What is a Plexi?
We jump back in time to the early sixties in Great Britain. Rock music of all kinds exploded in the UK during this time and posed a major problem for local musicians. The crowds at the concerts were getting bigger and bigger, as were the halls, but there was almost no equipment that could fill the halls with sound. The British musicians had a selection of small combo amplifiers, which went up to a maximum of 15 - 20 watts and these also lasted a short time at full load before going into the eternal hunting grounds. Companies like VOX or Selmer were just getting started and were not yet able to even begin to meet demand.
The only manufacturer in the world that had stable amps at the time that could generate up to 100 watts of power was located on the other side of the pond and was called Fender. However, at the time there were no import companies that would ship the desperately sought-after amplifiers to Europe, and the different mains voltages between the USA and the UK put a damper on private imports.
Jim Marshall, who opened a music store in London as a trained drummer and electrician, managed to obtain a small stock of amplifiers for the first time, but the demand still could not be met. So it came about that Jim Marshall hired a few engineers who then copied the 59' Fender Bassman 1:1 with a few modifications and brought it onto the market under the name JTM 45. The amp practically became the standard in all British clubs overnight and brought Marshall a huge boost in popularity.
A short time later, Pete Townshend from THE WHO asked Jim Marshall for a louder amp because the JTM 45's 45 watts weren't enough for him. Please imagine for a moment what volume levels prevailed on stage back then when 45 watt solid tubes were considered too quiet. The reason is quickly explained. P.A. Systems such as those offered today simply did not exist back then. People were happy when their vocals were amplified via a “vocal system” using crazy constructions. With a lot of luck they also found 2 channels for the kick and an overhead microphone, but that was it. Monitor boxes? What is that? Guitar and bass? Straight from the stage into the hall. It is not for nothing that almost all musicians of this time were and are partially or completely deaf.
After Jim Marshall doubled the JTM 45's output to 100 watts at Townshend's insistence, the next model, the original Plexi, came onto the market in 1967 in the form of the Marshall Superlead 100. It still had the reserves to sound clean even at high volumes. “Sound clean? Marshall and Clean, what’s that supposed to mean?” the first readers will ask themselves. Well, as already mentioned, during this time it was primarily about being able to fill large halls with sound without the sound collapsing. High gain as it is used today was unthinkable even in the wildest dreams and since artists like Jimi Hendrix almost predominantly preferred a clean, possibly slightly crunchy sound, the Plexi was characterized by precisely this feature. It's funny when you consider that the clean sound probably comes last when it comes to classic Marshall sounds.
Where does the term “Plexi” come from?
As I said, the name Plexi is a creation of a word that was coined by customers at the time. It is simply a description of the fact that the control panel of the amplifier is backed by a plexiglass pane for optical reasons, nothing else. In principle it wouldn't be a problem if it weren't for the fact that there were tons of Marshall amplifiers with different sound requirements, all of which had a control panel lined with Plexiglas. There were organ amplifiers, bass amplifiers, guitar amplifiers, and even Plexi vocal systems in Marshall's range.
Over the decades it has been agreed that a non-Master Marshall with 50 or 100 watts is called a “Plexi”, even if from 1969 onwards it no longer had a Plexiglas pane in its equipment. Seen this way, these include the 1959, 1987, 1992 models, some Bluesbreaker combos and of course the reissue models, which Marshall releases at regular intervals.
What is the “Plexi” sound?
To say it right from the start, the “Plexi” sound in all its shades is a far cry from what we call “lead” or even “high gain”. However, it is not the “super clean” that modern multi-channel devices offer. Strictly speaking, it's the different levels of crunch that Marshall offers with these models, depending on the guitar and the pickups installed. I'm consciously talking about playing the amp WITHOUT additional pedals, as these of course greatly expand the sound of the amp, but also completely change its sound. However, it should also be mentioned that all Plexis harmonize perfectly with boosters, overdrive and distortion pedals of all kinds due to their spartan construction. However, going into this further would go beyond the scope of this special. You can find some sound examples under this link.
Even if a typical Plexi is seen as a single-channel device, the amp must, strictly speaking, be seen as a two-channel device, which offers two different inputs with different sound approaches per channel, hence the four inputs. (Footswitch in 1967? What is that?) While input 1 of the respective channel was the much hotter input, input 2 still offers a comparatively clean sound even at very high volumes. Mind you, the volume at 12 o'clock, for example, is infernal and can really be maximized at large open air concerts.
The two channels of the amp differ massively in terms of their sound characteristics. Channel i of the amp is the classic lead channel and has more treble and presence, while channel 2 has significantly less treble and a higher bass content. What came up relatively early and was due to the circuitry of the time is the fact that you can connect both channels using a short patch cable and then mix them using the two volume controls. Channel 2 in particular benefits from this, as in my opinion it doesn't work at all in its solo function, as it is far too musty and expressionless.
A special feature of the classic Plexi sound is the fact that it has a lot of highs, but they don't “hurt”. Many modern amps make you squint as soon as you tamper with the treble or presence controls, but this is not the case with Marshall. The tone control of the amp is deliberately designed to be comparatively ineffective. When asked about the tone control, Jim Marshall's statement is legendary: “This is on purpose so that you can't set a bad sound,” knowing that God knows that his customers in “Swinging London” had other interests in mind than the perfect setting of a guitar amp.
