Styles: One of the key strengths of dreadnought guitars is their versatility across different musical genres. Originally associated with country, folk, and bluegrass music, dreadnoughts have found their way into various styles, including rock, pop, blues, and even jazz. The powerful projection, strong bass response, and balanced tonal characteristics of dreadnoughts make them well-suited for both strumming and fingerpicking styles.

Influential Dreadnought Models: The Martin D-28, introduced in the 1930s, is widely regarded as the quintessential dreadnought guitar. With its spruce top, rosewood back and sides, and timeless design, the D-28 has been favored by countless musicians, including folk icon Woody Guthrie and country legend Hank Williams. Other iconic dreadnought models include the Gibson J-45, Guild D-40, and Taylor 810, each contributing their unique tonal qualities and playing experience.

Impact on Music and Artists: Dreadnought guitars have had a profound impact on the world of music. Their robust sound and projection have made them the instrument of choice for many legendary artists. From Johnny Cash's strumming on "Folsom Prison Blues" to Kurt Cobain's powerful chords on "About a Girl," dreadnoughts have shaped the sound of countless songs across genres. Their ability to deliver rich, resonant tones has made them a staple on stages and in recording studios worldwide.

Modern Variations and Innovations: While traditional dreadnoughts continue to be revered, guitar manufacturers have introduced variations and innovations to cater to evolving player preferences. This includes options such as cutaways for improved access to higher frets, built-in pickups for amplification, alternative tonewoods for environmental sustainability, and ergonomic design modifications to enhance playability.

Enduring Legacy: The legacy of dreadnought acoustic guitars is a testament to their enduring popularity and influence. Their distinct sound, versatility, and recognizable design have solidified their status as iconic instruments. Whether played by beginners, professionals, or collectors, dreadnoughts continue to inspire musicians and serve as an emblem of acoustic music's power and expression.

Conclusion: Dreadnought acoustic guitars have left an indelible mark on the music industry. Their powerful projection, balanced tone, and versatile nature have made them a preferred choice for musicians across genres. From their inception as a groundbreaking design by C.F. Martin & Company to their continued relevance in modern music, dreadnought guitars embody the essence of acoustic music's strength, versatility, and timeless appeal.

TEST: Marshall Studio Classic SC20H

 When the (still) biggest name in the instrument industry sets out to reissue a lost classic in a modified form, joyful anticipation is paired with skeptical concern about a deterioration. With the Marshall Studio Classic SC20H, the long-established British company picks up on several current trends in order to steal the thunder from the second-hand market as comprehensively as possible.

The story of the Marshall 2204

As an outsider, you should be careful not to criticize the decision-making processes of a global company too much, since you rarely have the concrete figures or trends that lead to the exclusion of a product. However, one can probably be sure that in the end it always has to do with sales and profit, which probably also led to the death of the Marshall 2204. The 50 watt counterpart to the 100 watt 2203 model was probably not in enough demand in times of multiple channels, MIDI controls and integrated FX devices and disappeared from the Marshall catalog a few years ago without any announcement.

One may understand the decision, since already the 2203 is blessed with probably THE best basic rock sound in electric guitar history, but as a true single-channel only the volume control of the guitar and additional booster / overdrive / distortion pedals available for sonic diversity. Yes, this produces a fantastic sound in the right hands and fingers for 90% of all songs and no, in times of Kemper and colleagues this is no longer enough for many musicians in terms of variability. I myself still own 2 pieces of 2204, which in my productions in combination with a distortion pedal THE official metal sound of the eighties delivers, for my live shows, however, both lunchbox amps and heavy all-tube bolides with several channels are used.

It comes as it always comes, what is no longer officially available and has a strong trademark, increases almost hourly in price at vintage dealers. If you want to make the purchase of a used classic from the willing buyer, you have to give the indirect successor a few current developments on the way. Well then, what does the Marshall Studio Classic SC20H have to offer?

The Marshall Studio Classic SC20H concept

To say it right away, the Marshall Studio Classic SC20H is not a clone of the 2204, it only reminds of the classic. On the one hand the preamp of the 2203 was taken over and 3 ECC83 (12AX7) in the preamp / driver stage together with 2 EL34 in the power amp provide parallels to the predecessor. Also the tone control (Bass, Middle, Treble, Presence), the Gain / Mastervolume and the two different impedance inputs High / Low were taken over. Here end but already the parallels to the 2204, from here begins the own life of the Marshall Studio Classic SC20H.

First, the housing of the Marshall Studio Classic SC20H is significantly smaller and lighter than the classic briquette of the eighties. With dimensions of only 510 mm x 240 mm x 240 mm and a weight of just 9.7 kg, you truly look twice to see if it is indeed an all-tube amp. By the way, the amp is built in GB and reassures the buyer regarding the cheap products manufactured in Vietnam, which sometimes had such a disastrous sound that they caused serious damage to the Marshall brand.

Another special feature is the power switch on the front of the case, which was integrated into the standby switch. The power is switchable between 20 and 5 watts, once again proving that the Marshall Studio Classic SC20H is only conditionally similar to the sound of the 2204, which got 50 watts out of the same tube lineup.

By the way, the Marshall's workmanship is impeccable. Cleanly glued, coarse-grained leatherette without glue seams or the like, 8 nailed plastic corners, 4 rubber feet and a strong carrying handle, all neatly executed and craftsmanship.

The back of the Marshall Studio Classic SC20H

The back of the Marshall Studio Classic SC20H is also spartan. Except for the vintage products, there are almost only different speaker outputs with different impedances at Marshall. These are marked with a red cap nut, so that even the inexperienced does not put his cabinet in the FX loop or the like and then heaven the output transformer at the first strong chord. Speaking of the FX loop, a serial loop and on / off switch plus a frequency-corrected D.I. output are the only sockets found on the rear panel. Straight, clear and without frippery, just as you want a Marshall.

The Marshall Studio Classic SC20H in practice

So, now we come to the area that finally counts, the sound. We take of course first of all the high input, which is much louder and more distortion than the low input, everything times on 12 o'clock and lo and behold, the sound is good, depending on the guitar used even very good. Starting with a Strat with Texas Special pickups and the bridge pickup a wonderfully biting basic sound, which cuts without hurting. The sound is extremely well asserts itself and offers from a standing start a sound that is already 80% of all rock / cover rock bands very well to mind.

This sound is followed by the same with the neck pickup, which can again put a notch on top. Friends of the Red Hot Chilli Peppers sound or similar may already rub their hands, in general, all who prefer funk in a "angrier" playing style. Also SRV disciples should keep an open ear here, because the Texan always had a Marshall in his backline besides his Fender Armada. The sound stands like a one and allows a very dynamic play without lacking pressure. By the way, the slightly trebly sound is due to the pickups. In conjunction with the Shure SM 57 used and the Marshall Cabinet with Celestion Vintage 65 watt speakers, the sound bites very neatly here as well.

Let's turn the clock back another three and a half decades and we find ourselves in the middle of a combination that has shaped the eighties in the field of hard rock and metal like no other. We're talking about the combination of EMG pickups, which at that time were on the rise, with a 2203, for solos then also gladly something like TS9 in between. The EMG pickups, which at that time due to their active circuit always tickled that little bit more gain out of the amp than comparable passive humbuckers, provided every amp with exactly the sound that countless guitarists had hoped for. I recorded this sound with a Fame Ironfinger Forum IV, once with gain at 12 o'clock, once with right stop. By the way, the master is still at 12 o'clock, so that it compresses discreetly but does not drift into the sag yet.

With this sound it is noticeable that with increasing gain a clear reduction of the highs to notice. The sound becomes muddier and less transparent despite the EMG pickups. Also, the amp has more gain reserves than the 2204, which in my opinion is not good for it. The sound is not bad, but can not keep up with the previously mentioned sounds, especially with the single coil department in terms of character and quality.

The last thing to come is the Low Input, which many like to forget. First of all, the channel offers only a fraction of the volume, which is due to the low sensitivity of the preamp. Here you can also turn the master to the stop, nothing distorts. Depending on the gain control, one or the other very discreet crunch mixes into the sonic action, but the input lives up to its orientation. Also here a clear difference to the 2204, which goes to work with the crunches earlier.

