This Amp Forever Changed Music...What Is The Plexi Sound?

The Marshall Plexi is one of the most iconic pieces of guitar gear in rock music history. Used by many of the greatest guitar players to ever pick up the instrument, the Plexi has left a massive legacy, but what is the Plexi sound?
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[@rifflix]

I love the fact Rhett says " most players don't need a 100W Marshall that doesn't mean you shouldn't have one"......all the wisdom I needed to hear today..!!

[@tagadabrothersband]

I admit, I bought one and I don't even play in a band anymore 😅

[@RobBCactive]

moving air is the whole point!!

[@hootowl6354]

Maybe you don't need one, but if you have one, you'll need a good attenuator. 😂

[@marrisonh]

Which one? There are many low cost and expensive attenuators

[@hootowl6354]

@@marrisonh They suck tone. It's debatable that they are even worth using. If you want a THC Hotplate, I'll give you a good deal. I'm selling bridges too.

[@davewhitedavewhite]

I was the Music Tech at the high school nearest to Marshall Amplification in Bletchley England, Lord Grey. They were always incredibly generous to us, and for our Battles of the Bands school shows, they would lend us for free, the amps they supplied to the big festivals and legendary performers who might want them for their gigs. It meant I could fill our school stage with enough Marshall full stacks to entirely fill it to the ceiling, left to right, the kids were simply awestruck to plug in to such a monster rig, it made the whole evening special, and I got told off plenty of times for the racket I made whilst setting up during the school day! A wonderful firm, who ALWAYS support the gear they make and sell, and do such a lot for the community of Milton Keynes. Rhett, if ever you are able to pay the factory a visit I know that you would be made welcome and given a tour, we always were when I took our music tech classes there to see what they did, the Marshall Museum of amps is pretty cool as well!

[@qak6]

"Most players don't need a 100 W Marshall, but that doesn't mean you shouldn't have one." (14:20) Indeed!

[@alexguitarwatson3215]

I'd love to own a Plexi. I would join a circus and blow out candles standing20 ft in front of my 4x12/Plexi rig ;-) Yes, there is really something about "moving air" with a tube amp.

[@diegorhoenisch62]

"Fender was not importing that many amplifiers . . . ." It is perhaps significant to mention that the reason why the British created so many amplifiers is that the UK had strict importation quotas on musical instruments. Fender didn't somehow decide to ignore Britain, the UK's government specifically forbade imports until 1959. It took a significant amount of time after 1959 for British consumers to consider Fender instruments even after the quotas were lifted because of the exchange rate and the price differential. Best regards, Alan Tomlinson

[@johnc.8298]

Fender amps were ridiculously expensive in England during that time. Possibly due to exorbitant import duties?

[@theboofin]

This ^^^^

[@audiomonster303]

import duties!!!!

[@allanross9154]

Let's not forget Jim Marshall admits that he totally copied a Fender Bassman for the first Marshall heads..

[@audiomonster303]

@@allanross9154 truth, most ideas are remakes not originals....... even the first Marshall amp!

[@414deathmetalist]

I love these as a death metal player. One thing that a lot of people don’t mention is how well these amps take overdrives and distortion pedals.

[@earanwe]

So true. They are designed to support lot of power, noise and gain, so they chain so well

[@rocksteady309]

i was hoping for a reply from Rhett?

[@ericv7720]

Judas Priest used the plexi pushed by a Dallas Rangemaster during the 70, so all of their early albums were powered by that sound.

[@TheHeroJourneys]

I am running a Traveler guitar onboard distortion into a Spark Go Plexi emulator and it sounds insane.

[@JSaltyfabricator]

Literally everyone mentions how they take OD. It's the thing to do.

[@garyfox8]

I used to play a 50-Watt Marshall half stack with a 79 LP. That set up could peel paint off the walls. Simply glorious!

[@thumbody1]

It is an incredible feeling of power when playing with a 100 watt tube amp through a sealed back 4-12's cabinet or two, turned up to 5 or 6. Muted chords, turned up loud, will kick you in the back like nothing you have ever experienced. The sustain you get from your guitar because of the feedback loop between the speakers and guitar is quite an experience. Back in the day I had a 120 watt 5150 stack and it was glorious when playing chunk chunk chunk stuff. It will shake your fillings loose. :o)

[@wingnutmcspazatron3957]

Fuck yeah.