I have recorded three amps that can be included in the “Plexi” range, a 1959 model, which was tuned almost 30 years ago (albeit very well, but unfortunately) by Manfred Reckmeyer, an untreated 1992 model, which is the bass amp Execution, but in principle it is almost identical to the 1959 and a new Soundcity Master One Hundred, which is very close to the Plexi in terms of approach, but still represents an independent sound culture. All amps were recorded without any pedals; the guitar was a Fender Strat Anniversary from 1979, which was equipped with an EMG set.
For the tuned 1959 I only used the “untuned” setting, but you can already tell that changes have been made to the innards of the amp. The sound is more stable than vintage amplifiers, but it lacks the freshness of the original.
In terms of sound, the 1992 actually offers an identical copy of the 1959 Superlead with a slightly more stable bass range, which is why it was almost completely turned out.
The SoundCity comes very close to a classic Marshall, but offers a significantly greater range of sound than the typical non-Master Marshalls. For me it is an outstanding alternative, which, in contrast to some Marshall products, is currently available and which has the same history as Marshall.
To get to the point, operating a Plexi on stage in its sweet spot without appropriate measures borders on bodily harm, even though the sound is unparalleled. Nothing, really nothing, can compare with this power and this stage presence, especially not simulations or profiles that are adorned with the trademark. But if you use, for example, a high-end load resistor like the Fryette Power Station, you can even manage to keep the legendary sound at practical volume levels and still not have to accept any loss of sound. An amp for eternity!
One last thing, the famous “English setting”, i.e. all controls at 10, is complete nonsense, the amp sounds much too pressed and undynamic in this setting. If at all, you can only operate the amp in this setting with a guitar that has extremely low output, so maybe a vintage Strat with half of the magnet molecules already tipped over or maybe an old Danelectro.
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Additional Informations:
Jim Marshall, born James Charles Marshall on July 29, 1923, was a British entrepreneur and musician who left an indelible mark on the world of music through his revolutionary contributions to amplifier technology. Widely known as the "Father of Loud," Marshall's name is synonymous with the iconic Marshall amplifiers that have played a pivotal role in shaping the sound of rock and roll. This article explores the life, career, and lasting legacy of Jim Marshall, a visionary whose innovations continue to resonate across the global music landscape.
Early Life:
Born in London, Jim Marshall grew up during a time when the music scene was undergoing a radical transformation. In his youth, he developed a passion for jazz and the drums, ultimately leading him to pursue a career in music. Marshall's early experiences as a drummer laid the foundation for his later success in the music industry, as he gained firsthand knowledge of the needs and challenges faced by musicians.
Entrepreneurial Beginnings:
Jim Marshall's journey as an entrepreneur began in the early 1960s when he opened a small music shop in London. Initially selling instruments and offering drum lessons, Marshall's shop soon became a hub for local musicians. Recognizing the demand for reliable amplifiers that could produce the volume required for live performances, Marshall decided to venture into amplifier manufacturing.
The Birth of Marshall Amplification:
In 1962, Marshall introduced the JTM45 amplifier, a product that would mark the birth of Marshall Amplification. This amplifier, inspired by the American Fender Bassman, quickly gained popularity for its powerful sound and durability. Marshall's keen understanding of musicians' needs allowed him to refine and improve his amplifiers continuously.
The Marshall Stack:
One of Marshall's most significant contributions to the world of music was the development of the Marshall stack. In the mid-1960s, he introduced the concept of stacking multiple speaker cabinets on top of each other, creating a towering wall of sound. This innovation not only provided the volume that rock musicians craved but also became an iconic visual symbol of the rock and roll lifestyle.
Endorsements and Influential Users:
As Marshall Amplification gained acclaim, it attracted endorsements from some of the most influential guitarists in the world. Legends like Jimi Hendrix, Eric Clapton, and Jimmy Page embraced the Marshall sound, solidifying its status as the go-to choice for rock musicians. The association with these iconic artists propelled Marshall Amplifiers to international prominence.
The Marshall Logo:
The distinctive "Marshall" logo, featuring a stylized script, became an iconic symbol of quality and reliability. Marshall's commitment to producing amplifiers that could withstand the rigors of touring and deliver a consistent, powerful sound earned the brand the trust of musicians worldwide.
Legacy and Impact:
Jim Marshall's impact on the music industry extends far beyond the amplifiers that bear his name. His innovative spirit and dedication to meeting the needs of musicians revolutionized the way amplifiers were designed and built. The Marshall sound became synonymous with the energetic and powerful performances of rock and roll, shaping the sonic landscape of countless genres.
Jim Marshall passed away on April 5, 2012, but his legacy lives on through the enduring popularity of Marshall Amplifiers. The company continues to innovate, adapting to new technologies while staying true to the principles set forth by its founder. Marshall amplifiers remain an integral part of the music industry, used by musicians of all levels, from aspiring beginners to seasoned professionals.
Conclusion:
Jim Marshall's journey from a drummer and music shop owner to the creator of one of the most iconic amplifier brands in the world is a testament to his entrepreneurial spirit, passion for music, and commitment to quality. The Marshall Amplification legacy serves as a reminder of the profound impact one individual can have on an entire industry. Jim Marshall's vision and innovation have left an indelible mark on the history of music, ensuring that his name will be remembered for generations to come.
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