Overall, one must attest the Marshall Studio Classic SC20H a good to very good sound behavior, although it can not keep up with the adjusted 2204. The great open and the characteristic "Mittennöck" around 3 kHz, which makes the 2204 as one of the most characteristic rock sounds par excellence, it does not quite want to succeed. On the other hand, it is smaller, lighter and less expensive than its grandfather, which in themselves are truly good arguments.

Conclusion

With the Marshall Studio Classic SC20H, the British manufacturer has filled the gap left by the painful discontinuation of the 2204. Although it can not quite reach the sound culture of its vintage role model, the amplifier leaves a good to very good impression, especially if you like distorted single coil sounds with proper dirt.

Additional Informations:

Marshall Amplification: Revolutionizing the World of Guitar Amplifiers
Introduction: Marshall Amplification, commonly known as Marshall, is a legendary British company that has made an indelible mark on the music industry. Established in 1962 by Jim Marshall, the company has become synonymous with high-quality guitar amplifiers and is celebrated for its iconic sound, innovative designs, and enduring influence on rock music. This comprehensive report delves into the rich history, notable achievements, and enduring legacy of Marshall Amplification.

Founding and Early Years: Jim Marshall, a drum shop owner in London, started Marshall Amplification after numerous guitarists approached him seeking better amplification solutions. In response, Marshall began modifying existing amplifiers and eventually developed his own line of guitar amplifiers. The first-ever Marshall amp, the JTM 45, debuted in 1962 and gained quick popularity among British musicians due to its superior tone and power.

Legendary Sound and Signature Features: Marshall amplifiers are renowned for their distinctive sound characterized by rich, warm tones, exceptional clarity, and powerful distortion capabilities. This unique sonic signature was shaped by a combination of factors, including the use of EL34 power tubes, "Plexi" circuitry, and the integration of Celestion speakers. These components, along with Marshall's meticulous craftsmanship, contributed to the creation of a sound that would define the genre of rock music.

Amplifier Models and Evolution: Over the years, Marshall has introduced a wide range of amplifier models to cater to the diverse needs of guitarists. The company's product line includes iconic series such as the JTM, JMP, JCM, and the modern-day JVM and CODE series. Each series has its own distinct characteristics, offering musicians a vast palette of tones, from vintage blues to high-gain metal.

Influence on Music and Artists: Marshall amplifiers have played a pivotal role in shaping the sound of rock and roll. Countless renowned guitarists, including Jimi Hendrix, Eric Clapton, Jimmy Page, Slash, and Angus Young, have relied on Marshall amps to achieve their signature tones. Marshall's amplifiers have become synonymous with rock music and have been an integral part of iconic performances and recordings that have defined the genre.

Innovation and Technological Advancements: Marshall has consistently pushed the boundaries of amplifier technology. In the early 1970s, they introduced the Master Volume feature, allowing musicians to achieve power amp distortion at lower volumes. This innovation revolutionized live performances and studio recording techniques. Marshall has also embraced digital technology with the CODE series, offering guitarists versatile tones and effects through modeling technology.
Expansion and Global Reach: Marshall's success expanded beyond the shores of the United Kingdom, reaching a global audience. The company established a strong presence in the United States and various international markets, solidifying its position as one of the leading amplifier manufacturers worldwide. Today, Marshall amplifiers can be found on stages, in recording studios, and in the hands of guitar enthusiasts worldwide.

Enduring Legacy and Cultural Impact: Marshall Amplification's legacy extends far beyond the world of music equipment. The company's iconic logo, featuring the bold white script on a black background, has become an emblem of rock culture. Marshall amps have become symbols of rebellion, power, and the spirit of rock music. Marshall's contribution to the music industry has earned them a place in history as one of the most influential and respected amplifier manufacturers of all time.

Conclusion: Marshall Amplification's journey from a small drum shop to a global powerhouse in the music industry is a testament to its unwavering commitment to quality, innovation, and the pursuit of the perfect guitar tone. By consistently delivering exceptional amplifiers that have shaped the sound of rock music, Marshall has cemented its position as an industry icon. The Marshall brand continues to thrive, inspiring generations of guitarists and leaving an indelible mark on the world of music.

TEST: Marshall Origin 50

 It is and remains the strongest trademark of the music industry. Not even the U.S. giant Fender, which has achieved world fame in the amplifier sector, as well as in the guitar and bass sector, can hold a candle to the British figurehead of rock in terms of coolness. The legendary Marshall Crunch Sound of the protagonists of the sixties and seventies is still the benchmark for every new supplier in the guitar sector, whereby Marshall has the respective new editions of the technically spartan heads with prices from about 1,500 euros upwards properly silvered. With the Marshall Origin 50H head, Marshall is now trying to do justice to the small purse in terms of Plexi. We are curious.

The construction of the Marshall Origin 50H Head

A Plexi in JTM45 style for under 650 euros? Theoretically, yes, because the technology that Jim Marshall introduced in his time by copying the Fender Bassman circuit 1:1, is as hung as it gets. The circuit is one of the simplest, which are used in the all-tube range and only the quality of the individual components decide in the end on a good, very good or great Crunch sound and raise the retail price depending on the design.

However, in order not to shatter the legend status, the company is very careful not to let the original versions drift into the average range, but tries with a fusion of various Marshall trademarks to give the customer the good feeling of a "real" Marshall, without having to pay almost 2 grand for "just" a good sound.

In order to give the vintage character of the amplifier a boost, it was first decided to use the small cabinet, as one is used to from the JTM45. The workmanship of the case is impeccable, although for me personally the golden paint of the handle holders goes too much in the direction of Kaiserstrasse / Frankfurt. Matter of taste. But that's it with the comparisons, because circuit-wise, the Marshall Origin 50H Head goes its own way.

Marshall tries to preserve various cornerstones of the legendary Plexi sound, without having to accept the disadvantages of the old bolides. Modern extras such as reverb or multiple channels are not used in this concept, why should they be, the legends of past decades also managed without circuitry bonus material and still managed to create the greatest hits in music history. Let's take a look at the front of the cabinet first.

The front of the Marshall Origin 50H Head

On the left side, we are greeted by two metal toggle switches, the left one activating power access as expected, while the right one does not perform the expected standby function. Instead, this is triple switchable and can throttle the power amp output from 50 watts (high) to 10 watts (mid) down to 0.5 watts (low). The process labeled Powerstem is supposed to allow the sound shaping of the power amp even at lower volumes.

To the right of the input jack is a gain control designed as a push/pull version, which in two respects no longer has anything in common with the Plexi circuit. The separate preamp control is more reminiscent of the 2204 model, but the built-in booster, which is hidden behind the pull function, had none of the listed models.

In addition to the standard four-way tone control, a control labeled "Tilt" causes raised eyebrows. With this control, Marshall mimics the legendary parallel wiring between the four different inputs of the Plexi amps. Depending on the setting, the normal input (position 0), respectively the high treble input (position 10) shall be simulated. The sounds are also continuously mixable.

The back of the Marshall Origin 50H Head

The back of the head is tidy and, as expected, spartan. In addition to the connection socket for the supplied, massive footswitch, which activates the boost function and the FX loop if necessary, we have the serial FX loop and a DI out on the right, which can drive additional power amplifiers or also serves as the basis for a wet / dry / wet setup.

Some savings were made on the speaker outputs, the 4 Ohm output range has been completely omitted, 1x 16 Ohm and 2x 8 Ohm remain. Connecting two Mesa Boogie or Hughes & Kettner speakers is no longer possible. If one wanted to attach two further speaker outputs on the board, it would become truly somewhat narrow on the back. Therefore, I have always preferred the combination of 2 outputs with an associated Ohm selector switch. Unfortunately it has become more and more fashionable to spare the musician any thinking. I, on the other hand, do not believe that the musician in general is incapable of applying Ohm's law, as manufacturers like to make you believe.

