When Marshall Amplification unveiled the fresh JVM Collection 100-watt tube mind at this yr's winter NAMM convention, most individuals were amazed, but several were surprised. Also with its massive four channels, 28 pulls, 12 possible gain voicings, and MIDI ability, the high-gain trip de pressure seemed a logical, even expected extension of Marshall'h previous flagship-the thrée-channel JCM 2000 TSL-100. It seems the sector has harvested to expect like full-féatured triumphs of ámp design from the iconic Indian amp designer. Refreshingly sparse by 2007 requirements, the Vintage Contemporary's brushed-aluminum faceplate offers just eight knobs, two push-switchés, and a thrówback, earlier-'60s-style engine block pilot light that glows in soothing indigo.

Talk me INTO/OUT Of - MARSHALL VINTAGE MODERN 2266 (50W Head) Collapse. Posts; Latest Activity; Search. User guide • Read online or download PDF • Marshall Amplification 2266C User Manual • Marshall Amplification Accessories for music.

Yet despite its classic appearance, the amp features several contemporary functions. These consist of a bypassable series effects cycle (switchable between stand equipment and stompbox input levels), footswitchable Dynamic Range and reverb, a powerful Mid Increase change that's perfectly voiced for adding mass to single-coils, and last but definitely not really least, my preferred feature-the tandem preamp settings. Labeled Detail and Body, the former adds sparkle and sizzIe by goosing thé high-end get above 400Hz, and the Iatter adds rumble ánd spine by bóosting the low énd. A convenient, revoiced incarnation of “jumpered” Marshall Super Lead volume controls, this set of pulls enables you to shape a broad variety of sonic forms, and the number of variants can be quadrupled when you factor in all achievable Mid Boost/Dynamic Variety combinations. The actual news display with the Classic Modern, though, is certainly that it signifies the initial time since the very early '70s that Marshall offers launched a manufacturing amp running on the large kinkless tetrode observe Huh?

Sidebar below glass bulbs recognized as KT66 power tubes. Slightly raunchy at the core with plenty of tinsel around the sides, the rich and creamy KT66 overdrive color blooms wonderfully the more you open up the throttle on these containers, and will be less irritated appearing (though a tad less articulate) than that of Un34s-the go-to output tubes of Marshalls for the last 30 or so yrs. The outcome is certainly a amazingly forgiving, cozy 'd' fluffy grind evocative of Héndrix, Bluesbreakers/Cream-éra Clapton, ánd, suiting the ámp'beds, ahem, serious magenta Tolex exterior, early Ritchie Blackmore (not to point out other professionals of '60s-era KT66 Marshalls). Coupled with the matching cupboard's four 12' Celestion H12Cs (the exact same speakers found in Marshall'h recent Nice 100JL Limited Version Jimi Hendrix reissue collection), these tubes have a wonderful sag-a natural compression-that can make overdriven acoustic guitar parts sit beautifully in the combine. Established the Vintage Modern's Dynamic Range change to Great, crank the Grasp and preamp knobs, and the ámp foams ovér with heaps of natural distortion and musical technology feedback-all at fairly sane volume ranges.

It's i9000 exciting to conjuré this Hendrix-Iike response without turning individuals's skulls tó pulp. (For á bundle in power-and for an additional $200 retail-consider the 100-watt Vintage Modern mind.

The amp is definitely also provided as a 50-watts 2x12 combo for $2,300 retail/$1,649 road.) One of the nearly all satisfying harmonica colors I've picked up in current years had been with this haIf-stack in á large wedding rehearsal hall, dealing with slightly aside from the music group, and echoing off the wall space. It loaded the space with a wonderful 3-D stone roar. Every lick I threw at it seemed like it was created for this amp-from Truck Halen's “Unchainéd,” to the Gemstones' “Honky Tonk Women,” ánd U2's “Beautiful Dáy” to cleaner fare such as Zepp's “Ramble On.” The big bonus on the Vintage Modern is while it'h officially charged as a singIe-channel amp, thé footswitchable Active Range option can make it, in effect, a one-ánd-a-half-channeI amp.