[@amimaster]

I once had the chance to crank up my Strategy 500 a little during a jig (it was below 12 'o clock on both channels) and.. oh boy. My guitar became like a ball of lava.

[@jacobyunderhill3999]

For real. That scene from back to the future isn't all that unrealistic.

[@cliffords2315]

Muted Chords i call the "SHUMP SHUMP" sound some call it the Chunk sound mades the cabs vibrate

[@VonBluesman]

Marshall Plexi one of the greatest amps for Rock N Roll, not only does it sound great but 40 years later I can credit it to making my ears ring non stop.

[@ryanholm2801]

Yep. Me too! Hindsight 20-20, I would have been better about wearing hearing protection. It’s just such an addicting experience playing those plexi’s loud.

[@VonBluesman]

@@ryanholm2801 LIke Rhett said, the Plexi moves so much air. That feeling along with the killer sounds you get out of one just makes me smile and grin ear to ear. Cranking a 100 watt wide open used to be the closest way we could come to getting the Hendrix sound and the feedback. My Mother (GOD rest her soul) gave up on knocking on the door and used to bust my bedroom door open like a Swat Team raid, then she would yank the power chord out of the electrical socket and give me a 2 second death stare just daring me to say anything, then she would stomp out of the room. LOL 😂 It would take me several seconds to get back to earth because of the great high feeling 100 watts RMS power delivers to the mind and body. LOL 😂

[@paulsimmons5726]

The "Plexi" tone is a sound I grew up with back in the 70's because it was on so many great LP's and was the defacto backline of the majority of touring bands at the time. The move to using master volumes on amps signaled the beginning of the end for the Marshall Plexi sound. There's simply no substitute for a Marshall stack cranked up, in the hands of a great player, of course! Great video, thanks for posting!

[@tagadabrothersband]

Many guitarists at that time used them on stage but not necessarily in the studio. Jimmy Page is a well-known case for that, even if in photos we are used to seeing him in front of a Marshall.

[@RobBCactive]

@@tagadabrothersband they also became part of the theatre of gigs, Angus Young for example had a vintage amp mic-ed up into PA, but still had a wall so he could move around and it'd sound the same to him, like a bank of monitors. Almost everyone assumes they're hearing his Marshall wall, but in reality it's the PA.

[@cliffords2315]

@@tagadabrothersband We always used Marshalls in the studio, by 1971 they were used to it, we would turn the cab towards the sound proof wall, and mic it from the front. The Drumer was in a sound proof room do the vocals later

[@Fastfritz63]

Had an early’70’s stock SLP Marshall, sold it to help fund school, wish I still had it!

[@Xuxixnywhwj1725]

That amp is proud of you

[@216trixie]

School sucks.

[@Xaion6]

Man... you're better than me. Idk if I could've done that

[@motoramps]

I know, it hurts...I got rid of a fantastic sounding '73 metal panel. The sad part is that I don't remember why I sold it!

[@colinwallace5286]

I have a 1967 Ampeg SBT bass rig with two 15” Altec speakers. It is the embodiment of your “moving air” concept, and when you use the “ultra-lo” switch on channel one along with the 3-way mid selector, you get this airy subsonic feel without losing clarity on the notes. It’s also a trip with a five string bass with the low B string. A friend used it for his, and risked repeated hernias just because it was fun to tickle the hairs on everyone’s necks on stage. It’s too bad it’s so big and heavy, because it’s one of those things that should be enjoyed, instead of left in the basement. These gear videos are enjoyable for those of us who don’t get to ask Rick to lend us something amazing. You are a lucky man, Mr Shull.

[@jimz68]

My late friend Brian, had two Plexi's in his "collection". I remember one night he daisy-chaind them together. What a glorious sound !! Thanks,Rhett for sparking memories of great times with a great friend. Miss You, Brian.

[@TheOriginalArchie]

If I had those amps I'd always be late too.

[@kodykindhart5644]

🤣🤣🤣🤣

[@cliffords2315]

God lucky on that, living in CA there were more Fenders and SUNNS available and we learned the daisy chain and changel Jumping, really increased the output of the amps

[@cburkill2234]

Reminds me of a time many years ago, when I felt like the luckiest guy in the world. Me and a good friend went on a visit to the Marshall factory in Bletchley. We were hosted by Jim Marshalls son, and shown the whole of the plant. The highlight was when they arranged for us to meet the lead designer for the Vintage Modern, who took us to the Marshall sound stage, and let us jam with him and the most amazing array of amps. The sounds are amazing, but that day made me Marshall for Life

[@Mudder1310]

That big amp feel is unmistakable, addictive, and you feel kinda like a rock star. You can feel it even at lower volumes.