The Marshall Origin 50H Head in practice

OK, it would be presumptuous to get a real Plexi sound at a retail price of just under a third of the great originals, but to be honest, the "Made in Vietnam" does send a brief cold shiver down my spine. I remember too well how Marshall brought the DSL 100H, which was also built in Vietnam for cost reasons, probably the worst-sounding all-tube head of the Marshall family of its time.

Let's start directly with a practical live setting of a large stage, that is, gain fully pure, power amp 11 clock at 50 watts, tone control 12 clock and tilt to zero. I did not even try to generate a clean sound, who wants to use a single-channel Marshall for clean sounds, should ask himself briefly, what he actually has in mind. As cabinet I used a Marshall 4x12 from the eighties with Celestion 65 Watt, as guitar I used my Framus Panthera from the Custom Shop. The cabinet was miked with a SM 57 straight into the Mackie console.

Uiuiui, that does not sound good! In the above-mentioned setting, the amp seems very "pressed", whereby it is not the classic soft compression of an all-tube amp. It lacks the open, the flattering in the sound. Also, the amp sounds comparatively musty, quite characterless. If this had been the sound of the Normal input of a Plexi, the Marshall name would not have made it to this legendary status. After I tweaked the tone control a bit, Treble 3 o'clock, Presence 2 o'clock, Mid 3 o'clock, Bass 4 o'clock, the sound improves marginally, but still can't convince.

Activating the booster, on the other hand, improves the sound significantly. Although the sound is still too compressed, the musty basic sound has given way somewhat. Still no revelation, but clearly better than the first listening impression. Interestingly, the sound recorded through the microphone is significantly better than the room sound in front of the amplifier, a fact that should run through all recordings.

Next, I turn the Tilt control to 12 o'clock and lo and behold, we are approaching a good Marshall sound. The sound gains clarity, definition and assertiveness. What it still lacks, however, is characterful tone, but the midrange response clearly goes into Richtig Biss. The impression remains even when the booster is activated, especially since we are now slowly approaching the first lead sounds.

If we now give the tilt control the right stop, the amp experiences another powerful treble boost, without it going into the scratchy. A successful classic rock sound, with the help of the classics such as TS9 or similar, the typical lead sounds of the Marshall league can be generated. Here, too, the boost switch gives a punch more gain on top, without really changing anything in the basic sound.

The resume is not clear. The Marshall Origin 50H Head offers a decent crunch sound in relation to its retail price, which can be personalized very well with the help of overdrive and distortion pedals. However, the amp can also take away any joy from the fat Marshall tone when set unfavorably, especially at "Tilt 0". Despite some sonic trademarks, the amp lacks the open, the big and especially the dynamic, which made the traditional company great.

Conclusion

With the Marshall Origin 50H Head, the British manufacturer offers an inexpensive all-tube amp, which unfortunately promises more visually than it can deliver sonically. Even if a good crunch sound can be generated after a thorough examination of the product, one unfortunately can't help but orient oneself internally up into the four-digit range with the corresponding expectations.

Additional Informations:

Marshall Amplifiers is an iconic British company that has revolutionized the music industry with its high-quality guitar amplifiers. Founded in 1962 by Jim Marshall, the company quickly gained a reputation for producing some of the most powerful and sought-after amplifiers in the world. With their distinctive sound and distinctive design, Marshall amplifiers have become synonymous with rock music, playing a crucial role in shaping the genre's sonic landscape. This comprehensive report delves into the history, innovations, impact, and global presence of Marshall Amplifiers.

History:
Marshall Amplifiers has its roots in the early 1960s, when Jim Marshall, a drum shop owner in London, began to experiment with building amplifiers for guitarists. Responding to the demand for more powerful and versatile amplification, Marshall designed his first amplifier, the JTM45, which was heavily influenced by the popular Fender Bassman. This marked the beginning of Marshall Amplifiers as a brand dedicated to meeting the needs of guitarists seeking a heavier, grittier sound.

Innovations:
Over the years, Marshall Amplifiers has been at the forefront of technological advancements in amplifier design. Some of their notable innovations include:
    a) The "Marshall stack": In the late 1960s, Jim Marshall introduced the concept of the "Marshall stack," which consisted of a powerful amplifier head paired with multiple speaker cabinets. This setup significantly increased the volume and presence of the guitar, becoming a staple of rock concerts and influencing the live performance experience.
    b) Distortion and overdrive: Marshall amplifiers are renowned for their ability to produce rich and harmonically complex distortion and overdrive tones. This characteristic "Marshall crunch" has become an essential ingredient in rock, metal, and blues music.
    c) Master Volume control: Marshall introduced the Master Volume control in the mid-1970s, allowing guitarists to achieve power tube saturation at lower volume levels. This innovation enabled musicians to obtain desirable tones without excessive volume, making Marshall amplifiers more practical for studio recording.

Product Range:
Marshall Amplifiers offers a diverse range of amplifiers to cater to various needs and preferences. Their product lineup includes:
    a) Valve Amplifiers: Marshall is best known for its valve amplifiers, which use vacuum tubes to deliver warm, responsive tones. These amplifiers, such as the iconic Marshall JCM800 and JCM900 series, continue to be widely used by professional guitarists worldwide.
    b) Solid-State Amplifiers: In addition to valve amps, Marshall manufactures solid-state amplifiers that offer reliability and affordability. These models, like the MG and CODE series, provide a wide range of tones and built-in digital effects, making them popular among beginners and gigging musicians.
    c) Signature Series: Marshall collaborates with renowned guitarists to create signature amplifiers that capture their unique tone and style. Artists such as Slash, Jimi Hendrix, and Joe Satriani have all had signature models with Marshall, solidifying the brand's association with legendary musicians.

Influence and Legacy:
Marshall Amplifiers' impact on the music industry cannot be overstated. Their amplifiers have played an integral role in shaping the sound of rock music, from the classic rock era to modern genres like metal and punk. Countless iconic guitarists, including Jimi Hendrix, Eric Clapton, Angus Young, and Eddie Van Halen, have relied on Marshall amplifiers to achieve their signature tones. The distinct growl, power, and sustain of a Marshall amplifier have become instantly recognizable and highly desirable among musicians and fans alike.

Global Presence:
Marshall Amplifiers has a significant global presence and enjoys widespread popularity. Their amplifiers are sold in numerous countries worldwide and are a staple in music stores, studios, and live venues. The company's commitment to quality and innovation has earned it a loyal customer base and endorsements from leading musicians across the globe. Marshall also manufactures a range of accessories, including cabinets, pedals, and headphones, further expanding their product offerings.

Conclusion:
Marshall Amplifiers stands as a pioneering force in the music industry, synonymous with the sound of rock. With a rich history, groundbreaking innovations, and an unrivaled influence, Marshall amplifiers have become an essential component of the guitarist's toolkit. Continuously evolving and adapting to meet the needs of musicians, Marshall Amplifiers remains at the forefront of amplifier technology, ensuring their legacy continues to shape the future of rock music for generations to come.

TEST: Marshall DSL100H

 Let's do a little test, which is the most famous brand name in the music business? No, I don't mean specialist luminaries like Fender, Ludwig or Steinway. I mean a name that is so well known that even your mother has seen the name on TV during some family show and even a drummer can remember the trademark.

The answer is more than easy, absolutely nothing in the whole music industry is so much connected with music, respectively rock like Great Britain's figurehead for the "British sound", Marshall. No one can get past this. Of the nearly 2,000 shows I've played in my career so far, I've played at least 70% of them with these heads and cabinets, and even today, because of their worldwide availability, I still have these tops in my technical rider as an alternative setup for shows abroad to which I have to travel by plane.

Despite this omnipresence, Marshall fortunately does not make the mistake of resting on its laurels, but updates its product range at regular intervals and subjects the same from time to time an update. This recently happened with a standard top, the DSL100H, which at first glance looks familiar, but nevertheless different.