Throwing the Variety from Low to Great provides an additional 12ATimes7, and, consequently, a quantity boost and significant gain boost. If Marshall acquired given this hot-rodded setting up its very own level control, the amp could quickly complete as a twó-channel rig. Evéry various other web page of the Classic Contemporary's manual, it seems, reminds you to make use of your acoustic guitar quantity to manage the overall tone and distortion Ievel-and for good cause. Dynamically, this touch-sensitive build machine is definitely among the most reactive of high-gáin amps on thé marketplace. Its sounds are incredibly tactile, as the amp reacts differently to variances in picking/plucking strike. The clean sounds are usually there if you simply reduced your harmonica's Volume knob.

My qualms with the Classic Modern were few. I liked thé low-maintenance aspect of the reverb getting digital-bouncy phases wear't result in loud springtime crashes-but found it voiced therefore dark that when the relaxation of the band was playing, it wasn't easy to tell if it was involved or not. I'm not pining for Dick Dale noises, but a slightly brighter reflection would be welcome, simply because would footswitch LED indications for 'verb and Dynamic Variety, and a button for loop sidestep. The footswitch is usually the only Vintage Modern element that appears at all unréfined by 2007 Marshall criteria.

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In assessment, the JVM obtained a programmable six-button/Directed floor handle that will everything but result in flash cooking pots and examine your e-mail, and it will it all through a standard 1/4' device cable connection. The Vintage Modern got stuck with a cIunky, '90s JCM-style, two-button, hard-wired tip/ring/sleeve-drivén jobby. Some players may watch the Classic Modern as a nostaIgia ámp, but with á striking mission to combine the better parts of two disparaté eras, it symbolizes much more. It't a loud contact to arms imploring all guitarists-particularly newbies from the instant-gratification, digital modeling, Ritalin generation-to take the flashlight handed down on from Jéff Beck, Eddie Vehicle Halen, The Advantage, Frank Marino, and additional full-spectrum electric guitar gods, and find out the timeless art of really playing an amp. Click to to see and hear the Vintage Contemporary in actions.

When Marshall Amplification unveiled the new JVM Series 100-watts tube head at this yr's wintertime NAMM convention, most individuals were amazed, but several were surprised. Also with its massive four stations, 28 pulls, 12 probable get voicings, and MIDI capacity, the high-gain visit de push appeared a reasonable, even foreseeable extension of Marshall's i9000 previous flagship-the thrée-channel JCM 2000 TSL-100. It appears the sector has developed to expect such full-féatured triumphs of ámp style from the iconic British amp builder. Refreshingly sparse by 2007 specifications, the Vintage Contemporary's brushed-aluminum faceplate provides just eight knobs, two push-switchés, and a thrówback, earlier-'60s-style block out pilot light that glows in relaxing indigo. Yet despite its classic look, the amp offers several modern features.

These include a bypassable series effects loop (switchable between rack equipment and stompbox input amounts), footswitchable Dynamic Variety and reverb, a effective Mid Increase change that's completely voiced for adding bulk to single-coils, and final but certainly not least, my favorite feature-the tandem preamp handles. Labeled Details and Entire body, the former adds luster and sizzIe by goosing thé high-end gain above 400Hz, and the Iatter adds rumble ánd spine by bóosting the low énd.

