Marshall bass amp head

Marshall bass amp head DEFAULT

Marshall Amplification’s MB series now includes eight featured models: four combo amps, one head and three cabinets. The new amps join the existing MB15 and MB30 models.

Each amp features two independent, foot-switchable channels: Classic and Modern (a footswitch is supplied with each model). The Modern channel offers a crispness and crystal clarity that is ideal for slap and other modern styles, as well as a built-in, variable compressor. The Classic channel boasts an ECC83 preamp tube and features a Gain control plus a Boost switch, allowing users to dial in exactly the amount of “grit” desired for their tone. To further enhance the tonal versatility of these two channels, the active 3-band EQ on the Modern channel features semi-parametric Mid controls while the passive 3-band EQ on the Classic channel features an adjustable, 3-way mid Voice control.

Advanced functionality includes a series FX loop, Passive/Active input selection, XLR DI line out (pre or post), built-in limiter, CD/MP3 input and a headphone jack for silent practice.

Model details:
MB60 – Watt, hybrid 1×12″ combo
MB – Watt, hybrid 1×15″ combo
MBH – Watt, hybrid head
MB – Watt, hybrid 2×10″ combo
MB – Watt, hybrid 4×10″ combo
MBC – Watt, 1×15″ bass reflex cabinet with H.F. horn
MBC – Watt, 4×10″ bass reflex cabinet with H.F. horn
MBC – Watt, 8×10″ bass reflex cabinet with H.F. horn

For more information, visit their web site at

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Marshall Introduces Lemmy Kilmister Bass Head

Melville, NY(August 1, ) -- Marshall Amplification has announced the new Lemmy Kilmister Signature LEM Super Bass Head and matching MFL 4x12" and oversized L 4x15" cabinets. The amplifier is Marshall''s first Signature Series bass amp, and will be available in extremely limited quantities in the U.S.

Here''s the scoop, straight from Marshall:

The LEM is a faithful replica of Lemmy''s favored model Super Bass Head from , affectionately named "Murder One." Lemmy''s original amp was in the studio and on the road for over 30 years, until Marshall presented him with LEM prototypes for Motörhead''s tour and Murder One went into a well-deserved retirement. The new LEM captures the look, feel, sound and power of Murder One, as well as Lemmy and his legendary band Motörhead.

Lemmy has long been an ardent supporter of Marshall products and a personal friend of company founder Dr. Jim Marshall, OBE. "Marshall amps and speakers have stood behind me on every continent," he stated. "I have never found anyone better to have at my back. If it has Marshall written on it, you can buy it without even a test drive - they''re that good."

To ensure that the end product would be exacting in its tone and performance, every effort was taken to source components from their original suppliers and/or manufacturers. Internally, the LEM''s circuitry has been modified, effectively creating a hybrid amplifier by merging the characteristics of a stock Super Bass with elements of a Super Lead, arming the LEM with incredible sonic depth and a wide tonal range. The changes to the circuitry allow the player to achieve a far brighter, tighter sound while the inherent grind and tone of a stock model can still be found in abundance. The power section is driven by four EL34 power valves that produce Watts of crushing volume and tone. Additionally, it features two separate channels, three-band EQ and three ECC83 pre-amp valves.

The attention to detail that has been lavished on the LEM''s internals has also been applied to the unique styling and distinctive look of the amp itself. A specially made red protective corner has been added to the amplifiers to mimic that of their forerunner, while the Marshall script logo and brushed gold aluminum front panel are flanked by replicas of Murder One''s iconic golden crests. To top it off, the LEM also comes with a special owner''s certificate, signed personally by both Dr. Jim Marshall and Lemmy himself, along with three of the Motörhead frontman''s very own picks.

Lemmy concludes, "Marshall bass amplification has a reputation for being loud and proud. This amp is no exception - the sheer level of valve power on offer is quite thunderous."

The new Marshall Lemmy LEM Super Bass Head, L 4x15" cabinet and MFL 4x12" cabinet are now available in extremely limited quantities with U.S. MSRP''s as follows:

LEM Super Bass Head $
L 4x15" Cabinet $
MFL 4x12" Cabinet $

For more information:
Marshall Amplification
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Marshall Amps

Known for their signature “crunch”, Marshall were game-changers in developing the saturated “distorted” sound that we are all familiar with.