Construction

Already during the unpacking and the parallel digressive look at the price, three different points jump into my field of vision. First, the Head has increased in size. Were Marshall Heads so far always the "Twiggy" among the tops, in particular the depth dimension have taken on more modern features, which the numbers (W x H x D): 74.5 x 27.5 x 24.5 cm underline. Not too bad, only if you like me still have some single Marshall top flight cases, selbige have unfortunately wasted their protective effect here. The weight of just under 24 kilograms, however, has remained almost the same and rests on four massive rubber feet.

The look has changed slightly, the lettering has been slightly reduced, a different plastic has been used for the carrying handle and the imitation leather used almost has a slight textured paint finish. But otherwise, everything is classic and proven, from the shape to the color scheme, just Marshall. But wait, there was something else. Correct, the price has dropped compared to the previous model. This can only have one reason and the nameplate confirms it. Good Bye United Kingdom, also at Marshall from now on "Made In Vietnam".

The basic concept has not changed in direct comparison to the previous model. Also with the new DSL100H the amplifier gets its power from four ECC83 (12AX7) in the preamp and four EL34 tubes in the power amp. At the rear are connection options for the speaker combinations 1x 8 Ohm, 1x 16 Ohm, 2x 16 Ohm available, 2x 8 Ohm boxes or anything from the 4 Ohm range is no longer supported.

As before, a two-channel marching direction is the default, whereby both channels can each be designed in their basic orientation between Clean / Crunch (channel 1) and Lead 1 / Lead 2 (channel 2). Both channels share a five-band tone control with switchable center band, whereby the presence and the newly added resonance control (bass boost) only affect the power amp section. Via two separate reverb controls, a digitally generated reverb can be added continuously to both channels.

On the rear side the possibility of the power tube circuit by means of a switch between triode (50 watts output power) and pentode operation (100 watts output power) to be able to select, was inserted. Attention, the again and again gladly falsely invoked effect of the volume reduction with triode circuit by half is wrong! Only a 10 watt amplifier has half the output power of a 100 watt amplifier, but a 50 watt circuit has a different sound behavior in terms of response, resonance and compression behavior, which is the real attraction of this circuit. Furthermore, there is a switchable serial FX loop on the rear panel, which further increases the flexibility of looped-in pedals. Depending on the cable length and the used effect groups, keyword true bypass, you should still consider the use of a buffer amp when the effect path is switched.


Practice

The beauty of Marshall Heads has always been the self-explanatory user interface. There is nothing about the products that is not understood at the first inspection, or is revealed by a quick turn of the same knob. Even at a hectic festival gig, where you sometimes only get to see the respective amp 1 hour before showtime, everything can be recognized and handled in no time.

Let's start as usual with the clean sound of the amp. Probably everyone knows that Marshall was not the first choice for ultraclean sounds in the past. But if you approach the matter with an open mind, you will be proven wrong. Although you are still looking for the radiant 6L6 twang in vain, but a practical, undistorted sound is always guaranteed. But seriously, clean sounds at Marshall serve mostly only the circumstance to bring within a song or a show the clean passages of the recordings on the stage boards. This challenge passes the DSL 100 without reproach.

With increasing capping of the half-waves, the mood slowly gets going, or rather we enter the terrain that has helped the manufacturer to world fame. If we switch to the crunch range in the green channel, the first beautiful sonic edges come into play. However, the DSL100 is more discreet than its great forefathers in the Plexi or JTM style, which had a cutting power in the highs of a Flex equal to single coil guitar. Sure, you perceived the sound even in the highest Woodstock noise, but it bit mighty in the calf.

In the lead range, finally, you notice that the signs of the times do not pass Marshall. In the past, the crunch sounds of Marshall were always the highlight of the palette and a sometimes slightly muddy high-gain range always only a concession to the lead guitarists, so modern Marshalls can also in the heavy distortion range to the once firmly in American hand held sound palette. Both Lead 1 and the only moderately different sounding Lead 2 section manage to provide a high level of transparency even with heavy distortion, all nicely paired with the classic EL34 crunch. By operating the Tone Shift switch, Marshall even dives into areas of scoop metal sound. A nice addition, practically rehashed, but not necessarily the great strength of the head. It's just a pity that you have to break down the all in all 6 different sounds into only 2 channels via footswitch. It would be nice if at least the sound characteristics Clean / Crunch and Lead1 / Lead2 could be called up by another footswitch.


Conclusion

Make: Marshall, Tone: Rock/Metal! So easy a drawer can be opened / closed and Marshall does well to neither enlarge this drawer nor change it in any other way. With the DSL100H, the company offers a very good workhorse, which covers the entire distortion range from subtle crunch up to high-gain in superior quality and as an encore offers a good clean, respectively Scoop sound.

Optics, haptics and sound behavior are timeless and will also be seen in the next decades on all large and small stages of this world. Like hardly any other manufacturer, Marshall can look back on one of the greatest success stories in the music business, and thanks to products like the DSL100, a break in the line of success is not to be feared.


Additional Informations:

Marshall Amplifiers is an iconic British company that has revolutionized the music industry with its high-quality guitar amplifiers. Founded in 1962 by Jim Marshall, the company quickly gained a reputation for producing some of the most powerful and sought-after amplifiers in the world. With their distinctive sound and distinctive design, Marshall amplifiers have become synonymous with rock music, playing a crucial role in shaping the genre's sonic landscape. This comprehensive report delves into the history, innovations, impact, and global presence of Marshall Amplifiers.

History:
Marshall Amplifiers has its roots in the early 1960s, when Jim Marshall, a drum shop owner in London, began to experiment with building amplifiers for guitarists. Responding to the demand for more powerful and versatile amplification, Marshall designed his first amplifier, the JTM45, which was heavily influenced by the popular Fender Bassman. This marked the beginning of Marshall Amplifiers as a brand dedicated to meeting the needs of guitarists seeking a heavier, grittier sound.

Innovations:
Over the years, Marshall Amplifiers has been at the forefront of technological advancements in amplifier design. Some of their notable innovations include:
    a) The "Marshall stack": In the late 1960s, Jim Marshall introduced the concept of the "Marshall stack," which consisted of a powerful amplifier head paired with multiple speaker cabinets. This setup significantly increased the volume and presence of the guitar, becoming a staple of rock concerts and influencing the live performance experience.
    b) Distortion and overdrive: Marshall amplifiers are renowned for their ability to produce rich and harmonically complex distortion and overdrive tones. This characteristic "Marshall crunch" has become an essential ingredient in rock, metal, and blues music.
    c) Master Volume control: Marshall introduced the Master Volume control in the mid-1970s, allowing guitarists to achieve power tube saturation at lower volume levels. This innovation enabled musicians to obtain desirable tones without excessive volume, making Marshall amplifiers more practical for studio recording.

Product Range:
Marshall Amplifiers offers a diverse range of amplifiers to cater to various needs and preferences. Their product lineup includes:
    a) Valve Amplifiers: Marshall is best known for its valve amplifiers, which use vacuum tubes to deliver warm, responsive tones. These amplifiers, such as the iconic Marshall JCM800 and JCM900 series, continue to be widely used by professional guitarists worldwide.
    b) Solid-State Amplifiers: In addition to valve amps, Marshall manufactures solid-state amplifiers that offer reliability and affordability. These models, like the MG and CODE series, provide a wide range of tones and built-in digital effects, making them popular among beginners and gigging musicians.
    c) Signature Series: Marshall collaborates with renowned guitarists to create signature amplifiers that capture their unique tone and style. Artists such as Slash, Jimi Hendrix, and Joe Satriani have all had signature models with Marshall, solidifying the brand's association with legendary musicians.

Influence and Legacy:
Marshall Amplifiers' impact on the music industry cannot be overstated. Their amplifiers have played an integral role in shaping the sound of rock music, from the classic rock era to modern genres like metal and punk. Countless iconic guitarists, including Jimi Hendrix, Eric Clapton, Angus Young, and Eddie Van Halen, have relied on Marshall amplifiers to achieve their signature tones. The distinct growl, power, and sustain of a Marshall amplifier have become instantly recognizable and highly desirable among musicians and fans alike.