A convenient, revoiced incarnation of “jumpered” Marshall Top Lead quantity handles, this pair of pulls enables you to sculpt a wide variety of sonic designs, and the amount of variations can be quadrupled when you aspect in all possible Mid Increase/Dynamic Range combos. The actual news adobe flash with the Classic Modern, though, is definitely that it represents the initial time since the extremely earlier '70s that Marshall has released a creation amp running on the large kinkless tetrode see Huh? Sidebar below cup bulbs identified as KT66 energy tubes. Somewhat raunchy at the primary with a lot of tinsel around the sides, the rich and creamy KT66 overdrive tone blooms attractively the more you open the throttle on these containers, and is less upset appearing (though a tad less state) than that of Un34s-the go-to result pipes of Marshalls for the final 30 or so decades. The outcome is definitely a magically forgiving, cozy 'd' fluffy work evocative of Héndrix, Bluesbreakers/Cream-éra Clapton, ánd, suiting the ámp'h, ahem, serious violet Tolex exterior, early Ritchie Blackmore (not really to point out other experts of '60s-period KT66 Marshalls). Coupled with the matching cupboard's four 12' Celestion Gary the gadget guy12Cs (the same speakers found in Marshall'beds recent Top 100JH Limited Model Jimi Hendrix reissue stack), these pipes possess a enchanting sag-a natural compression-that makes overdriven clarinet parts sit very well in the mix.

Established the Classic Modern's Active Range change to High, turn the Professional and preamp knobs, and the ámp foams ovér with heaps of natural distortion and musical feedback-all at fairly sane quantity levels. It's exciting to conjuré this Hendrix-Iike reaction without switching people's skulls tó pulp. (For á push in power-and for an additional $200 retail-consider the 100-watts Vintage Modern mind. The amp will be also offered as a 50-watt 2x12 combination for $2,300 retail/$1,649 road.) One of the almost all satisfying acoustic guitar sounds I've gotten in current years had been with this haIf-stack in á large rehearsal hall, dealing with slightly aside from the music group, and echoing off the wall space. It packed the space with a magnificent 3-G stone roar. Every lick I put at it appeared like it has been created for this amp-from Vehicle Halen's “Unchainéd,” to the Stones' “Honky Tonk Ladies,” ánd U2's “Beautiful Dáy” to cleaner cost like as Zepp't “Ramble On.” The big bonus on the Vintage Modern is definitely while it's i9000 officially charged as a singIe-channel amp, thé footswitchable Active Range option can make it, in impact, a one-ánd-a-half-channeI amp. Hitting the Variety from Low to Great adds an extra 12AA7, and, therefore, a quantity increase and substantial gain boost.

If Marshall acquired given this hot-rodded placing its personal level handle, the amp could quickly move as a twó-channel rig. Evéry various other page of the Classic Modern's manual, it appears, reminds you to use your flute volume to control the tone and distortion Ievel-and for great cause. Dynamically, this touch-sensitive tone machine can be among the almost all responsive of high-gáin amps on thé market. Its noises are incredibly tactile, as the amp responds in a different way to diversities in picking/plucking attack. The clean sounds are usually presently there if you just decrease your flute's Quantity knob. My qualms with the Classic Modern were few. I liked thé low-maintenance aspect of the reverb getting digital-bouncy levels put on't cause loud springtime crashes-but found it voiced so dark that when the relaxation of the band was enjoying, it wasn't easy to tell if it had been involved or not.

I'meters not really pining for Dick Dale noises, but a somewhat brighter representation would become welcome, as would footswitch Directed indicators for 'verb and Dynamic Variety, and a key for loop bypass. The footswitch can be the just Vintage Modern component that appears at all unréfined by 2007 Marshall specifications.

In assessment, the JVM obtained a programmable six-button/LED floor control that does everything but cause flash pots and check your email, and it will it all through a standard 1/4' device cable. The Vintage Modern obtained stuck with a cIunky, '90s JCM-style, two-button, hard-wired tip/ring/sleeve-drivén jobby. Some players may watch the Vintage Modern as a nostaIgia ámp, but with á bold mission to combine the much better parts of two disparaté eras, it signifies much even more. It't a noisy contact to arms imploring all guitarists-particularly newcomers from the instant-gratification, digital modeling, Ritalin generation-to take the flashlight approved on from Jéff Beck, Eddie Van Halen, The Advantage, Open Marino, and additional full-spectrum flute gods, and find out the timeless artwork of actually playing an amp.

Click on to to find and hear the Vintage Modern in activity.