[@TheEnderBand]

This is pretty much the quintessential classic rock sound if there ever was one

[@TheEnderBand]

PS nice shirt bro, criminally underrated record

[@darionbuck8864]

Nah vox ac30 saturated

[@cliffords2315]

@@darionbuck8864 nobody in the US had Vox Tube Amps only Solid State amps, untill decades later when England finaly started shiping them to the US. The Solid State Vox amps were OK, but not the tone of the British amps

[@johnmarshall3903]

​@@cliffords2315 Those Thomas organ Voxes sucked hard.

[@MatthewScottmusic]

The sound is 🔥🔥🔥

[@rockytobler979]

i wanna hear you on one man!

[@travisbickle3797]

@@rockytobler979 I'd love to hear that too! But he's loving that Super Reverb tho.

[@timbaker7683]

hey i build amp Marshall jcm 800 the next step 50 watts they sell the builder kits on mojotone all hand wired point to point just like the original ill build plexi or supper leads to but i more interested in teaching how to build theses amp

[@squirelova1815]

Yessa. Like hot "Spot" under the stairs from The Munsters show.

[@jonnybeck6723]

Yeah Matthew... where've you been hiding your JTM?

[@mikebjorgo7985]

I LOVED standing in front of a full stack Plexi in the 70s & 80s, leaning back into that wall of sound pressure, bell bottoms flapping!!

[@anotherheadlessdemo]

The 100-watt Super Lead was the most incredible sounding amp I've ever owned (sadly, it's long gone). The "thud" was incredible. Also, if you have a full stack and you angle yourself a certain way in front of it, the sound pressure will cause you to lose your balance. Always fun!

[@jonnybeck6723]

It may cause you to lose more than that... your paint, your leaf, your mind, your hearing, your facial hair, your better judgement, your marbles and last but not least, your virginity (not that there's anything wrong with that)

[@johnnybrown9581]

Can’t agree more with this statement. The power and headroom of these amps is absolutely insane. The pick attack will cause a nuclear reaction

[@sundial6919]

@@johnnybrown9581 yeah the plexi Really clean , i built 50w plexi clone , and had a 50w 4input jcm head from 1974 , it was much more aggressive and i liked it much better , it would certainly keep the rock rolling

[@zapzarap5600]

My ears hurt only from reading your comment

[@joepierce1672]

@@jonnybeck6723 I've got one that I bought new after seeing Hendrix blow the whole back out of one. I have to agree with everything you said. That's why it stays in storage. Besides, now that I'm old It takes a crane to move it.

[@altonreid9726]

You’re not getting off that easily Rhett. We need part 2 and we need it to be an hour long. Those tones are too good.

[@AllTheCoolNamesAreTaken84]

I'd rather play guitar than watch someone else play, but that's just me 🤷‍♂️

[@rroades]

I’d rather learn what and how AS he plays and gives me a chance to duplicate the work. I’m a sponge, live cautiously and crave knowledge that being away from music and guitar for 30 years has brought to me. So (politely intended), shut up!😀😂

[@BangBangBeefyMacNCheesy]

Agree… but it should be an in-depth two hour tone shaping seminar using the Plexi incorporating various guitar / pickup configurations. 😁

[@adhaskym.a9536]

An hour? You are crazy. Go back to bed kid.

[@johndillon7633]

Would like to see the difference between the 2203 1980? 1980 to 1983 hw is the most sought-after. Why?

[@strat0871]

In my 1st band, in the early 80's, the other guitarist had a red tolex Marshall head, normally for bass, it sounded fabulous. These are very rare today. In the band we had also an Eko all tube italian amp, kind of AC 30 look but stack, it sounded even better, with a great spring reverb inside ! Cheers from France.

[@attanovantotto874]

eko is still around today in italy, and they make fine instruments, in the 80's their quality was at its highest.