Global Presence:
Marshall Amplifiers has a significant global presence and enjoys widespread popularity. Their amplifiers are sold in numerous countries worldwide and are a staple in music stores, studios, and live venues. The company's commitment to quality and innovation has earned it a loyal customer base and endorsements from leading musicians across the globe. Marshall also manufactures a range of accessories, including cabinets, pedals, and headphones, further expanding their product offerings.

Conclusion:
Marshall Amplifiers stands as a pioneering force in the music industry, synonymous with the sound of rock. With a rich history, groundbreaking innovations, and an unrivaled influence, Marshall amplifiers have become an essential component of the guitarist's toolkit. Continuously evolving and adapting to meet the needs of musicians, Marshall Amplifiers remains at the forefront of amplifier technology, ensuring their legacy continues to shape the future of rock music for generations to come.

TEST: Marshall DSL1CR

 With the Marshall DSL1CR, the biggest name in the guitar amp segment is not dedicated to the testosterone-fueled fullstack banging of past eras, but to the other end of the flagpole, the practice amp range. However, not with the intention of throwing the next acoustic cheapo in the double-digit price range among those willing to practice, but rather to bring a tiny all-tube combo with the manageable power of one watt to the man. What, only one watt? Wait and see!

The concept of the Marshall DSL1CR

Just to throw it around again, in order to double the volume of an amp, you have to increase the power tenfold, which conversely means that a 100 watt all-tube bolide can produce just four times the volume of a 1 watt amp. In the course of the test, the dwarf amplifier will prove what a noise 1 watt all-tube can make. Aware of this, the Marshall DSL1CR also has a pressure switch on the back of the case, which reduces the power to 0.1 watts (!).

One or the other will now of course ask why such a "low-power" amp with a retail price of just under 340, - euros, which is indeed a very ambitious price, especially for Vietnamese manufacturing. Well, all the anachronistic components such as transformers, tubes, etc. increase the manufacturing costs immensely, but in this case they are also supposed to save the beloved tube sound into the bedroom, which clearly puts the Marshall DSL1CR in the bedroom amp class. However, it should be noted that without an exorbitant sound or very flexible application possibilities, the VK will call one or the other critic on the scene.

The construction of the Marshall DSL1CR

Cuddly it really is, the small cube, after it has peeled itself from the packaging. With the dimensions 35 cm x 21 cm x 33 cm (WxDxH) and a weight of approx. 7.7 kg, the combo constructed in open design can be easily transported even by delicate female hands by means of the carrying handle, which looks gigantic in relation to the housing dimensions. By means of 2 pieces ECC83 and 1 piece ECC82 the combo produces according to sales jargon the "legendary DSL sound", with whose use I would personally deal a little less cocky. The DSL series is considered among experts more as the "Marshall of the little man", which carries the big name, but sonically especially with the H-series can not even begin to compete with the real legends of the JCM, JTM or Plexi series.

In order to keep the dimensions of the combo small, Marshall uses in this amp a speaker made by Celestion, only 8 inches in size, which according to the power of the amp can handle a maximum of 15 watts. The amp has 2 channels (Classic Gain / Ultra Lead), which can be switched via a push switch on the front of the cabinet, or with the included footswitch, while the Ultra Gain channel can be varied in its basic tonal direction via a tone shift switch. Both channels share a three-band tone control and a digital reverb control. On the right outside is the power switch, the Marshall DSL1CR does not have a standby due to its tube constellation.

On the rear, there are two mini-jack plugs, which are due to the primary application of the amplifier, in addition to a serial FX loop, the power plug and the connection for the speaker. On the one hand, there is an audio in, which allows the playback of MP3's etc., on the other hand, there is an emulated out, which allows a speaker simulation for demo recordings. The fact that a mini-jack makes sense as an input can be explained by the headphone connections of most smartphones etc., but what is the point of a mini-jack output for recordings? With all understanding for saving space, here you have to work with adapters in any case, whereby an adapter directly on the amplifier exerts a very unsightly leverage effect on the jack. A 6.25 mm jack socket would have belonged here in any case.

The first impression of the Marshall DSL1CR

Besides its cute appearance, the Marshall DSL1CR definitely leaves a very high-quality impression. The workmanship is impeccable, no seam that would be glued uncleanly, no screw that protrudes, no component that wobbles. Above the famous lettering, the color of the controller heads has shifted from the familiar brass of the front panel to gold. When viewed from the side, both colors appear roughly the same, but when viewed from the front, the two colors clash quite a bit. OK, let's say it's a matter of taste.

The potentiometers are offset to the rear in the case, so that no potentiometer is broken off in case of a flat impact from the front during transport. The top of the case is also offset to the rear in the area of the knobs, so that it is easier to reach the knobs from above. A small detail, but here again a tick was thought further, which concerns the practical range. Very nice!

Despite the open design of the Marshall DSL1CR, the inner workings of the combo are well protected. To protect the tubes from outside influences, the upper slot was closed with a metal grille, which leads the waste heat to the outside, but no objects to the inside. Why the Combo has another opening in the lower area on the back, however, is not quite clear to me. Is it for air circulation? At least it's narrow enough to prevent our coarse-motored contemporaries from throwing their power cords into the Combo. However, the slot is big enough to let a regular jack cable through, which can then damage tubes, transformers and the speaker again during transport.

The sound of the Marshall DSL1CR

So, now we come to the area that everyone has been waiting for. Does the Marshall DSL1CR manage to transport the sound of an all-tube combo into the bedroom amp realm? The answer is yes and no!

Yes: Unlike many bedroom amps that try to emulate the sound of an all-tube amp with all sorts of digital junk, the Marshall DSL1CR doesn't need to simulate anything due to its design. It is what others try to emulate with algorithms and you can hear it. The amp works very dynamically, especially in the distorted range, hangs very nicely on the volume pot of the guitar (see sound example 02) and avoids the musty-slabby basic sound of many competitors.

No: What was already foreshadowed is revealed in practice. The built-in speaker is simply too small for the balanced sound of a large combo. Celestion does its best to compensate for the treble-heavy sound of an 8-inch speaker and the Tone Shift control in the Ultra Gain channel in the depressed position takes a lot of treble out of the signal, but the lack of volume in the low-mids or basses cannot be compensated. If the controls of the amplifier section had been moved to the top of the cabinet and a 10 inch speaker had been used, the whole thing would sound quite different.

However, I once took the trouble and connected the amp to a 4x12 cabinet. In this case the sun truly rises. Of course, the single ended power amp has no real reserves in terms of headroom at the start, but an official AC/DC rhythm sound you have in any case at hand and even at an official volume. Of course, the one watt can't put a thumping drummer in his place, but in a disciplined band you will be able to hold one or two rehearsals and even play a small club gig.

At 0.1 watts, however, it's finally the end of the line for the band. By the way, the basic tone of the amp changes dramatically again in this setting, another sign of how strongly the interaction of the loudspeaker in terms of return current etc. is responsible for the sound of an all-tube amp.

All in all the amp leaves a very good impression, which has to live with some physically caused limitations.


Conclusion

With the Marshall DSL1CR, rock music's most famous trademark targets the increasingly popular bedroom amp segment. The amp impresses with a wide range of good to very good basic sounds that can be produced at moderate volumes. Impeccable workmanship and a cuddly exterior make the rather high retail price recede into the background.

Additional Informations:

Marshall Amplifiers is an iconic British company that has revolutionized the music industry with its high-quality guitar amplifiers. Founded in 1962 by Jim Marshall, the company quickly gained a reputation for producing some of the most powerful and sought-after amplifiers in the world. With their distinctive sound and distinctive design, Marshall amplifiers have become synonymous with rock music, playing a crucial role in shaping the genre's sonic landscape. This comprehensive report delves into the history, innovations, impact, and global presence of Marshall Amplifiers.

History:
Marshall Amplifiers has its roots in the early 1960s, when Jim Marshall, a drum shop owner in London, began to experiment with building amplifiers for guitarists. Responding to the demand for more powerful and versatile amplification, Marshall designed his first amplifier, the JTM45, which was heavily influenced by the popular Fender Bassman. This marked the beginning of Marshall Amplifiers as a brand dedicated to meeting the needs of guitarists seeking a heavier, grittier sound.

