Marshall JCM800 ~The Eternal Rock Sound and its Birth Story~ | Amplifier Journey, Part 1!

The JCM800, which took the world by storm in the 80s and can be said to have defined an era, was born in 1981. Coinciding with the rise of the increasingly vibrant rock scene, it has become an eternally iconic model, creating countless legends not only with its sound but also against the backdrop of the majestic "Wall of Marshalls."

Countless players used them, and it can be said that a characteristic of Marshall from this era is that the modification boom that swept the world at this time brought to light the next generation of renowned amp builders such as Lee Jackson, Mike Soldano, and Reinhold Bogner.

It's no exaggeration to say that the JCM800 pointed the way for the future of rock music. This foundational sound is now attracting renewed attention.

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Before the JCM800 arrived, four main models dominated Marshall's guitar headstock lineup. These included the "1959 (100W)" and "1987 (50W)," which only distorted at full volume, and the "2203 (100W)" and "2204 (50W)," which featured a master volume control and were introduced in 1975.

Fueled by the momentum of the hard rock movement, Jim Marshall quickly established himself as a top brand in the UK, and his next target was the American market. Coincidentally, Jim's 15-year contract with Rose-Morris, which had handled Marshall's overseas exports since 1965, had just ended. From then on, Jim aimed to enter overseas markets on his own, rather than relying on an agent for overseas exports. The trump card that Jim Marshall unleashed on his quest for world domination was the dazzling JCM800 series, adorned with gold panels.

100W vs 50W: Zakk Wylde vs. Michael Schenker

This is the first point to note. It's not simply a matter of volume. In fact, the volume might not be that different. Of course, the 100W is louder, but it's not twice as loud as the 50W. Subjectively, it's more like a 4:3 ratio... In any case, the JCM800 is loud! That much is certain.
So what exactly is the difference between the 100W and 50W models? It all boils down to one word: "tone." Most Marshall amplifiers operate using vacuum tubes, specifically the preamp tubes that make up the preamp section and the power tubes that support the output stage. The preamp section is the same for both models; the difference lies in the power section. The 50W model uses two power tubes, while the 100W model uses four.

Let's consider this analogy. Which is easier: carrying a large load with two people or with four people? Obviously, it's easier with four people. Vacuum tubes work the same way; when producing a loud sound, four tubes working together put less strain on each individual than two. In the case of vacuum tubes, less strain results in (audio-wise) superior reproduction and a wider frequency range output.

However, the beauty of guitar sound lies in the fact that superior audio quality isn't always a good thing. Whether a wide frequency range is truly beneficial depends on the sound you're looking for. Conversely, a thick, mid-range-focused tone can also be a staple of rock music.

There's a common saying that 50W is for single-coil pickups and 100W is for humbuckers, and while this is a rather simplistic interpretation, it's not entirely off the mark. It could be said to symbolize the sharp, clear tone of the 100W and the thick, sustained midrange of the 50W.

Let's take a look at the sounds of musicians. This might not be limited to the JCM800, but Zakk Wylde is an essential example of a 100W user.

Crisp riffs with sharp edges, refined harmonics, and speedy, well-defined solo phrases. On the other hand, the quintessential 50W player is undoubtedly Michael Schenker. A warm, expansive riff tone and a drive sound with just the right amount of thickness and sweetness.

Both are Marshall and Gibson guitars, yet they showcase diametrically opposed personalities, clearly demonstrating the distinct sound characteristics of 100W and 50W amps. So, which one do you prefer?

The 100W model has four power tubes, while the 50W model has two. The 100W model has slits for heat dissipation, which is immediately obvious when viewed from above.

The evolution of Marshall: No master volume vs. With master volume

So, you now have an idea of what 100W and 50W sound like. The next question is whether to choose one with a master volume or one without. As you know, the master volume is the volume control that adjusts the overall volume.

Marshall amps up to around the JCM800 era would distort more and more the volume was turned up. This is what's known as a full-volume drive sound. However, the reality is that you can't always produce such a huge volume everywhere. For this reason, models were created that had a separate volume control for adjusting the overall volume, in addition to the volume control for distorting the amp.

These are the "preamp volume" and "master volume," where the degree of distortion is adjusted in the preamp stage and the volume is determined by the master volume. This method was widely adopted in later high-gain amplifiers. Recent models like the JCM2000, as well as other manufacturers' models such as the Peavey 5150 and the Mesa/Boogie Dual Rectifier, use this system.

Unfortunately, with models equipped with a master volume, such as the JCM800, simply turning up the preamp volume won't produce the same thick, powerful drive sound as when it's turned up to full. This is because the drive sound of Marshall amps from this era was still heavily influenced by the master circuit; while the preamp stage volume increases the drive gain, the master section tends to create a thicker tone as the volume increases.

Therefore, for example, if you set the preamp volume to 10 and the master volume to 1 on a 2203 with a master volume, you will get a thin, gritty drive sound.

For example, if you're using it at a low volume at home, it might sound a bit lackluster. The basic principle is that "the JCM800 is loud!", and even if you can't turn it all the way up, it's common practice to "turn up both the preamp and master volume to a moderate level." If you absolutely want a thick drive sound at a lower volume, you can try turning the master volume all the way up and adjusting the volume with the preamp volume.

The drive will be slightly reduced, but you can compensate for this with effects such as boosters or overdrives to get a full sound even at lower volumes.

