PW: “Originally, the first amplifiers we made had KT66s or KT88s in. The supply of valves back then could be pretty hit and miss, couldn’t it? (Image credit: Ted Streshinsky/CORBIS) The prototypes So Jim found a company who could make the transformers for us, and in 1968 we started making a true 100-watt amplifier, which used a 100-watt mains transformer, a 100-watt output transformer and four E元4s giving you 100 watts RMS.” Prev of 7 Next Prev of 7 Next “That ran for probably about a year because, at the time, we couldn’t get hold of the right output transformers - there just wasn’t stock. “The first prototypes were around late ’66 or early ’67 - that’s as close as we can get - it’s very difficult to date that sort of thing - but it was around that time. But, saying that, it was more than twice the volume of a JTM45 and so that was great, because it was what people wanted. “One mains transformer but two JTM45 output transformers, so it actually didn’t give you 100 watts on a good day, you’d get 80 to 85 watts out of it. “It wasn’t until probably ’66 or ’67 that Pete Townshend and Hendrix turned around and said that the JTM45 was okay, but there just wasn’t enough of it! They wanted more power and so we came up with the idea of basically strapping two JTM45s together, which is effectively what the first 100-watt was. Pete Townshend and Hendrix turned around and said that the JTM45 was okay, but there just wasn’t enough of it! When you went in to see him you told him what you wanted it for - lead, organ or PA - and we’d make it accordingly. Phil Wells: “When Jim started in 1962 he was producing one amplifier, which we now know as the JTM45. What were the first moves towards making the 100-watt head? (Image credit: Hulton-Deutsch Collection/CORBIS) The amps In pictures: 1964 Marshall JTM45 Prev of 7 Next Prev of 7 Next And if you want to go poking around the company’s archives in search of the story of how the stack came to rule the world, there’s no better person to ask than Phil Wells, head of Marshall’s heritage and archive… Don't Miss Recognising that an expensive import was practically the only choice for a player looking to emulate the gain-laden sounds on LPs from the USA, Jim Marshall set up his own manufacturing business. Time-travel back to the early 1960s and the choice of amplifier for the up and coming rock ’n’ roll guitarist was not in any way as extensive as it is today. In search of the story of how the stack came to rule the world, there’s no better person to ask than Phil Wells We talk to Marshall’s head of heritage and archive, Phil Wells, about the background to the birth and the early days of the iconic 100-watt stack… My last comment is that I love the 1x15 cab and this amp.(Image credit: Frank Maechler/dpa/Corbis) Introduction The user guide does not say anything about this so I was surprised that with the Treble at max, flipping the tone stack switch (set at max) sounds almost identical. It's as if the Treble at max bypasses the tone stack also but I'm sure someone can educate me. It seems like when the Treble is at max setting that the middle and bass settings do little (with the tone stack bypass off). Both give you a great edge-of-breakup tone. The other option here is to take the Master to 2 pm and lower the gain to about 9 am. It almost sounds identical and at the same exact volume. Gain/Master around 10:30 am (Powerstation helps here). Lower the presence to take out some brightness. Texture switch up, Bright off, Tone Stack off to start. First max the Tone Stack adjust on the back. I have the 40/20 version (set at 40W) with the 1x15 cab. I tested with a Strat (neck pickup setting). For those that are lucky enough to have the Vintage Deluxe and like to experiment, you might want to try this for fun.
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