Marshall jcm vs dsl

Marshall jcm vs dsl DEFAULT

The History of: DSL Series

Originally launched as a W and 50W head, as the name suggests the Dual Super Lead (DSL) contains two foot-switchable channels; called Classic Gain and Ultra Gain. The Classic Gain has two modes capable of providing classic Marshall tone and high gain modern tones, taking the player from a style clean right through to the snarl of a JCM The Ultra Gain channel on the other hand also features two modes, mimicking the vibe of a hot-rodded or providing even higher gain and a gut-twisting mid-boost, all at the switch of a button.

Powered by EL34s and housing ECC83s, the remarkable versatility marked the DSL out as the first Marshall amp truly capable of playing any style of music, and upon its release was particularly lauded for its clean tones. On top of this the DSL also featured an effects loop and reverb to add even more adaptability.

Due to high demand and a need for a portable alternative, 20W and 40W combo versions of the DSL followed in , named the DSL and DSL The DSL  also featured a power switch to drop the amp’s output by half meaning it was equally at home on stage, in the studio, or at home.

Fast forward to and Marshall looked to revisit the JCM DSL, and build a new series based around it featuring updated technology. This new DSL family featured a DSLH W and a DSL15H 15W head, as well as the DSL40C 40W and DSL15C 15W combo. The modernised DSL range used largely the same components as the originals but also boasted some standout new features, such as a new resonance control, digital reverb, and a two-way footswitch.

Sours: https://marshall.com/live-for-music/history/history-of-dsl-series

Lives for gear

Marshall vs.


I've had a number of marshallsused the for the past 5 yearspunk pop stuffnever had an Remember they were bucks 10 yrs agowhat givesdo they have a sound or can you get it with the by backiing of the gain?
Tim

Gear Nut

 
nadsatrebel's Avatar

Quote:

Originally Posted by TML

I've had a number of marshallsused the for the past 5 yearspunk pop stuffnever had an Remember they were bucks 10 yrs agowhat givesdo they have a sound or can you get it with the by backiing of the gain?
Tim

Those JCM and series amps use diode clippling I believe to achive their overdrive. I never cared for that sound. The series use all tube stages to get "that" sound. The JCM s are usually pretty great sounding amps.

Lives for gear

 
drundall's Avatar
I think the sounds about 40, times better than the I can't believe how bad that amp sounds. Amazing

You couldrecord an old marshall and overdub fingers scratching a chalkboard

Gear Addict

I have a JCM TSL, Mesa Triple Rectifier and JCM I just recorded with a JCM and i tell you it definitely has a "sound". Anyone who bashes the though has not used it much because out of all those amps i have found it to be the most flexible. When we were recording we were fooling with the a ton and it sounds good but it definitely aint gonna give you much modern gain. The JCM can go so many ways if you really work it. If you like that sound then take the JCM 's clean channel and gain it up and you'll get close to that tube breaking up gain sound if you don't want to use the higher gain channels.

Lives for gear

 
Blast9's Avatar
 


My Studio

🎧 15 years
As I understand it, the DSL version of the DSL is NOTdiode distorrtion Its an all-tube path.

The TSL has diodes for the distortion though.

Some JCMs dohave diodes in the signal path.

As we all know the trick with any of these amps is to crank the power stage and DO NOT under any circumstances use those POS Celeston GT speakers!!horrible!

Its amazing what a good speaker will do to the tone of your Marshall!

I think with the JCM its more satisfying to use the "clean" channel for more defined power chords, and use a good pedal to get higher gain stuff out of them

Out of all the JCMs I find the s to have more edge, chunk and definition, but they do have thatsignature tone so you've gotta be happy with it!

Lives for gear

 
drundall's Avatar

Quote:

Originally Posted by DP40oz

Anyone who bashes the though has not used it much because out of all those amps i have found it to be the most flexible.

Huh?

I've used it, and I have 6 Marshalls of various models. I'm not looking for versatile, I'm looking for good.

Gear Head

 
GMo's Avatar

I own a Marshall super lead,a Marshall Silver Jubilee,a Marshall Jcm('83),a Marshall TSL ,and have played through MANY other Marshall's(DSL,'s,plexi's,etc.)

The DSL,and TSL's kick ass!! For a modern crunch (Green Day"American Idiot",to a heavy Slipknot),these Marshall's DESTROY any other Marshall. Period! They also do some good blues tones(50 watt better for these tones,than ),better clean then most Marshall's.

Now if your after more of an AC/DC classic rock crunch,then without a doubt,the Plexi's are king,and the 's are a bit better than the 's.

I'm actually going to sell my ,and Jubilee BECAUSE the tsl,dsl sound(record)so well.