[@noahbenson585]

Lemmy’s “Murder One” is actually a ‘76 red tolex Super Bass. Cool coincidence

[@FabrizioCalderara76]

Probably it was the Eko Viscount model, which is very close to an AC30 because Vox gave them a license to assembly the AC30 during the seventies...and they copied it. Eko is still alive but it's not a real producer as it was during the sixties and seventies, now it primarily acts as a distributor and they also have chinese made products.

[@strat0871]

@@FabrizioCalderara76 Yes, it was a viscount of the 60's, I saw on the net, thanks !

[@meschadarc141]

@@attanovantotto874 that makes sense. a few years ago a friend gave me a forgotten eko 12-string that just about fell apart. most likely 80's by her story and by the look of it. i restrung it and helped it back up on its feet, so to speak, and it truly plays and sounds amázing. so, in a way eko is still around in belgium.

[@peterhorvath-howard8947]

I owned one of those JCM 45 offset prototypes from 1970 to the nineties when I asked Michael Doyle to come and see it. He wrote books on the history of Marshall Amps and through him I sold it back to Jim Marshall. It’s in the Marshall museum and I see it from time to time on various videos etc. It was my prize possession as a kid and I was so lucky to have owned it but it was good to see it “go home”. When I tell the story people often don’t believe me. Thanks for taking me back !!

[@carlitosfreetos]

That’s crazy. I went to the the Marshall factory and I saw that amp there.

[@truthserum9157]

I’ve seen this amp in many book and magazine articles, what an incredible piece of history.

[@russwsoper]

I used to have 2 Plexis years ago - a '67 Super Lead and '68 Super Bass. They were CRAZY unusably loud. This was back when the main attenuator available was the THD hotplate, which changed the tone enough where it just didn't have the 'magic'. But Rhett is spot-on, there is absolutely nothing in the world like taking a Strat or Les Paul and plugging it into a Plexi turned up to 10. It's an experience every guitar player should do at least once - it can't be described, it's just pure magic. I wound up using my master-volume Marshalls instead, mostly a JCM800 2210, but I do miss the Plexis.

[@ericandrews1661]

Hard to beat the 2210.

[@curtisprice9806]

The Hot plate worked great for me at medium high levels.....if I can't crank up a couple Marshall Super Leads, I practice the guitar unplugged sitting on my bed lol..."the story of my life...but the reason I am a very good guitarist!)

[@thebeefmaster74]

My guitar player in my band insists on bringing his 80's 50 watt marshall to all our gigs. Even when it's a shitty little dive bar, and I hate having to deal with helping bringing everything in but there's sound like it. Everyone that hears it always tells him how good his tone is. Undeniably rock n roll.

[@mjeffn2]

A shout out to all those Hammond B3/Leslie players that used to be out there back then too, LOL

[@buzzcuzzz388]

Well your Not a Person that’s Dedicated to Your Music or Sound Quality if your going to Beach about what it takes to sound good, you sound like a typical lazy ash piece of Crap

[@TheReaper10123]

Dude I would love to see a “What is the *blank* sound?” Series dedicated to groups or albums as well, not just gear. It would be a great way to contextualize the gear you’ve already covered so far and be a goldmine for tips on achieving certain tones. I’d add that you could do a segment not just on recreating the tone verbatim of a popular artist/project, but on taking the gear/techniques they use and adding them to your arsenal in a unique way.

[@SergioFlores-ej6mw]

that would probably be a big pain in the ass as far as like copyright claims and stuff goes. I could be wrong but I think when you start name dropping bands and playing licks from albums it can get messy with rights

[@ceebee491]

That's a great idea, cover the gear, where the musician was at creativity, the content of how it impacted society etc. Kinda like a 'what makes this song great but not so, theory based...

[@braedonmorrissey7548]

@@SergioFlores-ej6mw I think even some bands you can say their name and others (cough Eagles) wont even let you mention a thing about them. Now I believe it comes down to their record label or the band management that's above the actual band themselves. I for one think its so dumb to mention a bands name and get copyright claimed but if you're playing their music that's another beast

[@stevendearden8030]

Absolutely great amps with an unmistakeable tone. As a home player these days the SV20H does a really good job at getting close, but a cranked SLP is quite an experience and something every guitarist should enjoy at some stage in their musical journey. Great insight Rhett.

[@FabrizioCalderara76]

Plexi is so famous because of its aggressive distorted tone but, believe me, Plexi's clean tone is probably one of the best clean that you can get from a tube amp. It is glorious!