Innovations:
Over the years, Marshall Amplifiers has been at the forefront of technological advancements in amplifier design. Some of their notable innovations include:
    a) The "Marshall stack": In the late 1960s, Jim Marshall introduced the concept of the "Marshall stack," which consisted of a powerful amplifier head paired with multiple speaker cabinets. This setup significantly increased the volume and presence of the guitar, becoming a staple of rock concerts and influencing the live performance experience.
    b) Distortion and overdrive: Marshall amplifiers are renowned for their ability to produce rich and harmonically complex distortion and overdrive tones. This characteristic "Marshall crunch" has become an essential ingredient in rock, metal, and blues music.
    c) Master Volume control: Marshall introduced the Master Volume control in the mid-1970s, allowing guitarists to achieve power tube saturation at lower volume levels. This innovation enabled musicians to obtain desirable tones without excessive volume, making Marshall amplifiers more practical for studio recording.

Product Range:
Marshall Amplifiers offers a diverse range of amplifiers to cater to various needs and preferences. Their product lineup includes:
    a) Valve Amplifiers: Marshall is best known for its valve amplifiers, which use vacuum tubes to deliver warm, responsive tones. These amplifiers, such as the iconic Marshall JCM800 and JCM900 series, continue to be widely used by professional guitarists worldwide.
    b) Solid-State Amplifiers: In addition to valve amps, Marshall manufactures solid-state amplifiers that offer reliability and affordability. These models, like the MG and CODE series, provide a wide range of tones and built-in digital effects, making them popular among beginners and gigging musicians.
    c) Signature Series: Marshall collaborates with renowned guitarists to create signature amplifiers that capture their unique tone and style. Artists such as Slash, Jimi Hendrix, and Joe Satriani have all had signature models with Marshall, solidifying the brand's association with legendary musicians.

Influence and Legacy:
Marshall Amplifiers' impact on the music industry cannot be overstated. Their amplifiers have played an integral role in shaping the sound of rock music, from the classic rock era to modern genres like metal and punk. Countless iconic guitarists, including Jimi Hendrix, Eric Clapton, Angus Young, and Eddie Van Halen, have relied on Marshall amplifiers to achieve their signature tones. The distinct growl, power, and sustain of a Marshall amplifier have become instantly recognizable and highly desirable among musicians and fans alike.

    Global Presence:
 arshall Amplifiers has a significant global presence and enjoys widespread popularity. Their amplifiers are sold in numerous countries worldwide and are a staple in music stores, studios, and live venues. The company's commitment to quality and innovation has earned it a loyal customer base and endorsements from leading musicians across the globe. Marshall also manufactures a range of accessories, including cabinets, pedals, and headphones, further expanding their product offerings.

Conclusion:
Marshall Amplifiers stands as a pioneering force in the music industry, synonymous with the sound of rock. With a rich history, groundbreaking innovations, and an unrivaled influence, Marshall amplifiers have become an essential component of the guitarist's toolkit. Continuously evolving and adapting to meet the needs of musicians, Marshall Amplifiers remains at the forefront of amplifier technology, ensuring their legacy continues to shape the future of rock music for generations to come.

TEST: Marshall 1987X

 Perhaps almost 6 decades ago, everything would have been quite different if Fender had had a functioning distribution for its products in Europe at the time. However, due to the British music scene constantly begging for more power, music dealer, electronics engineer and drummer Jim Marshall felt compelled to copy the Fender Bassman 1:1, put it in a separate cabinet from the speakers for reasons of transportability and, if necessary, equip it with an 8x12", later with 2 pcs. each 4x12" cabinets. I wonder if he ever had in mind what he would set up with this combination? In order to give younger musicians the possibility of tonal participation, the British manufacturer has a reissue version of the 1987 model at the start, his sign the 50 watt version of the eternal Ur-Plexis, model 1959, with the designation Marshall 1987X.

Earlier - Today

In this day and age, where every Kemper / Axe FX user knows the Marshall presets from his algorithm collection, but almost none of them have experienced the original sounds once in real physicality in the form of an analog amp, it seems almost a kind of basic training to give every musician the opportunity of a "real" Marshall sound once. Only who has experienced the original once, understands the sometimes also strongly transfigured "good-old-sounds" drivel of the generation 50/60+.

The same is quite difficult with the almost 60 years old originals, because their number is constantly decreasing as expected and the few, well-preserved copies are guarded by their owners like a holy grail. So if you don't have a grandfather who once plucked a snappy wire in a beat band, you have to make do with the more or less original reissue models. On the manufacturer's side, you have to ask yourself whether you want to copy the vintage original 1:1, or add more modern or at least more practical elements to it. By the way, the amp is built in the UK, probably also to emphasize the reissue character.

Two of the classic elements of the originals were the P2P (Point-To-Point) wiring and the rectifier tube. For the Marshall HW (Handwiring) series, the very complex P2P method was chosen, but the rectifier tube has probably finally given way to the diode rectification. With the Marshall 1987X one decided not only for a more economical printed circuit board construction method, but the amp also a FX loop missed by the users again and again desired, which represents the more practical solution in particular in use with Delay and Reverb effects.

The construction of the Marshall 1987X

In some reports, the classic Plexis are referred to as two-channel amps, which is, if I may say so, nonsense, unless you want to call every amp that has a low / high input range a two-channel amp as well. The four different inputs make a preselection regarding the input sensitivity and the treble content and can, as you know, also be mixed by means of a patch cable, but I predict that 90% of all sounds are driven via the Volume 1 / top input, the input that offers the greatest sensitivity and the strongest treble reserves.

The tone control is classic three-band and quite as Jim Marshall intended, comparatively ineffective. Jim Marshall is reported to have said that this is done on purpose, "so you can't set a bad sound with the amp." Very nicely formulated, but this means nothing more than that he considered the guitarists of his time to be idiots when it came to sound ;-) Of course, the presence control of the power amplifier may not be missing. Then still power / standby switch, finished is the legend.

The Marshall 1987X in practice

Legend? Single channel? And then a retail price of just under 1,400 euros? The one or the other young guitarist will frown and ask himself the question about the value. It can't be just sticking the biggest trademark in the history of music on a wooden box, can it? By no means!

Let's just ignore the whole history of "we didn't have anything else" and the associated playfulness in combination with unusual solutions, which then in combination with world hits became the blueprints for sounds that are still the definition of all rock sounds today. Let's break down all the sound talk to a common denominator. What does an amplifier with the above mentioned features and the above mentioned retail price bring us? It brings us ONE sound, but it brings us THE sound!

The sound that countless manufacturers have been using as a blueprint in their Crunch portfolio for decades, the sound that even the most squawky software plug-ins refer to as "Brittish", "UK", "Stack" or whatever, and against which the algorithms of any modeling amp have to be measured. But what makes this sound so unique and why has it been copied countless times with varying results?

First of all, Marshall has never been high gain! What we know as High Gain from Marshall in the mid-eighties are all pedals that produce the necessary half-wave cut. Yes, of course, the manufacturer now also has multi-channel tops in the program, which can also produce corresponding high gain, but who speaks of the "Marshall sound", means Crunch. But not just any crunch. What is meant is the latent high-mid peak, which, when used correctly, always produces a sound mixture of a Ferrari and a tenor saxophone.

Exactly here lies however also at the same time the danger of the sound. A Marshall Crunch sound is only as good as the components behind the speaker output, i.e. cabinet, speaker and microphone. Well over half of all YouTube videos in which Plexis and their sub-groups are presented are characterized by a scratchy and hollow sound that does not create any sense of well-being, usually caused by poor miking.

But what can the amp do in detail? Well, on the one hand, the amp can clean, strictly speaking "Marshall-Clean", that is, a penetrating, clear sound, which drives with appropriate Humbucker use also sometimes discreetly in the saturation, but more with the tape saturation of a music cassette / tape to compare, no real distortion. The sound is achieved with appropriate volume and input selection. I personally don't know anyone who runs a Plexi specifically with this sound, but it's good to know it can be done if needed.