Get a plexi,and a dsl,tsl,and be done with Marshall tones.

Lives for gear

 
Doublehelix's Avatar

Got a TSL, DSL and a JCM Slash (Jubilee re-issue).

The TSL does not have a good rhythm tone in it IMHO, although it really screams for lead sounds.

The DSL and Jubilee are amazing at everything however!

From what I understand, with Marshall the model # does not tell the whole story. I started researching Marshall amps about a year ago and it looks like they always change the design before they change the model #. So a late and an early are the same amp, but an early and a late are not. A late JMP and a early are the same amp. an Early JMP is like a plexi. They stopped hand-wiring them in ' Lately I've been playing thru a plexi with KT66's (JTM, my first "marshall"). I would like to try EL34's at some point, too.

Harmless Wacko

Every amp mentioned here is a workable amplification system for recording distorted electric guitar.

I have heard all of them sound dreadful, and all of them sound glorious.

Yes even the admittedly low yield

In diminishing order of importance: Who's doing the playing, what instrument he's playing, the cabinet and it's speakers, and a bewildering host of other variables determine the final outcome.

It's endless.

Best thing about it.

Best regards,

SM.

Moderator

 
James Lugo's Avatar

I own and have owned all Marshall's in question. I think the DSL sounds killer. By far the most flexible. The voicing is deeper then the and and accomodates modern drop tuning well. Better then an or Honestly I have an awesome that's collecting dust right now because my clients like the better. But to be fair to the , it's never been my cup of tea. For some reason it never suited my playing.

My 2 cents.

Gear Maniac

2ct


My ears are telling me:

- - 80's heavy metal
- more "modern sounding" (NU metal and so)
DSL - TSL - finer sounding than the

Lives for gear

 
allencollins's Avatar

Quote:

Originally Posted by nadsatrebel

Those JCM and series amps use diode clippling I believe to achive their overdrive. I never cared for that sound. The series use all tube stages to get "that" sound. The JCM s are usually pretty great sounding amps.


the also use clipping diodes. They are the JCM Channel switchers.
The don't they only have one channel.

The 's and sound like Ass. The difference between the 's beside the difference in multiple channels is a matter of taste

the 04's sound like AC/DC. Very natural. The have more gain.
They give like the Old Metallica heavier style sound. The 's sound much like a hughes and kettner Duotone just not as refined

The duotone is best 80's style crunch you can get hands down

They all sound great as far as the 's go. For nu metal crunch get a bogner or a mesa

I had a single channel 50 watt with vertical inputs (rare as I understand it). Greatest sounding Marshall ever. Don't get me wrong, I love JTM45's, 18 watts etc etc etc. I just wish I never sold it. Sounded the best if you cranked the master volume and turned the pre up to taste. Beautiful.

Diode clipping has a place, the trash. Tubes rule!

Moderator

 
James Lugo's Avatar

I love gearslutz! This thread made me go dust off my and play it today. I just had a Duncan Custom 5 put in the bridge of one of my Pauls and I fired it up through the and it felt so good. It sounded great. I'm going to start using my again.

Gear Addict

DSL50's out of the box sound terrible. New preamp tubes (a dark tube in V3) bias at 40mv and it's a whole new amp. What's cool is in the crunch channel - V2 is not even in the signal path - a tube tweakers dream!) However - with humbuckers it breaks up too much for my style. With single coils it behaves quite well. I sometimes record my (passive) bass tracks with a DSL50 and a 4X A very flexible amp when setup with the right cabs.

Moderator

 
James Lugo's Avatar

I have a watt DSL that has been tricked out and retubed, it sounds great.

Lives for gear

 
nathanvacha's Avatar

Always been a fan of 's. I have heard good sounds come out of other marshall's too. I don't know as much about them as some of the other posters, but that's just always been my take on them.

Gear Maniac

 
Chunky Karma's Avatar

Quote:

Originally Posted by allencollins

the also use clipping diodes. They are the JCM Channel switchers.

Quote:

Originally Posted by Wes Kuhnley

Diode clipping has a place, the trash. Tubes rule!

I'm pretty sure that on the first Rage Against The Machine album that everyone seems to like the sound of around here he used a JCM Do you not like those guitar sounds?

Lives for gear

 
's Avatar

i use a dsl50 for gigs and a in rehearsals. The dsl for me has more flexibility. Great blue's tone with vintage gibson deluxe mini's or p90s and instant scooped contemporary grind sound for more gain and stuff in between using gibson with paf's or ibanez RG etc. I think DSL is a great amp - the sound very nice with a sansamp pedal for a tad more gain if you want to to push it beyond 'crunch'

Single Channel 50w JCM's are INCREDILE amps. The channel switchers, less so.
A x and a 2 x 12" 50w can solve a lot of tone problems!