[@emilyadams3228]

Hendrix preferred the clean tone of the Marshall, & also of the Strat, cos it responded incredibly well to effects. The few that existed in 1967, anyway. Sort of like painting on a white canvas, instead of one that already has a painting on it. That said, Les Paul + Marshall Crunchy Circuit = Also a good formula.

[@jackdarby6080]

They're great but that's very subjective, I much prefer clean tones from Fender amps.

[@TheChadPad]

I am building one literally for its clean tone.

[@christopherweise438]

@@emilyadams3228 - Tom Bukovac said a '68 Super Bass 100 has the best clean tone of any amp ever. Better than any Fender in his opinion.

[@TDig.]

So true, especially with a strat

[@priesty4783]

So good to see the wealth of respect, intelligence and knowledge in the comments from the people attracted to this posting.. What a nice change. Well played, Rhett.

[@amalgamaudioLV]

What i love about the Marshall early history is that the most notable 'change' - the increased negative feedback - was an error, the designers didn't account for the NFB change going to 8 or 16 ohm output instead of 2 ohm of the Bassman. And that one change makes a huge difference - it flattens the frequency response, it is much flatter/fuller sounding and lends itself much better for overdrive.

[@kenzuercher7497]

I've been playing since the 60s and was a Fender Amp guy due to the availability and cost. I had a few more affluent friends with "Plexi" stacks and it was a force to be reckoned with. At the age of 16 I got to see Jimi Hendrix (for $2!) and my life changed after that night! I never bought a head and cabinet but did have a JCM800 combo for awhile. Recently a student of mine bought a JVM 800 from the 70s that had been heavily modified and asked me to make it work. After removing all of the unnecessary mods and returning it to the 1959 circuit it came to life and sounds like the one in the video. Amazing and it had 6550s! I asked him if he wanted it switched to EL34s but he liked it as it was. If you find a JVM 800 it might not be stupid expensive and can be made to do what this one does...

[@joelhabrial3897]

This is the first video on plexi’s that I’ve seen where Angus Young (AC/DC Guitarist) wasn’t mentioned. He is the quintessential plexi sound in my mind. Love the series! All the best!

[@sgeggbub1008]

And malcom young too! Just the way he gets the punchiest sound with hardly any distortion at all

[@timcorbridge6772]

Great video Rhett. I'm the proud owner since 25 years now of a 1977 MK2 Super Lead (last of the pre Master volumes) I will never get rid of it, and I can concur, there is absolutely no other feeling like it when it is cranked through a 4x12 cab loaded with Greenbacks. Keep up the good work man

[@mattw.6726]

Definitely agree on the 100W x 4x12 thump and the interplay between the guitar and the amp. I've got a Marshall JVM410H that I run through a 1960A cab, and sounds gigantic and crushingly loud even with the master on 2. I love it when I'm playing a lead and sustaining a note, then I turn the front of my Les Paul towards the cab and it just gets this wonderful, musical feedback that could go on for days.

[@bradt.3555]

You don't seem old enough to school on these, no insult intended. I remember seeing bands using these, 3 full stacks behind them, actually working. Ten Years After at the Shrine in L.A. wow, that was stage volume!

[@pmphotog]

One of the things I am grateful for is the years of playing live rock through my 1972 100W Super Lead (actually a modded/converted super bass)… as you say it’s an indescribable experience, but sadly one that most current guitarists will never understand.

[@theariesexperiment4642]

Out of all the Strats on YT,....that Black w/gold hardware Custom Shop Strat speaks to me the most. It sounds like what I hear in my head when I'm in a music store searching for "THE ONE". Most of us don't realize that sound in our head is always there. We chase it constantly. We blow huge amounts of cash trying to acquire it. But that beautiful Strat,....is "THAT SOUND" for me. Your a very Blessed human.

[@t3hgir]

My guitar teacher is a neoclassical shred guru, his main setup is a dimed 100W Plexi with an attenuator into a 1960 4x12. That's it, no boost, no OD. Sounds crunchy yet liquid-y and full of harmonics.

[@cliffords2315]

We just played everything on 10, and ajusted the gain with our volume knobs on our guitars, a Dimarzio Super Distortion would also help gain with a cranked Plexi, we did burn up allot of Power Tubes though.