Then of course the parade discipline, the measure of all things, the crunch sound. In direct comparison to the old rectifier tube versions, the Marshall 1987X goes a bit tighter and higher, but still has enough "sag" to bring the power amp into play sonically in time. Speaking of the power amp, 50 watts all-tube is loud, loud as hell! Fully cranked up, the amp sounds awful like any other all-tube amp (anything at 10 is a marketing legend), but even with subtle power amp saturation coming on, the amp can only be used at a large open-air without further action.

Still, thanks to an interaction with the guitar, we have 2 sounds on the amp, which are no longer possible with most high-powered modern amps. By taking back the volume control, a very independent, vintage-heavy clean sound can be created, which allows a corresponding interaction between musician, guitar and amp. For lead sounds, add a corresponding overdrive and you have a three-channel amp. Classic, legendary and always very, very unique, because the setup emphasizes all the strengths and, unfortunately, all the weaknesses of the musician with lever factor.

Regarding load resistance, I personally hold the opinion that only an appropriately deflected speaker with its reverse current behavior, etc. allows the optimal sound. If you still want to work with an adjustable load resistor for volume reasons, I recommend the Load Box from Marshall, which was unfortunately discontinued many years ago, and which is perfectly compatible with vintage amps in terms of compression.

Whoever as a modeling user has the opportunity to listen to the amp in the flesh, take your reference crunch sounds from whatever modeling amp, do an A/B comparison, go home and cry into your pillow ;-)

Conclusion

With the Marshall 1987X, the world's biggest musical trademark takes up where the great classics from its own production left off, not without giving the product a more practical update. In particular, the comparatively simple feature of the serial FX loop was always longed for by countless users and counted in the days of modders to the most popular conversions par excellence.

The model manages to produce the legendary Plexi sound to very, very close to the vintage original and offers in the right combination of instrument, cabinet, cabinet and microphone one of THE legendary basic sounds that have defined rock music and probably will continue to define.

Additional Informations:

Marshall Amplifiers is an iconic British company that has revolutionized the music industry with its high-quality guitar amplifiers. Founded in 1962 by Jim Marshall, the company quickly gained a reputation for producing some of the most powerful and sought-after amplifiers in the world. With their distinctive sound and distinctive design, Marshall amplifiers have become synonymous with rock music, playing a crucial role in shaping the genre's sonic landscape. This comprehensive report delves into the history, innovations, impact, and global presence of Marshall Amplifiers.
History: Marshall Amplifiers has its roots in the early 1960s, when Jim Marshall, a drum shop owner in London, began to experiment with building amplifiers for guitarists. Responding to the demand for more powerful and versatile amplification, Marshall designed his first amplifier, the JTM45, which was heavily influenced by the popular Fender Bassman. This marked the beginning of Marshall Amplifiers as a brand dedicated to meeting the needs of guitarists seeking a heavier, grittier sound.

Innovations: Over the years, Marshall Amplifiers has been at the forefront of technological advancements in amplifier design. Some of their notable innovations include: a) The "Marshall stack": In the late 1960s, Jim Marshall introduced the concept of the "Marshall stack," which consisted of a powerful amplifier head paired with multiple speaker cabinets. This setup significantly increased the volume and presence of the guitar, becoming a staple of rock concerts and influencing the live performance experience. b) Distortion and overdrive: Marshall amplifiers are renowned for their ability to produce rich and harmonically complex distortion and overdrive tones. This characteristic "Marshall crunch" has become an essential ingredient in rock, metal, and blues music. c) Master Volume control: Marshall introduced the Master Volume control in the mid-1970s, allowing guitarists to achieve power tube saturation at lower volume levels. This innovation enabled musicians to obtain desirable tones without excessive volume, making Marshall amplifiers more practical for studio recording.

Product Range: Marshall Amplifiers offers a diverse range of amplifiers to cater to various needs and preferences. Their product lineup includes: a) Valve Amplifiers: Marshall is best known for its valve amplifiers, which use vacuum tubes to deliver warm, responsive tones. These amplifiers, such as the iconic Marshall JCM800 and JCM900 series, continue to be widely used by professional guitarists worldwide. b) Solid-State Amplifiers: In addition to valve amps, Marshall manufactures solid-state amplifiers that offer reliability and affordability. These models, like the MG and CODE series, provide a wide range of tones and built-in digital effects, making them popular among beginners and gigging musicians. c) Signature Series: Marshall collaborates with renowned guitarists to create signature amplifiers that capture their unique tone and style. Artists such as Slash, Jimi Hendrix, and Joe Satriani have all had signature models with Marshall, solidifying the brand's association with legendary musicians.

Influence and Legacy: Marshall Amplifiers' impact on the music industry cannot be overstated. Their amplifiers have played an integral role in shaping the sound of rock music, from the classic rock era to modern genres like metal and punk. Countless iconic guitarists, including Jimi Hendrix, Eric Clapton, Angus Young, and Eddie Van Halen, have relied on Marshall amplifiers to achieve their signature tones. The distinct growl, power, and sustain of a Marshall amplifier have become instantly recognizable and highly desirable among musicians and fans alike.
Global Presence: Marshall Amplifiers has a significant global presence and enjoys widespread popularity. Their amplifiers are sold in numerous countries worldwide and are a staple in music stores, studios, and live venues. The company's commitment to quality and innovation has earned it a loyal customer base and endorsements from leading musicians across the globe. Marshall also manufactures a range of accessories, including cabinets, pedals, and headphones, further expanding their product offerings.

Conclusion: Marshall Amplifiers stands as a pioneering force in the music industry, synonymous with the sound of rock. With a rich history, groundbreaking innovations, and an unrivaled influence, Marshall amplifiers have become an essential component of the guitarist's toolkit. Continuously evolving and adapting to meet the needs of musicians, Marshall Amplifiers remains at the forefront of amplifier technology, ensuring their legacy continues to shape the future of rock music for generations to come.

TEST: Morley MTLW2 - 20/20 Lead Wah Boost

 OK, let's all think together for a moment, what are the most famous effects when it comes to the electric guitar? On place 1, of course, quite clearly the distortion with all its variations in the form of boosters, overdrive, distortion and fuzz, depending on which amp at what level of distortion with which sound should be fed. On place 2 follows however with short distance the "flank-steep bandpass filter"! Flanks ... what? Well, most of the readers will know the effect pedal under the name Wah Wah Pedal or simply Wah Pedal. We have before us today a particularly handy version of such a pedal called Morley MTLW2 - 20/20 Lead Wah Boost for testing.

Slope divider bandpass filter ... really now?

Well, many guitarists are not really into studio technology, but in this case I find a short introduction regarding the sound shaping quite helpful, especially since it shows you why this form of effect pedal harmonizes particularly well with the electric guitar. By the way, in the case of a wah pedal, one can really also speak of a pedal detached from the English designation due to the rocker-like operation. In principle, the wah wah pedal is a bosster, which when activated boosts a very limited frequency range which can then be shifted by means of the pedal.

Due to the massive boosting, the same effect is very good in the clean as well as in the distorted range and also creates the effect as if the user had a kind of third hand, which supports the picked notes in interaction with the two hands, especially in the rhythm area. When handled correctly, this benefits both a crisp funk guitar and personal solo playing, which gets the parameter frequency modulation in addition to rhythm and harmony to the hand.

The special features of the Morley Wah Wah series

As already mentioned, the Wah Wah pedal is not only on the second place of the most popular guitar effects, but it is probably also one of the earliest effects, which was built for electric guitarists. Hendrix without a wah wah? Unimaginable! In order to activate the first wah wahs, Dunlop, among others, came up with the legendary Cry Baby on the idea of placing the On / Off switch below the actual pedal, which shrank the dimensions of the pedal, but also always involved 2 switching operations for activation / deactivation. In addition, depending on the design, you had to traipse neatly on the pedal to perform the switching process and you had only his ear as an orientation, whether the effect was really off or on. Short sound intermezzi for a few seconds were not possible with this circuit.