Lives for gear

 
StuartMac's Avatar

Quote:

Originally Posted by stellar

From what I understand, with Marshall the model # does not tell the whole story. I started researching Marshall amps about a year ago and it looks like they always change the design before they change the model #. So a late and an early are the same amp, but an early and a late are not. A late JMP and a early are the same amp. an Early JMP is like a plexi. They stopped hand-wiring them in ' Lately I've been playing thru a plexi with KT66's (JTM, my first "marshall"). I would like to try EL34's at some point, too.

I have a JMP50 - are you saying this is basically like a Plexi?

Quote:

Originally Posted by Chunky Karma

I'm pretty sure that on the first Rage Against The Machine album that everyone seems to like the sound of around here he used a JCM Do you not like those guitar sounds?
not really. while Morello is a frickin genius when it comes to manipulating his guitar into making wierd sounds (as well as straight playing I might add), I think his guitar tone lacks in the "depth" department. Most of the time I find the difference between diode clipping and real tubes (when it comes to guitar amps anyway) is the "depth". I think this decription is a characterization of the dynamic response of the clipping. diodes reach clipping suddenly, whereas tubes clip very gradually, flexing and adding compression before clipping. This is the simple reason why 50's era tweed fenders are stillthe best sounding amps on earth, simple circuits, tube rectifiers, pine boxes and voila! TONE!

Lives for gear

 
el cochino's Avatar
I have 2 JCM 's, a with 's and a with el34's. They cover pretty much everything from AC/DC to bonecrushing death metal. Of course you need a pedal for higher gain sounds, but these amps seem to like pedals alot. I prefer them over 's and 's any day of the week, because if it's good enough for Slayer, it's good enough for me, too!

Gear Maniac

 
sharky's Avatar
 


My Studio

🎧 15 years

Quote:

Originally Posted by TML

I've had a number of marshallsused the for the past 5 yearspunk pop stuffnever had an Remember they were bucks 10 yrs agowhat givesdo they have a sound or can you get it with the by backiing of the gain?
Tim

I think the clean channel on the is pretty cool. That being said I don't think the could ever be in the same league as a good for ANY application.

I'm also curious about the JMP/Plexi being the same in the seventies. I've got a JMP and compared with a Plexi I worked with a few weeks ago it has a very, very similar sound. I think mine is from Are they in fact the same amp?

Lives for gear

 
preben's Avatar

Any guitar player who can't use a jmp//jubilee//Anniversary/ with a reasonable cab and guitar and get a decent distorted rock guitar sound out of it has a problem - and it ain't the amp..!!

Lives for gear

 
Blast9's Avatar
 


My Studio

🎧 15 years
Agreed But boy, does the choice of speakers make a HUGE difference!

As does the volume you're allowed/not allowed to play them at!

Too quiet =

Too loud =

Lives for gear

All the metal-head users I've seen use a distortion pedal in front of the clean channel. Just an observation - read into it what you will

I've got one in the studio right now, and MHO is the tries to be too many things (blues, clean, metal) and falls short on 'em all. I'd like to get my hands on an

Gear Maniac

 
Chunky Karma's Avatar

Quote:

Originally Posted by 6strings

All the metal-head users I've seen use a distortion pedal in front of the clean channel. Just an observation - read into it what you will

I've got one in the studio right now, and MHO is the tries to be too many things (blues, clean, metal) and falls short on 'em all. I'd like to get my hands on an

I'm curious if this would be a way to avoid what some here claim to be the less desirable "clipping diode" overdrive on some of these models. Does putting some sort of booster before the input (clean channel) create more of a true tube overdrive?
Sours: https://gearspace.com/board/
  1. Itchy boots store
  2. Monogram storage basket
  3. Blue stone solutions
  4. Black forest industries

I really love the You can get a lot of different kind of sounds from it because of the Classic/Gain channel, and each of those has a 'boost' button. % of the time I play through the 'Clean' channel but press the button to get the boost and work with it from there. It's not that the Gain channel is bad or anything, I just like playing through the boosted Clean channel with my own pedals because I feel I have much more control over the sound and if I need it to get undistorted, I don't have to change channels and instead, it sounds a bit more natural. The clean channel without the boost is also BEAUTIFUL.

Also, even though the amp doesn't sound too bad on low volumes (but you're right, all tube amps definitely lack in that 'register'), once you're passed 4, you hear that noticeable improvement but it really has some bite in the

I haven't played the 50 nearly as much as the (and when I did try it out, it was a while ago) so I probably can't give you the most accurate comparison but I remember liking the natural overdrive much more on the , plus I desperately needed the power. The bassist in my group has a GK 8x12 cab with a watt head and the drummer is just out of his mind so I needed some brute force to hold my own.

