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.