アンプ漫遊記 第一弾!永遠のロックサウンド!Marshall JCM800 - TC楽器 - TCGAKKI

JCM800 Birth Secret Story

The birth of the JCM800, which can be said to have swept the world in the 1980s and created an era, was 1981. Combined with the rise of the gorgeous rock scene, it is an eternal representative model that has been making many legends since then on a solemn "Marshall Wall". There are countless players, and the renovation booms that have occurred at this time have made the world known to the world's famous amplifiers, such as Lee Jackson, Mike Soldano, and Reinholt Bogner, to the world. You can say. It is no exaggeration to say that the JCM800 pointed out the direction of the subsequent lock sound. This sound, which can be said to be such a starting point, is now attracting hot attention again.


Until the appearance of JCM800, four main models occupied the mainstream of Marshall guitar heads. There are two models, "1959 (100W)" and "1987 (50W)", which are not distorted unless it is full Volum. And "2203 (100W)" and "2204 (50W)" with a master volume that appeared in 75.

 

output

Master Volum

1959

100W

none

1987

50W

none

2203

100W

can be

2204

50W

can be

With the momentum of the hard rock movement, Jim Marshall, who had established the top brand in the UK, aimed at the United States market. Jim, which has expired for 15 years with Rose-Morris, which has been undertaking Marshall overseas exports since 1965, has expired for 15 years, without leaving overseas exports to agencies, and since then, overseas markets themselves. I plan to advance to. It was the JCM800 series, which was colored by Jim Marshall for the world to conquer the world.

 

What is the JCM800 series?

There are four types of Guitar heads for the JCM800 series. 1959, 1987, 2203, 2204. There are four models that inherited the mainstream models of the 70's mentioned earlier. And since 1983, 2210 (100W) and 2205 (50W), equipped with reverb on the first clean/drive 2 channel of MARSHALL, have appeared, but these 2ch specification models are not as good as 1ch models, and now. It's pretty rare.

Here, let's compare 4 representative models, 1959, 1987, 2203, and 2204.

 

Which choice do you choose?

 

100W vs 50W Zack Wild and Michael Schenker?

The first point is here. It's not just a matter of volume. Conversely, the volume may not change much. Of course, the sound is louder, but it is not twice as much as 50W. It is about 4 to 3 in sensitivity ... In any case, the sound of JCM800 is big! This is certain.
So 100W and 50W, what is so different? It is all about "tone". Most of the Marshall amplifiers are operated by vacuum tubes, and the vacuum tube uses a priteube that makes up a preamplifier and a power tube that supports the output part. Both are in common and different parts are the power part. The 50W uses two power tubes, and the 100W uses four power tubes.


Let's imagine here. Which is easier for two people to carry large luggage or four people? Of course, four people should be easier. The vacuum tube is the same, and it is less burdensome if you operate with four loud sounds, while operating with two loud sounds. In the case of a vacuum tube, the lower the burden, the better (only for audio), which will show excellent reproducibility and will be a wider range output.
However, it is not always good to be excellent in audio is the taste of the guitar sound. Is it okay to be a wide range? Depends on the sound you want. Conversely, the thick tone closer to the middle range is the royal road of rock. There is also a story that 50W is for single coils, 100W is for ham King, etc., so it is certain that this is a rather violent cut and does not necessarily remove the target. It can be said that it symbolizes 100W with sharp and clear tone and 50W sound with thickness and thickness in the middle.


Here, let's follow the musician sound. It may not be limited to the JCM800, but Zack Wild will not be removed as a representative of the 100W user. A crisp riff edge and a sharpened harmonics, solo frame that was fast and outline. On the other hand, the 50W representative player is still Michael Schenker. A drive sound with a warm flavor and a moderate thickness and sweetness. Both are Marshall & Gibson guitars, but they are able to say that they can be said to be both poles, and can be said to express the sound characteristics of 100W and 50W clearly. Now, which is you?

100W has four power tubes. 50W is two. The 100W model has a slit for heat dissipation. It is obvious at a glance from above.

 

There is no master VS master

By the way, I understand the image of 100W and 50W sound. The next problem is to choose Master Volum? As you know, Master Volume is a voluminous volume that adjusts the volume. Marshalls up to JCM800 are distorted as the volume is raised. The so -called full ten -in -state drive sound. However, the fact is that you can't get a huge volume anytime, anywhere. For this reason, apart from the volumes to distort the amplifier, a model with a voluminous volume for volume adjustment was born. This is a method of adjusting the degree of distortion in the pre -stage and determining the volume with the master, and this is greatly followed by the later high -gain amplifier. This is a recent JCM2000, and other manufacturers, 5150 and Mesa/Boogie Dual Rectifier.