With renowned players including Angus Young (AC/DC), Zakk Wylde (Black Label Society) and Joe Satriani on their roster, Marshall’s reputation is as good as it has ever been.

History of Marshall

Marshall Amplification was founded by Jim Marshall in Owning a shop in London that stocked a variety of musical instruments, most notably drums, Jim’s high-calibre customers (including Pete Townsend and Ritchie Blackmore) encouraged him to stock guitars and amps.

Hearing their frustrations at not finding the sound they wanted, Jim took this as a request and with a small team started to build amplifiers. As they say, the rest is history…

Early amplifiers included the iconic ’59 Super Lead (“Plexi”), a tube-powered head with incredible volume and headroom that could fill the biggest of venues. Legendary acts such as Led Zeppelin and The Jimi Hendrix Experience used this amp, cranking them to pioneer that famous Marshall grit.

Since then, Marshall has released an incredible amount of respected amplifiers. Highlights include the & heads unveiled in the mids, which featured dedicated distortion circuitry and became trend-setters in the amp world. This lead to the JCM series, with a “modern” sound that laid down the foundation for 80’s rock/metal tones. The hybrid Valvestate series hit stores in the early 90s, giving younger players the chance to get great valve-esque tones at an affordable price. Later in the decade, the company produced their own line of effects pedals, which have remained a part of their catalogue ever since.


Expanding their range with combos, acoustic guitar amplifiers and bass amps over the years, Marshall provide guitarists and bassists with incredible tone and quality.

Their current range includes the flagship JVM amplifiers, pure valve heads/combos that capture all of the tones from their classic amplifiers. Going strong more than 10 years after their release in , the JVM range are modern classics and still remain hugely popular. The DSL amplifiers provide tube-driven tones within the reach of beginner/intermediate players price-wise, whilst the MG and CODE series are affordable solid state/digital beasts that can deliver convincing valve amp sounds.

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Vintage Bench Test: Marshall Super Bass

The Fender Bassman provided the early inspiration for Marshall amplifier designs but, both sonically and in terms of their circuit architecture, they soon evolved into something entirely their own. Marshall’s bass amps were arguably more popular with A-list bassists than the Fender Bassman ever was – Jack Bruce, Chris Squire and Lemmy were fans – but the Super Bass has always been revered by guitarists too.

This Super Bass – the JMP Super Bass , to use its full model name – is a very early example and comes courtesy of Vintage Tone Factory, a boutique guitar recording studio specialising in remote reamping that can be found via

 Marshall Super Bass

Dating s Marshalls accurately can be problematic because there was no coherent system of serial numbers until July Instead we have to look at the amp’s features for clues. There’s an ‘SB’ stamp on the rear of the chassis – no prizes for guessing that stands for Super Bass – followed by a number that closely corresponds to other Super Bass examples we found that have been identified as models.

Marshall’s earliest watt bass head was the JTM 45/ model with ‘Super Amplifier’ on a white rear panel and the word ‘bass’ adjacent to the speaker impedance selector. By there was a black flag JTM logo on the front panel with a gold Plexi rear panel adorned with ‘Super Bass ’. The model designation was soon changed to JMP with black lettering on the front panel, but Super Bass was retained.

Marshall also transitioned from aluminium to a steel chassis in late This chassis is definitely aluminium. Large rubber cabinet feet replaced smaller grey feet in , and even though the feet on this amp are modern, grey residue from the smaller originals can still be seen when they’re removed.

More clues may be gleaned by looking at the circuit. The earliest JMP Super Bass models inherited the JTM 45 Super ’s larger power supply board. The JTM rectification diodes were located centrally between eight sideways-mounted 32mF RS filter capacitors. Marshall later shifted the diodes closer to the power transformer, just before changing the model designation to JMP. All the evidence suggests this amp was made in and is almost certainly one of the very earliest JMP Super Bass amps that Marshall made.

 Marshall Super Bass

Although the original handle, black Tolex and gold piping remain in decent condition for their age, the back panel is missing. Having one would provide some physical protection for the valves, but these amps run hot, and keeping the back open is probably advantageous in a home or studio environment.