[@TheJeffcurran]

You are making a REALLY important point about that symbiotic relationship between the guitar and the amp. And I find this to be one of the most overlooked aspects of the guitar/amp relationship. Back around 2001 I had a Bogner Shiva EL34 with a Bogner 2x12 Vintage 30 closed back cabinet. It was deadly loud. We didn't have reactive load boxes at the time. I had a THD Hot Plate attenuator at the time. And it was good enough. I was playing in a small space. I was using a Fender Strat. I was able to achieve that nirvana where the guitar and the amp and I became one. We all vibrated at the same frequency. Once you experience that phenomenon, you never forget it. It becomes your baseline and benchmark. I believe that this played a huge role in the way that guitar music was created in the late 60s and early 70s. Pushing the air from the speakers has such a profound effect on the experience. In today's world we're really missing out on this. When you and the guitar get within 3 feet of that speaker cabinet everything becomes one. It's not good for your ears, but MAN, it's good for your soul.

[@greghoyt4061]

While it’s not a “true” Super Lead, I do have a YJM100 that I absolutely love. The tone, texture and articulation is out of this world. And that “thud”... just wow...

[@greghoyt4061]

@David Lacey I’m well aware of that; I watched quite a number of comparison videos and did a good amount of research before acquiring the YJM haha. I was just pointing out the fact that it’s technically a different model than the SLP, due to the added features. Other than that, it’s pure plexi heaven!

[@greglee2785]

I have several different Marshall amp I play through, my 1959 lead 100 watt head will no dought move lots of air, when I get in that mood. Great video indeed a hell of alot of power in the "plexi"

[@NILGRU]

I use an old ‘Bluesbreaker’ a lot. Despite having other great amps like an AC30 and a Twin Reverb, I always end up coming back to the 1962 circuit. It does everything and does it in spades. It’s a ‘plexi’ in that it’s a JTM45. Usable onstage and brilliant in the studio.

[@elmaffo]

When you talked about the "thump" of the 100W Marshall.... that immediately made me smile by reflex :D

[@elvillegas1211]

What a sound ! I don't have a 100W head but a 50W Plexi (1987 model), and it's a killing rock machine with great warm clean sound and kick-ass crunch.

[@bluesbubba7429]

Rhett, I purchased a Marshall 1987X from a guy who purchased it on a whim years ago. I got all the warranties, brochures, and the amp in the box. I will NEVER get rid of it. You are right about the guitar and amp becoming as one; especially with a Les Paul.

[@durstgt]

the sv20h is freaking awesome and i don't know why i waited 20 something years to get my first marshall. that being said, even in 5 watt mode it IS NOT a bedroom amp unless you have an attenuator

[@yearginclarke]

Yeah I've got one too and even 5 watts is WAY too loud for bedroom/apartment usage. I have an attenuator but wish I could play it without it.

[@mp-kq3vc]

That was very helpful, thank you.

[@cyberpunk409]

I've got the SV20C and every Wednesday I get to play it at 20 watts for an hour or two... My day off, no one else at home, neighbours out. Some of the most enjoyable hours in my week 😁

[@sonnyseabury4051]

Thanks Marshall for creating the Plexi. Without you, Friedman and Metropoulos Amps, both being The Best, IMHO, when it comes to Modded Plexi Amps, wouldn't exist. Best speakers to play Plexi and Modded Plexi Amps Through....Celestion UK Made Greenback 25 Watts, IMHO. I Love Marshall too, and I have a few of them. Silver Jubilee and 1959 SLP are my favorites, as well as JTM-45, and 1968 Plexi Superlead. Nothing beats them.

[@These_go_to_eleven_1959]

Dave just released a exact clone of his 68 50 watter and i heard it is absolutely killer!🤘 I know i want one!

[@Turboy65]

Being the owner of three Superleads, one being a '69 Plexi, I appreciate this video. I like to Variac the '69 down to 90 volts and this gives it a browner crunchy sound and also reduces its max volume level considerably, making it merely LOUD rather than BRUTALLY LOUD when cranked.

[@cherrysunburst1959]

You got this idea from EVH

[@Turboy65]

@@cherrysunburst1959 Gee, ya think????😃

[@cherrysunburst1959]

@@Turboy65 you should have mentioned the legend

[@thediminish8517]

Can I ask you a quetion? How big is the difference between a 60's amp and a 1959hw?

