The birth of the JCM800
In 1981, the JCM800 was born, a product that took the world by storm and created an era in the 1980s. The JCM800 is an everlasting representative model that has continued to create numerous legends ever since, not only for its sound, but also for the majestic "Marshall Wall" that has been the stage for the rise of the rock scene, which is becoming increasingly glamorous. The JCM800 is also a hallmark of this era of Marshall amplifiers, and the modification craze that erupted during this period brought Lee Jackson, Mike Soldano, and Reinhold Bogner, among others, to the forefront of the next generation of amp builders. It is no exaggeration to say that the JCM800 pointed the way forward for the subsequent rock sound. This sound, which can be said to be the origin of the JCM800, is now attracting renewed attention.
Until the introduction of the JCM800, four main models occupied the mainstream position of Marshall guitar heads. Two models, the "1959 (100W)" and "1987 (50W)," which only distorted at full volume. The "2203(100W)" and "2204(50W)" with master volume were introduced in 1975.
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Having established itself as the top brand in the United Kingdom, partly due to the momentum of the hard rock movement, Jim Marshall's next target was the U.S. market. After his 15-year contract with Rose-Morris, which had been Marshall's overseas export agent since 1965, expired, Jim decided to go it alone, instead of relying on a distributor to handle overseas exports. Jim Marshall's trump card for world domination was the JCM800 series, with its dazzling gold panels.
What is the JCM800 Series?
The JCM800 series consists of four typical guitar heads: the 1959, 1987, 2203, and 2204, all of which are the same as the mainstream models of the 1970s mentioned above. And from 1983, Marshall's first 2-channel clean/drive with reverb, 2210 (100W) and 2205 (50W), appeared, but these 2-channel models were not distributed as much as the 1-channel models and are quite rare now.
Let us compare four representative models, 1959, 1987, 2203, and 2204.
Which one will you choose?
100W vs. 50W Zakk Wylde or Michael Schenker?
The first point to consider is here. It is not just a question of volume. On the contrary, the volume may not be much different. Of course, 100W is certainly louder, but it is not twice as loud as 50W. The ratio is about 4 to 3.... In any case, the JCM800 is loud! This is for sure.
So what is the difference between 100W and 50W? Marshall's amplifiers are mostly tube-operated, with the pre-tubes making up the preamp and the power tubes supporting the outputs. Both share the same pre-tube and differ only in the power section, with the 50W using two power tubes and the 100W using four power tubes.
Let's imagine that two people are carrying a large load and four power tubes are used. Which is easier to carry a large load, two people or four? Of course, it would be easier for four people. The same is true for vacuum tubes. In the case of vacuum tubes, the less strain on the tubes, the better reproduction (from an audio standpoint only) and the wider range of output.
However, audio excellence is not necessarily a good thing in guitar sound. Whether wide range is really good or not depends on the sound you are looking for. It depends on the sound you are looking for. On the other hand, a thicker tone that is closer to the mid-range is also a royal road to rock music. It is commonly said that 50W is for single coils and 100W is for humming, and while this is a rather rough cut, it is certainly not necessarily missing the point. It can be said that the 100W has a sharp and clear tone, while the 50W has a thicker and stickier sound in the middle.
Let's take a cue from the sound of a musician: Zakk Wylde, who may not be limited to the JCM800, can't be overlooked as a representative of 100W users. His crisp riff edges, well-honed harmonics, and speedy, well-defined solo phrases are representative of 100W users. On the other hand, Michael Schenker is the representative of 50W. The warm, extended flavor tone and drive sound with just the right amount of fatness and sweetness. Although both are Marshall and Gibson guitars, they have distinct characteristics that can be described as polar opposites, and it can be said that they truly represent the sound characteristics of the 100W and 50W. So, which is it for you?
The 100W has four power tubes, the 50W has two, and the 100W model has slits for heat dissipation. The 100W model has slits for heat dissipation, which can be seen from above.
Without master vs. with master
Now that you have an idea of the sound of the 100W and 50W models, the next problem is to choose one without a master volume. The next question is whether to choose with or without master volume. As you know, the master volume is the volume that controls the volume. The more you turn up the volume, the more distorted the sound becomes. However, the reality is that it is not possible to produce huge volume anywhere and anytime. For this reason, a model was created with a volume control volume in addition to the volume used to distort the amp. This is the "preamp volume" and "master volume," with the pre-stage adjusting the degree of distortion and the master determining the volume, a method that was largely followed in later high-gain amplifiers. The recent JCM2000, Peavey's 5150, and Mesa/Boogie's Dual Rectifier are also based on this method.
Unfortunately, the master-volume models up to around JCM800 did not have the same fat drive sound as the full-temp models when the preamp volume was turned up. This is because Marshall's drive sound at that time was still largely influenced by the master circuitry, whereas the pre-amp stage volume tended to increase the drive gain, and the master section tended to produce a thicker tone at higher volumes. For example, setting the preamp volume to 10 and the master volume to 1 on the 2203 with master will result in a thin, jittery drive sound. If you use it at low volume at home, for example, it will sound a little lonely. After all, "JCM800 is big sounding!" is the basic rule, and even if it cannot be turned up to full ten, the general usage is to "turn it up moderately" for both the preamp and the master. If you really want a fat drive sound at a lower volume, you can turn up the master to full and adjust the volume with the preamp volume. The drive will be slightly reduced, but if you use effects such as boosters or overdrives to compensate, you can get a fat sound even without a high volume.