Unfortunately, the model with a master volume up to the JCM800 will not get a thick drive sound like a full ten just by increasing the preamplar. This is because the Marshall's drive sound still has a large element that is still influenced by the master circuit, and the volume of the preamplifier stage raises the drive gain, whereas the master part has a thicker tone. It tends to make it. For this reason, for example, 2203 with master is set to 10 preampl (10th voluminous, master voluminous, 1 to make a slender drive sound. For example, if you use it at a small volume at a house, it feels a bit lonely. After all, "JCM800 has a big sound!", And even if you can't even have a full ten, it is common to use it for both preamplifiers and masters. If you really want a thick drive sound with a small volume, you can make a full up the master and adjust the volume with preamplifier. The drive is slightly lowered, but if you supplement it with an effect such as a booster or overdrive, you can get a thick sound even if it is not a loud volume.

Both have two volumes, but the master is two input. If you don't have a master, you can also link a familiar "link" with 4 input. With the master, the preamplifier/master is a voluminous. The no master is a normal and bright voluminous volume.
 
Now you can see the atmosphere of each model with a master and no master. So which is better? This evaluation is difficult, but if you want a more pure and straight tone, you will still be able to go to the circuit without a simple master. However, the ease of ease of use with a master VOL is still attractive, aside from the recent model, aside from the convenience of a model in recent years, the “moderate” and moderately straightforward sound is exquisite. In the popularity of the general public, it seems that the master with a master is slightly higher. However, if it is 50W, there are many users who choose 50W without a master because it is "thick with a moderate volume without a master".

 

2 What is the difference between the vertical and side -by -side of the input model?

There are two input models with a master volume with two input jacks, and two in the side, and two side by side. What is the difference? If you look at the contents, you can solve the mystery immediately. In fact, for a while after the appearance of the JCM800, the inside uses a 4 -input chassis since the 70's.

Whether this was created in the mid -1980s, it switches from the inside to two holes side by side. There are no clear materials that indicate when it has been switched sideways, but there are many vertical ones until 1983, and in 1984, both vertical and horizontal are seen, and most of them are lined up after 1985. You can think of it as a side by side around 1984-85. Of course, there is no difference in sound and functions depending on the vertical and horizontal.

 

The true value of the reissue model

The production of the JCM800 ends in 1990, and then switched to JCM900. However, the JCM800 was still highly evaluated. In 2002, which became so popular that the JCM800 boom was recurrent, the reprint type JCM800 2203 Reissu was finally released. This is still produced and can be obtained. JCM800, which was revived for the first time in 12 years with many expectations, what is this compared to the original of the 1980s?
The first difference is that the effect loop has been added. This makes it possible to use effects using Send & Return. In addition, a loop bypass switch is attached to prevent the sound of the original circuit from spoiling. The other functions are the same. Regarding the appearance, it is a vertical 2 input that can be said to be the previous model, and the atmosphere of the time is good.

So what about the important sound? In conclusion, the sound is different. Then, if you ask "JCM800 -like", you can answer that it is Jesus. As a reissue model, it conveys the atmosphere of the JCM800 sound at a good level to pass. The part that feels different compared to the original is that it is a bit cleaner and a modest gain. In addition, the original has a slightly chaotic distortion when it is fully up, which is also an irresistible tone for the JCM800 fans of the past, but the reissue model is due to the newness of the circuit or such roughness. I will drive clearly and clearly.


Of course, this is not a drawback, but a compatibility with overdrive, booster, etc., and has a wider frontage than the original. The sound that appears as a result is not far from the original, and the presence of JCM800 is still the same. With the improvement of the clearness of the sound and the feeling of use, it can be said that it has become a more attractive and more open -aired, more attractive, not only JCM800 fans but also new generations and marshalls.
In general, it's like "JCM800 who became a good child". If you like bad children, look for the original.

 

Still why JCM800

This year has been 28 years since JCM800 appeared. A lot of wonderful amplifiers appeared in the world. What is the charm of this model in the first place, which is not an advantage in operability and ease of use now?
Of course, as mentioned earlier, the scenes of the 80's, when the rock was gorgeous, and had a historical background bearing the name of "the best -selling marshall in the world". But why is it still not limited to the framework of the past, but still has a powerful presence?


Response sound with hand wiring rings! ... not. The base is used.
Pure tube sound using rectifier tube, class A operation! ... but not. The rectifiers are not used, not class A.
Convenient for home recording with a rich tone with a rich tone! … There is no reason. Basically, there is only a big sound.
Preset each two modes to three channels! …you can't.
To be honest, honestly, if it is convenient from line recording to live, KOCH will be up, diezel is a variety of clean to heavy sound, and Krank will definitely go up if it is a ferocious highge -in sound. prize.

But why is it JCM800? Not modern, not supervintage. Is such a model created a number of legends so far, and is it still being loved on the front line and trying to create a new legend?
Isn't that because JCM800 is a "ordinary amplifier"? The ultimate normal, no worthless specifications. If it is normal, it will be one of the imagination of the player, create a fluctuating sound, and use it with confidence in any case. I think this is the most attractive JCM800.
The sound of a normal lock comes out normally. This is a matter of course, but it may be really amazing. And it may be what many people want most.



バンド楽器・アコースティック