[@Turboy65]

@@thediminish8517 It's not a lot of difference. But I have to qualify that statement because there can be a substantial difference between one original 1959 and another. They changed the specs several times over the years. A '75 Superlead is not quite the same thing as a 71, or a '69, or a '67.

[@scottleonard6651]

Thanks for the video!! There is no shortage of Marshall history videos. Yours knocks it out of the park. It can't be easy to cover so much in a few minutes. That being said, I took a journey with a 1968 Bastian a few years ago. It's a 40watt 6L6 platform. I paid $500 for one that had been modified and restored, which had reduced It's collectability since a hole had been drilled through the back panel for an effecs loop. I had my amp tech "Amphead" from Portland Oregon "Marshallize" the tone stack and modify the circuit which includes a Gain control (lots of options for this). I later had him work in a presence control to help tighten up the bottom end. What I have is a 40watt amp with many of the characteristics and qualities of the Plexi that works in most rooms. Total cost... $900. I will add that the face has barely been altered from the original Bassman. I had the tech use one of the inputs to place a volume control. Other than that, it looks like a 1968 Bastian, but sounds like a beast that can cut through anything. Cheers!

[@ippotsk]

0:16 I thought we were about to go full Unforgiven II here, haha.

[@theangelbluerevolver2863]

This video was so informative and so well done.. Amazing how much information can be taught / imparted when ego is left out of the frame.. Best 15 + minutes I’ve spent learning in months..

[@TheActressAndBishop]

I love the sound of those amps .. what I find most interesting is that as much as they have "a sound", they are also remarkably transparent. What I mean by this is that countless great players used them and all of these players sound different. Clapton, Beck, Hendrix, Townsend, Moore, Schenker, Young and Van Halen (and countless others that I couldn't remember at midnight as I write this) all sound quite distinctive and unique despite the fact that their gear was surprisingly similar .. and it's notable that it's still one of three sounds that so much current equipment chases and references shamelessly .. Good video, man .. enjoyed that :-)

[@fisheyelens876]

I get what you are laying down, but all of the players you mentioned used different iderations of amps, there is really no one amp that makes all the music that one can lump into one type of amp.

[@salviadivinorum1762]

'1983' by Hendrix..I was celebrating that one at 17 years old (in 1983) in high school, what a trip. I don't know how Jimi and the rest recorded that stuff, so beyond our time.

[@soarornor]

Your version of 1983 was excellent. Really well done as was the camerawork.

[@rstknives2423]

10:26 - oh yeah! That incredible sound!

[@kenschachsieck1357]

I played thru a Marshall full stack once, pretty unforgettable, but..if you flubb up..there's nowhere to hide!!

[@loulagro2315]

In the mid late 70's I had the opportunity to own and permanently buy from a band mate a "rough" torn up, white leather plexi 100w head plus straight 4x12, that was previously owned by Punky Meadows of Angel. It was glorious....... wish I had kept it

[@peterburi2727]

In my youth I had a JCM45 but it didn't seem loud enough so a friend of mine sold me his Marshall Major which he never used, that thing was brutal. It ate those 25 watt Celestions like candy and your pants would flap in the wind if you stood near it.

[@less_concerned1221]

I had a 1959 reissue before the effects loop. It had a ton of clean head room. A few times I turned it to 10 and I thought it was going to blow out the windows. I now have a 1970 50w in the small head box and a 1971 normal version. These are both brushed aluminum panel amps, but basically have the same guts as the late plexi’s. The 1970 is actually a pa amp that plexi palace converted channel one more into a lead circuit. Great sounding amp! Sorry for the long story! Loved the intro; it sounded great!

[@vaportrails7943]

I have to say - this is the best tone I’ve ever heard you get in any video. If it was through a cabinet it would undoubtedly be even better. And I agree - a 100W amp through a 4x12 cabinet is a whole other level of electric guitar that has to be experienced to be understood. It’s what it’s supposed to be. Most of us can’t justify that setup, but it is the ultimate ideal.

[@123Andersonev]

Tweed deluxe is up there too for natural overdrive

[@ltxr9973]

5:02 runnin' with the devil really is the perfect riff to play on this amp

[@instant_coffee_is_evil]

I am such a Plexi nerd! It's big, it's loud, it's awesome. Man the first time I played one full volume in a rehearsal room, I thought my heart would stop! They're expensive though. I built a replica with good trannies and components. Sounds mighty. The circuit is fairly straightforward and you don't need to be the brightest crayon in the box to maintain them.