Both have two volumes, but the one with master has two inputs, while the one without master has four inputs. The one without master has 4 inputs and can be "linked" as we know it. With master, each volume is linked to the preamp/master. Without master is a separate normal and bright volume.
Now that you have an idea of what each model looks like with and without a master, which is better? So which is better? If you are looking for a purer and straighter tone, we would say that the masterless model, with its simpler circuitry, is the better choice. However, the ease of use of the master volt is still attractive, and while it may not be as convenient as the more recent models, the "moderation" of the sound, with moderate ease of use and moderate straightness, is a characteristic of the Marshalls of this period. In terms of popularity, the master version seems to be slightly more popular than the master model. However, there are many users who choose the 50W without master because it is "moderately loud and fat even without master.
What is the difference between vertical and horizontal lineups of 2 Input models?
Some 2-input models with master volume have two input jacks in a row vertically and some have two input jacks in a row horizontally. What is the difference? The mystery is solved as soon as you look at what's inside. In fact, for some time after the JCM800 was introduced, the inside has been diverted from the 4-input model chassis since the 1970s.
This was switched to two-hole, horizontally aligned ones from the inside as well, as if a new mold was made around the mid-1980s. Although there is no clear data to indicate when the switch to horizontal alignment began, it is safe to assume that the switch to horizontal alignment occurred between 1984 and 1985, since most of the pieces were vertically aligned until around 1983, both vertical and horizontal alignment were seen in 1984, and from 1985 onward, most pieces are horizontally aligned. Of course, there is no difference in sound or function depending on whether they are vertical or horizontal.
The True Value of Reissue Models
Production of the JCM800 ended in 1990 and was replaced by the JCM900. However, the JCM800 continued to enjoy a high reputation. In 2002, when the popularity of the JCM800 had grown to such an extent that it could be seen as a rekindling of the JCM800 boom, a reissue of the JCM800 2203 reissue was finally released. It is still in production and available today. The JCM800 has been revived after 12 years of much anticipation, so how does this compare to the original from the 80s?
The first and most important difference is the addition of an effects loop. This makes it possible to use effects using sends and returns. A loop bypass switch has also been installed to avoid spoiling the sound of the original circuit. Other functions are the same. In terms of appearance, the two inputs are vertically aligned, which can be said to be an early model, and the atmosphere of the period is well reproduced.
How about the sound? To sum up, the sound is different. If the question is, "Does it sound like a JCM800? As a reissue model, it conveys the atmosphere of the JCM800 sound at a level that is passable. One area where we feel a difference compared to the original is that it is generally a bit cleaner and seems to have a more modest gain. Also, the original has a slightly chaotic distortion when turned up to full, which is a tone that fans of the JCM800 of yesteryear will love, but the reissue model, perhaps due to its new circuitry, has no such roughness and drives with a clear, refined sound.
Of course, this is not a drawback, but rather a feature that allows the reissue model to be more versatile than the original in terms of compatibility with overdrives and boosters, for example. The resulting sound is not far removed from the original, and the presence that is typical of the JCM800 remains the same. The improved clarity of sound and feel make this a more versatile form that is attractive not only to JCM800 fans, but also to a new generation and to players who want to use Marshall cleanly.
All in all, it is a "JCM800 with a good boy". If you like bad boys, look for the original.
Still, why the JCM800?
It has been 28 years this year since the JCM800 first appeared. Many great amplifiers have appeared in the world in that time. What is the appeal of the JCM800, a model that is by no means superior in terms of operability and ease of use?
As mentioned above, the JCM800 has the historical background of being the "world's best-selling Marshall," and was a colorful part of the rock scene in the 1980s. But why is it still so powerful today, and why is it not just a classic of the past?
The hand-wired sound is rich in response! ...but not.... The foundation is used.
Pure tube sound by rectifier tube use and class A operation! ...but also not. No rectifier tube is used, and it is not class A either.
Rich tone even at low volume, useful for home recording! ...No reason for this. Basically, it's just a big sound.
Presets 2 modes for each of the 3 channels! ...Not possible.
I know I've said a lot of bad things about the Krank, but today I can honestly say that the Koch is the best for convenience from line recording to live performance, the Diezel is the best for versatility from clean to heavy, and the Krank is definitely the best for ferocious high-gain sounds.
So why the JCM800? It is neither modern nor super vintage. Why is it that such a model has created so many legends and will continue to be loved at the forefront and to create new legends in the future?
It is because the JCM800 is an "ordinary amp. There are no extraordinary specs worth mentioning; it is the ultimate in ordinary. It is precisely because it is ordinary that it is able to unite with the player's imagination, produce a multitude of different sounds, and can be used with confidence at any time. This, I believe, is the most appealing aspect of the JCM800.
It produces a normal rock sound in a normal way. This may sound obvious, but it is actually a great thing. And it may be what many people want the most.