Overall, it definitely made a lot of sense for me to get the but I even still have room to be much louder and I like that, and I think it is that principle that would lead me to recommend the It all depends on the venue and I usually average on having it on anywhere from but a few weeks ago, we played inside a lecture hall at my school and I had it on about and it sounded great. I was far from limited in terms of volume but could maintain it fairly low and still have it sound nice.

You can also obviously just crank the amp up and instead utilize the controls on the guitar more to do some extra tweaking.

Again, I can't give you the best comparison to the 50 but I like having the extra firepower on hand. You never know when you will need it. It's not that the 50 is weak by any stretch of the imagination, I just like the ability to really blast it when needed.

 

Sours: https://www.ignboards.com/threads/marshall-jcmdslvs-dsl/

JCM vs JCM

Played a DSL head for years, my first "real" half stack, until I realized that dynamics could exist beneath absolutely ear splitting levels in other amps <- the flaw in the DSL not present in every Marshall like amp IMHO.
I don't miss it at all and think we need another high gain marshall not at all, but if someone wants it I won't argue against it, it just didn't have an especially unique character.
Its there if you take any of the other high gain marshalls and compress it a bit IMHO.

Joe can run that thing wide open and that's the one time it shines, but short of an arena like Joe, there is no point in being that loud and I never could keep the vibe with a other stuff in the chain to cut down the dbs (tried the usual stuff from THD and others)

The thing that opened my eyes and changed my playing was the Carvin Legacy (lower gain) and then a VHT Deliverance (high gain and before the Fryette spin off).
What dynamics. What touch response. A totally different character on two levels of course, but with an EQ in the loop of the Legacy and a dirt pedal out front I could do things that were literally impossible with the DSL.

They are all gathering dust or sold. The AF2, a matrix, and an Atomic Wedge replaced them all.

-P

 

Sours: https://forum.fractalaudio.com/threads/jcmvs-jcm/

Vs marshall dsl jcm

Without getting into your opinion on both amps, which I respect, I have to comment on this, from a historic perspective:

theghostnow wrote:great raw classic sound where legends and their songs were made from.



Very few, actually almost no classic albums/ players used the /4s. The vast majority of the big names of the 80's were using either stock or modded Super Leads ( or ), not the s. Then later on the decade a lot of then moved to other brands completely, like Soldano, Mesa, ADA etc


The 2 big names I can think of that consistently used s were Zakk Wylde and Slayer, but both use the version and boost it to infinity.

Other than that, not much. Most players skipped the series completely.

-EVH used a stock Plexi, then a Jose modded Plexi, then Soldano then his own amps.
- ACDC went from plexi to Mesa Marks to Wizard and back to plexi
- GNR was modded plexi (the #36 AFD mod) and Mesa Mark in the studio and Jubilee/Mesa live.
- Aerosmith is all plexis as well as Fender amps.
- The 80's guys ( Lee, Lynch, DeMartini, Rhoads, Yngwie, Vai etc) were all modded or stock plexis.

I could go on with this, but the fact is the was actually a big flop for Marshall at the time. The /4 were actually a big reason why the "hot rod" business took off in the 80's, no one was happy with these amps back them and simply preferred to mod the older 4-holers or just switch companies.


For about 20 years, s were amps you could pick up used for $ anyday and no one wanted them. It was only in the late 90's that people started hyping them up on the internet and they became a "classic" of sorts. But as far as actually being used on classic records, absolutely not. They don't sound as good as the NVM amps that came before and they're not as practical as the Jube///JVM.

To this day you stilldon't see a lot of pros using s, compared to Plexis, DSLs, s etc as far as top bands, it's pretty much still the same guys.. Slayer (KK only, Holt is using DSLs) and Zakk, although he started his own company now.

Their legendary status is mostly an internet hype thing.
Sours: http://www.guitargearforum.com/forum/viewtopic.php?f=5&t=
Marshall DSL 50 vs DSL 20 (demo/comparison)

Very tired during these two days, I did not notice how I fell asleep. Chapter 2 The next morning, I opened my eyes and lay in bed for a while, digesting the events of days gone by. Now I am the bride of the Ogre Prince, and I have to get used to this thought.

Similar news:

To live in her apartment with me. And there we will settle down, we will have a child, the grandmother is already an old patient, you see, Nyashka and I will soon become full-fledged mistresses of. The grandmother's Moscow apartment and Muscovites. As far as I knew, Aunt Vera had no other relatives except me. It was possible, of course, not to be wise, but after a divorce from her husband, he stayed in Fedotovo, fuck with Kostya and fondle his wife.



2922 2923 2924 2925 2926