Both models have two volume controls, but the one with a master control has two inputs. The one without a master control has four inputs and also allows for the familiar "link" function. The one with a master control has separate volume controls for the preamp and master, which are linked together. The one without a master control has separate volume controls for normal and bright.
　
Hopefully, this has given you an idea of the feel of each model, both with and without a master volume control. So, which is better? This is a difficult question to answer, but if you're looking for a purer, more straightforward tone, the simpler circuitry of the master-less model is the clear winner. However, the ease of use of the master volume control is undeniable, and while it may not be as convenient as recent models, the moderate ease of use and moderately straightforward sound strike a perfect balance that is characteristic of Marshall amps from this era. In terms of general popularity, the master-equipped model seems to be slightly more popular. However, for a 50W amp, there are quite a few users who choose the master-less 50W model because they find that "even without a master volume, it has a moderate volume and a thick sound."

2. What's the difference between vertical and horizontal arrangement of input models?

There are two types of 2-input models with a master volume control: those with the input jacks arranged vertically, and those with the input jacks arranged horizontally. What is the difference between these two types?

The mystery is immediately solved when you look inside. In fact, for a while after the JCM800 was released, the internal chassis was a repurposed 4-input type from the 1970s.

Around the mid-1980s, a new model was created, switching to a design with two holes arranged horizontally on the inside. There is no clear documentation indicating when the switch to horizontal arrangement occurred, but until around 1983, vertical arrangements were common, both vertical and horizontal arrangements were seen in 1984, and from 1985 onwards, almost all were horizontal, so it is safe to assume that the transition to horizontal arrangement occurred around 1984-1985. Of course, there is no difference in sound or function between vertical and horizontal arrangements.

Production of the JCM800 ended in 1990, and it was subsequently replaced by the JCM900. However, the JCM800 continued to maintain a high reputation. Then, in 2002, when its popularity soared to the point of being seen as a resurgence of the JCM800 boom, the reissue of the JCM800 2203 was finally released.

This is still in production and available for purchase. The JCM800, revived after 12 years to much anticipation, how does it compare to the original from the 80s?

The most significant difference is the addition of an effects loop. This allows for the use of effects via send and return. A loop bypass switch has also been added to avoid spoiling the original circuit's sound. All other functions are the same. In terms of appearance, it features the vertically arranged two inputs characteristic of the early model, faithfully recreating the atmosphere of the time.

So, what about the crucial aspect: the sound? To put it simply, the sound is different. However, if you ask me if it sounds like a JCM800, I would say yes. As a reissue model, it does a good job of conveying the atmosphere of the JCM800's sound.

The main difference compared to the original is that it's generally a bit cleaner and has a more subdued gain. Also, the original had a somewhat chaotic distortion when turned all the way up, which was an irresistible tone for long-time JCM800 fans, but the reissue model, perhaps due to its newer circuitry, lacks that roughness and drives in a refined and clear way.

Of course, this isn't a drawback; rather, it means it has a wider range of compatibility with pedals like overdrive and boosters than the original.

The resulting sound isn't drastically different from the original, and it retains the distinctive presence of the JCM800. With improved clarity and usability, it's safe to say that it has been reborn in a more accessible form, appealing not only to JCM800 fans but also to a new generation of players and those who want to use a Marshall amp cleanly.

Overall, it feels like a "well-behaved JCM800." If you prefer the bad boy version, you should look for the original.

But why still choose the JCM800 in modern times?

This year marks 28 years since the JCM800 was first released. During that time, many excellent amplifiers have appeared. While the JCM800 may no longer be considered superior in terms of operability and ease of use, what exactly is the appeal of this model?

Of course, as mentioned earlier, it played a significant role in the vibrant rock scene of the 1980s and has the historical background of being known as "the best-selling Marshall in the world." But why does it still exude such a powerful presence today, beyond being merely a legendary machine of the past?

Responsive sound thanks to hand-wiring! ...No, that's not it. A circuit board is used.

Using a rectifier tube and operating in Class A mode for a pure tube sound! ...Or not. It doesn't use a rectifier tube, and it's not Class A.
It's supposed to be great for home recording with its rich tone even at low volumes! ...But that's not true. Basically, it only produces loud sounds.

You can't preset two modes for each of the three channels!
I've been mostly critical, but honestly, in today's world, Koch is undoubtedly superior in terms of convenience from line recording to live performances, Diezel in terms of versatility from clean to heavy sounds, and Krank in terms of ferocious high-gain sounds.

So why the JCM800? It's neither modern nor super vintage. Yet this model has created countless legends, and continues to be loved at the forefront, poised to create new legends in the future.

Perhaps it's because the JCM800 is an "ordinary amplifier." It doesn't have any particularly amazing specifications; it's the ultimate in ordinariness. Precisely because it's ordinary, it becomes one with the player's imagination, producing an infinite variety of sounds, and can be used with confidence at any time. I think this is the greatest charm of the JCM800.

It produces a normal rock sound, without any problems. This might seem like a given, but it's actually quite amazing. And it might be what most people want most.

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Author of this article:Matsui (TCGAKKI Store Manager)

After serving as store manager of Kyōritsu Musical Instruments Shinjuku storeTCGAKKIJoined the company. As store manager, I worked in the vintage guitar floor and electric guitars.BassHe has held various positions across genres, including amplifiers and parts. He is a leading electric guitar salesperson in the industry, highly trusted by famous musicians. His favorite musician is B'z. His hobbies include horse racing and golf.

Qualifications and experience: With 20 years of experience as a musical instrument appraiser, I have contributed articles and supervision to publications such as Guitar Magazine.

▶︎Click here for the article I wrote
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