Freitag, 30. Juni 2023

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.

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