The source-date code on a pot is a 6 or 7 digit code impressed into the casing of the potentiometer. For speakers this code can be 5, 6, 7 or 8 digits long, and it’s ink-stamped or paint-stamped on the “bell housing” of the speaker. In either case, the code works the same. The first 3 digits on a pot, or the first 2, 3 or 4 digits on a speaker are the source or manufacturer code. The remaining 3 or 4 digits are the date code. In 3 digit dates code, the 1st digit is the last digit of the year. On 4 digits date codes, the 1st and 2nd digits are the last two digits of the year. In either case, the remaining 2 digits are the week of manufacture 01 to
How Old is My Marshall
The online subscription contains the entire database of the current Blue Book of Guitar Amplifiers. In , Jim started to build bass and PA cabinets in his garage, because of the demand for a good bass amp. Since Marshall’s Music was buying other amplifiers and selling them, Ken Bran, the new service engineer, suggested that they start building their own amplifiers.
Speakers kept blowing on these first models, so they decided to add more speakers.
i own many ampsmarshall 68 plexi, budda superdrive ii, and this is my go to amp. CHANGE THE TUBES, 12AX7 FOR RCA BLACK PLATES, 6L6 for GE 6L6GC AND REALLY IMPORTANT IS THE 12AT7 FOR A 12AU7 IN THE V7 POSITION AND THIS AMP WILL COME ALIVE AND COMPETE WITH ANY DUMBLE OR RIVIERA OUT THERE.
Guitar Player December Letters to the editor; Guitaring; Questions; It’s New. VG condition, mailing label on back. VG condition, mail label back cover.. A Pro replies; Rusty Young: Steel symposium; Chuck Rainey: More sonic shapes; Bob Baxter: Constructing chords; Jerry Hahn: Rhythm changes; Jimmy Stewart:
Marshall Date Codes
The progress of this type of work is slow, hence the long hiatus, however, a lot of new data have been collected regarding Fender amplifiers, including production numbers. Advances have been made with regards to the production of tolex amps and it appears that much of this information can be applied to late s tweed amps as well. In addition, the dating-by-serial number tables have been revised and are more accurate. The bad news is that there is still a lot of work that needs to be done on the silverface amps.
Unfortunately, there is some sad news to report as well. Fellow Fender amp researcher, Greg Huntington, passed away June 5, after losing his battle with cancer.
Permalink. As Dan said, the amp above is whats known by amp guys as the ’94 twin’, infact Fender used to call it that aswell. It was part of the pro range designed by Paul Rivera before he did his own thing.
Jim Marshall, who helped shape the sound of rock and roll with his groundbreaking amplifier designs, died Thursday April 5, Marshall was known throughout the music world for founding Marshall Amplification, which produced the amplifiers that rocked music halls and arenas after their introduction in Jim Marshall might be to blame. That was no accident. Marshall, who died Thursday at the age of 88, was not looking for precision when he and his sound engineers came up with the early Marshall amps in He said in a interview that what he wanted was raw, fuzzy power.
He said the rival Fender amp, tremendously popular at the time, produced an extremely clean sound that worked well with jazz and country and western but did not satisfy younger players searching for something different. He was looking for a rougher sound. Marshall was a larger than life figure with a taste for single malt Scotch whiskey and Cuban Montecristo cigars.
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Marshall was a drummer and drum teacher who used his earnings to set up a music shop in west London in Among his customers were the likes of Ritchie Blackmore and Pete Townshend, and it was through talking to them that Marshall realised there was a gap in the market for a guitar amplifier cheaper than the American-made models popular at the time. When, at Townshend’s request, a Marshall amplifier head was teamed with a cabinet, the ” Marshall stack ” was born, becoming the defining feature in rock bands’ backlines for generations to come.
Look inside the Fender Twin Amp Watt All-Tube Guitar Amp and you can see ’em in there, glowing with that warm, rich, physical juice ” a broad river of power to carry your guitar’s tone. We’re talking classic Fender tone with tube reverb and tremolo.