Even in the early days of wah wah pedals, Morley was the eternal competitor for everything that used fiber coils and potentiometers to jerk the wah wah effect, but Morley already used a photocell and light bulb very early to ensure the voltage regulation. A wear-free regulation of the effect along with a slightly different sound was the result, so that the camps quickly split. Of course, the bulb was replaced years ago by an LED, which, so to speak, expected a virtually unlimited life. However, Morley made a big leap a few years ago with the introduction of the switchless design, which allowed the pedal to be activated with just a slight movement of the pad and deactivated when the foot was removed from the pedal. This made it possible to insert only very short FX passages on-the-fly, so to speak, especially when soloing, which greatly increased the expressive possibilities on the guitar.

The construction of the Morley MTLW2 - 20/20 Lead Wah Boost

Those who, like me, (unfortunately) have to travel a lot by plane to play their shows will probably be familiar with the problem that has kept me from placing a wah pedal on my floorboard in a number of cases. Every centimeter counts with the dimensions in the luggage area and the nicest, most compactly kept floorboard is unfortunately useless if a regular wah wah pedal both in the depth, and especially in the height ad absurdum leads one all the possibilities of a hand luggage transport and one prefers to keep the additional costs of up to 200, - € for an additional piece of luggage in the production budget.

This circumstance has also got Morley with and leads with its 20/20 series equal to a whole armada of pedals in their portfolio, which were all shrunk to the dimensions (L x W x H): 170 mm x 114 mm x 70 mm and also come up with a weight of less than one kilogram. The Morley MTLW2 - 20/20 Lead Wah Boost presented to me for testing comes in the color "industrial gray" and conveys a rather unspectacular impression at first glance, but this should relativize itself in the course of the test. One should also explicitly mention in this day and age that the pedal is made in the USA, which is reflected in the price, but still gives me personally the better feeling to oppose the total dependence on the Chinese market.

The workmanship of the pedal is excellent, all screws, sheet metal, knobs and plastic parts are of very high quality and, together with the principle of operation of the pedal, suggest a very long life. How much also the manufacturer is convinced of the quality of its products, shows the fact that Morley gives a "Lifetime Warranty" on its products. The pedal sits on four soft rubber feet, which provide a very good grip even on smooth surfaces. Since there are no screws on the bottom of the case, which could possibly be extended from the bottom, you will probably attach the Morley MTLW2 - 20-20 Lead Wah Boost to a floorboard using cable ties.

To provide the foot with an improved grip, there is a ribbed rubber surface on the top of the pedal along with company lettering. For a visual indication of the On / Off function, there is again a red LED on the right side, which lights up when the effect is activated. However, as you can see from the designation "Boost" in the model name, the Morley MTLW2 - 20-20 Lead Wah Boost has in addition to the frequency boost if necessary a volume boost, whose efficiency can be adjusted with a potentiometer on the left of the pedal. In doing so, you can both raise and lower the level. The Unity Gain point is at about 10 o'clock, below it is lowered, above it is raised.

That Morley has always had the right knack for visual attention can be seen not only in the legendary "Morley Man (do it with their feet)" drawn over 50 years ago, but also in the fact that a fluorescent Morley logo was attached to the front. This allows concertgoers to see what product the artist is using, despite floorboard placement. The Morley lettering on the top of the pedal also glows in the dark, looks stylish and thus makes it easier to locate the pedal on a dark stage.

Regarding the power supply, the Morley MTLW2 - 20-20 Lead Wah Boost can be supplied with the necessary operating voltage by means of a 9V block, which is to be inserted via a plastic flap on the underside of the housing, or an external 9V power supply, which should supply at least 300 mA. The pedal features buffered bypass, which allows you to connect additional pedals without losing sound.

The Morley MTLW2 - 20-20 Lead Wah Boost in practice

If you've never used a mini pedal before, you may wonder whether the reduced contact surface of the foot might not lead to a loss in feel. I can refute this concern without hesitation, the pedal plays in direct comparison with "large" Morley pedals completely without problems and with the same quality. The contact surface is ultimately only about 20% smaller, which makes virtually no difference in handling.

The only thing that the Auto On / Off function necessarily entails is the static operation of the pedal as a booster. Especially in the seventies, wah wah pedals were also often used as locked center boosters for single-channel marshalls, this function is not possible with this type of pedal, as expected. Whether they are still needed today, however, is another matter.

Sonically, the Mini Pedal Series starts where the regular pedals stop, that is, they take over the sound 1:1, but require as said less space on the floorboard. The sound can be described as very even, almost subtle, so that it never comes to the infamous "cutting" in the sound. Much of the pedal's coloration is generated via the boost control, which absolutely must be meticulously matched with the personal amp for maximum sound yield. Solid tube amps react completely differently here than solid state or modeling amps, so no general switch setting can be recommended.

In summary, the bottom line remains an excellent wah wah pedal, which convinces in all respects without any weak point. Top grade!

Conclusion

With the Morley MTLW2 - 20-20 Lead Wah Boost, the American manufacturer convinces with its mini pedal all along the line. Whether sound, dimensions, processing and manufacturing, Morley offers no cause for criticism, but a well thought-out and professional tool for the ambitious, respectively professional musician.

Highly recommended!


Additional Informations:

Morley Pedals: Pioneers in Innovative Effects Pedals

Introduction
Morley Pedals is a renowned company that has been at the forefront of the effects pedal industry for over four decades. Founded in the early 1970s, Morley Pedals has consistently produced high-quality, innovative, and reliable pedals that have become favorites among musicians across various genres. This comprehensive report aims to delve into the rich history, notable products, and impact of Morley Pedals on the music industry.

History and Background
Morley Pedals was established in 1972 by brothers Raymond and Marvin Lubow in Los Angeles, California. The company quickly gained recognition for their unique and inventive approach to effects pedals. One of their earliest breakthroughs was the introduction of the Electro-Optical (Opti-Wah) Wah Pedal in 1975, which utilized optical components for smooth and precise control.

Notable Products and Innovations
3.1 Morley Wah Pedals
Morley's range of Wah Pedals has become a hallmark of the brand. In addition to the Opti-Wah, they have developed numerous variations such as the Bad Horsie, Steve Vai Signature, and Power Wah, each with its distinct tonal characteristics and features. These pedals have gained popularity due to their robust construction, user-friendly designs, and exceptional sound quality.

3.2 Morley Volume Pedals
Morley is also recognized for its exceptional line of Volume Pedals. The Volume Plus and Little Alligator are among their most iconic offerings, featuring electro-optical designs for precise and noise-free volume control. These pedals have become industry standards, trusted by countless guitarists and bassists worldwide.

3.3 Switchless Technology
Morley Pedals was one of the first companies to introduce switchless technology, eliminating the need for mechanical switches that are prone to wear and tear. The introduction of this technology simplified pedal operation and improved durability, ensuring consistent performance throughout extended use.

3.4 Dual Bass Wah
In 2004, Morley released the Dual Bass Wah, the world's first bass-specific wah pedal. It was designed to cater specifically to the unique frequency range of bass guitars, providing a clear and musical wah effect. This innovation quickly gained popularity among bassists, solidifying Morley's reputation for meeting the diverse needs of musicians.

Impact on the Music Industry
Morley Pedals has had a profound impact on the music industry. Their products have been embraced by a wide range of artists across genres, including renowned musicians such as Steve Vai, Mark Tremonti, Billy Sheehan, and Tom Morello, to name just a few. The distinctive sound and reliability of Morley Pedals have made them an integral part of countless live performances and studio recordings.

Furthermore, Morley's innovations in switchless technology and bass-specific effects have inspired other manufacturers to follow suit, leading to advancements in the overall effects pedal industry. Morley's commitment to quality and performance has set a benchmark for other companies to strive for, raising the standard for effects pedals in the market.

Conclusion
Morley Pedals has firmly established itself as a pioneer and leader in the effects pedal industry. Through their dedication to innovation, high-quality craftsmanship, and commitment to meeting the needs of musicians, they have earned the trust and admiration of artists worldwide. With their extensive range of pedals and continued emphasis on technological advancements, Morley Pedals is set to remain at the forefront of the industry for years to come, providing musicians with the tools they need to create and perform their best.