Relatively little work has been done on the circuit board over the years, but it can be tricky to identify the components that have been replaced because Marshall used whatever they could get hold of. Almost all of the carbon film resistors look original and rather than the fabled ‘mustard’ signal capacitors, this amp has grey RS types that appear factory fitted. Two of the filter caps, two signal caps and V1’s cathode bias cap are replacements, and one of the speaker output jacks has been changed, but other than that, the amp is surprisingly original.

 Marshall Super Bass

Why did the likes of Paul Kossoff, Eric Johnson, Jimi Hendrix, Jimmy Page and John Frusciante chose to use a Super Bass rather than a Super Lead? Super Bass enthusiasts will no doubt mention less aggression, warmer tones and a more pedal-friendly front end.

Consequently, the Super Bass has developed something of a cult following, but the differences between a Super Lead and a Super Bass amount to little more than a handful of components. Turning a Super Lead into a Super Bass, and vice versa, is relatively simple.

Broadly speaking the differences are as follows: the Super Bass’ first preamp tube’s cathodes share a cathode bias resistor and capacitor but the Super Lead’s V1 cathodes each have their own. Moving through the circuit, the Super Lead’s volume one control has a pF bright capacitor wired across it and there are some minor component value differences in the tone stack – notably a pF capacitor on the treble control rather than pF. Finally, the signal caps coupling the phase inverter plates of the Super Bass to its power valves are uF rather than uF, which passes more low frequency content.

In use

These amps were made in an era before volume level restrictions or a widespread understanding of the causes of long-term hearing damage. The Super Bass is a dangerous amp because it sounds so gloriously sweet, you may not notice how loud it really is until your ears begin shutting down. Within a couple of minutes of testing, our ears are already telling us it’s time to connect an attenuator.

Context is everything. When bands were playing stadiums and festivals in the late s, often without sound reinforcement for the guitar amps from the PA system, amplifiers with this sort of power were a necessity rather than a luxury. Happily, players these days have the benefit of innumerable attenuation and speaker simulation solutions that make it possible to tame these beasts, even in a home-recording scenario.

Having so much output power means that there’s a ton of clean headroom, and the Super Bass’s versatile and powerful tone-shaping makes it an outstandingly clear and full pedal platform. Linking the channels with a patch cable between the bottom left and top right inputs adds to the versatility; mixing in some of channel two bolsters the bass and lower mids and is especially useful in combination with single-coil guitars.

The volume increases gradually until there’s a sudden rush and the underlying growl becomes a roar. The overdrive sounds huge, even when attenuated, and with a set of PAF humbuckers, the sustain and harmonic bloom are berserk.

But the characteristic that impresses us most is the dynamic response. The first amp this correspondent owned was a Super Lead and the transients were so spiky, it was actually painful and intimidating to play. The Super Bass is nothing like that because, despite solid-state rectification, it always has a responsive feel along with a musical natural compression.

If upper-midrange aggression, shrill treble and unforgiving dynamics spoiled the big-box Marshall experience for you, a Super Bass will make you reconsider. Glistening Hendrix-y cleans, s blues-rock crunch, classic hard rock… the Super Bass can do it all.

As long as you are strong enough to lift one, modern technology has made high-power amplifiers a viable option for gigging and recording again. This thrilling amp is the best vintage Marshall we’ve ever played and it makes some of our favourite low-power amps feel like mere toys. Sometimes more really is more.

Key Features

  • DESCRIPTION 2-channel valve amplifier head, built in the UK
  • VALVES 3x ECC83 (preamp), 4x EL34 (power amp)
  • FRONT PANEL Power on/off, standby, presence, bass, middle, treble, high volume, normal volume, 4x inputs
  • REAR PANEL 2x speaker outputs, voltage selector, impedance selector 2x fuses
  • DIMENSIONS x x mm
  • WEIGHT kg/lb
  • CONTACT Follow Vintage Tone Factory on Instagram @vintagetonefactory

Head amp marshall bass

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Marshall Super Bass 100 - Doctor Guitar Episode 29

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