Page 1 2 “How old is my Marshall? While the age of an amp has no bearing on how good or bad it sounds, it can have an impact on the selling or purchase price of a Marshall rig. Using the information in this section, you can attempt to dial in the possible dates of manufacture more closely than by sheer estimation alone. Does it have a bar code? Yes read on No next page Marshall began using a nine-digit bar code label beginning in If your amp or speaker enclosure sports a black-ink-on-white-background barcode label on the chassis or back of the cabinet, then you know that the product was manufactured somewhere between and the present.
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MkIII is the only good one It is the most sounding imo and its basically a hot rodded with the addition of a “Sensitivity” control which is post V1 and Pre-Amp pot and is VR2 on the shematic. The Pre-Amp and Sensitivity are where you can find classic to modded tones. You won’t find that in any or the SL-X. So this less than accurate and somewhat biased review is the reason the SL-X flys under the radar in addition to misunderstanding of how the Pre-Amp and Sensitivity control should be dialed in.
If you see your amp here and some of the information is missing feel to email me with the missing information. For examples of amps represented in this data base click here Marshall Pictorial Page. Click on Model number for a link to the actual amp. Year. Model # Serial # Tolex Type. Output Transformer. Power Transformer. Choke. Chassis.
Tweet on Twitter Jim Marshall in with his line of equipment. Photo courtesy of Marshall Pete Townshend once told an interviewer that when The Who first formed, he saw the guitar very much as a weapon. Long before it had a name, he was looking for shock and awe. And he found the man willing to supply it — Jim Marshall.
So they described the sound they were looking for to me. Neither man was a guitarist, but each made his career as an entrepreneur who was willing to listen very, very carefully to their guitar-playing customers, and give them what they wanted. Eventually, the album would make the guitar, the guitarist, and his amplifier all legendary. The trouble was, all my drum-teaching studios were in the back of that place too, so it got quite cramped in there at times!
Townshend wanted something similar, not just for louder volume, but for more controlled feedback. Photo courtesy of Marshall. The solution was a watt amp for each player, but many amp manufacturers were afraid that the internal circuitry of such a powerful amp would simply melt from the heat.
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I promise the tables will still be there after you finish reading. We also received a report of a tweed 5G12 Concert. The 5G12 Concert is the earliest version from very late and early so the existence of a tweed example, while extremely rare, is certainly plausible since Fender was making lots of tweed amps during the same time period. Working at FMI — I was able to interview a fellow who wishes to remain anonymous who worked at Fender in in the amp department.
Although his job was somewhat limited, his recollections provided some really fascinating insights to how the amps were built. For instance, he confirmed our assumption that the amp chassis were put into stock after being stamped with serial numbers and that the chassis were pulled from the stock bins randomly just as with Fender guitar neck plates.
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Fender “The twin” red knob amp opinions?? What is the concencus on this amp. Is it a keeper or a dud? Hope you can help I fought off buying another tube amp for five or six years after my Peavey Classic 50 “kept on playing” between songs at an important gig, and I a solo artist had to unplug it, put up my Rickenbacker string, and plug my Ovation Elite into the PA head and to finish my set acoustically.
I ordered a Hot Rod DeVille last fall but canceled the order when I tried to get distortion on the one in the store and couldn’t. In the meantime, just this last weekend, I came across The Twin with the red knobs don’t know its actual age yet in mint condition. I played it in the store and liked it, went back the next day, just couldn’t get away from it. Everyone has told me for the last 10 years that tubes are the only way to go. I set my “The Twin” up in my practice room shop out back in conjunction with my solid state Fender Stage halfstack.
I have the Stage ‘s volume set at 9 and The Twin’s volume is set at. It is that loud, but workable, no, actually a trip and a half. I don’t know what sort of music you play, but I cover songs ranging from “Mr. It does all of those things. It even sounds right on the Grateful Dead’s “Friend of the Devil”.