[@Ron4roc]

What kind of tubes did you use?

[@dvs6121]

What "maintenance" does a guitar amp need?

[@instant_coffee_is_evil]

@@dvs6121 changing the power tubes, biasing, at some point you'll have to change the filter caps, some resistances (because manufacturers don't put res that can handle the power and heat in some critical places) clean contacts, jacks etc.

[@BlownDart68]

I love Marshall. I have the Germino heads now. Plexi for sure. Hard to find a killer old plexi

[@jamiemcparland]

As the owner of a bunch of these amps over the past 30 years, I thought you did a good job covering it. One thing I will add, that a lot of people will miss out on today is the speaker break up. These amps put out WAY more than 100 watts. When you're pushing four 25 watt speakers (if you don't blow them) it's an AMAZING sound. It adds even more crushing sound and kick in the chest. It's truly magical. I have yet to hear my amps with an attenuator and an IR capture that sound. Sadly, my ears have been constantly ringing for the past 20 or so years because of this.. As bad as that sucks.. It really was, almost worth it.

[@davehendrix671]

yeah get a be-100 at any volume they sound great you dont have to blow your head off ted nugent and eddie van halen blew their heads off with them and if you listen to ted nugent live in the 70s his playing was great but the tone sucked i think it sounded good to him because it was so loud it tricked him

[@victorvaldenegro4001]

I own an original 68-69ish JTM 45 that is truly special! It goes to my son when I can’t play anymore. I’m currently running it through a Freyette PS-2 PowerStation. It’s incredible!

[@slideguitarist]

Thanks for posting this, Rhett. I suggest you (and all Plexi users) try plugging in with a Y cable, instead of jumpering. I think it is less common because the Y cables are not widely available. Duane Allman (and Eric Johnson) used Y cables, and the resulting tone is legendary.. The Y cable lets you go straight into the top input jacks of both channels and that unleashes even more gain and a broader tonal response. You will probably need to drastically rethink the amp tone control settings compared to what you would use when jumpering. Those Y cables for guitar are not too hard to find (or make), and are worth seeking out.

[@mahlonkisner9016]

Thanks nice tip..

[@toneattic2292]

Great video Rhett! Your comments at the 14:00 min mark are so important to what Rock-N-Roll is. I once played large clubs and concert halls in a band called Rellik and ran a '69 Plexi and a JCM800 cranked. I would take that statement about the interaction between the guitar, amp, and air movement one step further and say it borders on magic. You are essentially riding the electricity. It was also very different at sound check than live. I think it is a symbiotic relationship between the audience energy, your energy as a player standing there pouring out your soul, AND the energy of the universe manifesting through the Marshall. I never knew what exactly the Marshall was going to do, and just went along for the ride. My arm hairs standing on end!

[@jasonconnolly5253]

Man, that Honeysuckle Blue riff around 10:50 shakes me. Killer sound.

[@Sasser2015]

Thank you..... I'd not heard that lick in so long and it was killing me that I couldn't name the tune. Came out in my formative guitar-playing days and probably one of the first licks I learned.

[@child8933]

@@Sasser2015 Sadler Vaden from Drivin N Cryin plays with Jason Isbell's band now. Good shit, reccomend

[@Sasser2015]

@@child8933 Thanks, man. Always liked Isbell but haven’t looked him up in a while. Will check it out.

[@D1m3b4gD4rr3ll]

I was lucky enough to have built a replica '68 Plexi SLP100. Best amp in my collection. There's something about that particular circuit that just hits the sweet spot. Jumpered channels with an OD pedal pushing the front end a bit...then just hope the neighbors are in a good mood.

[@eliwebster509]

Loved this! Never knew about the different inputs as I've never had the chance to play through one but it's my favorite amp ever made. Nothing else sounds like it.

[@jonharley7715]

at 13.34 "this thing that I call the thud" - yes indeed. I saw Deep Purple in (23rd January 1970). My girlfriend and I sat right at the front of the Central Hall at Lancaster University to get a good view, so we were no more that about 20 feet away from the amp stacks. When Ritchie Blackmore, Jon Lord (Hammond through a Marshall too) et al. hit their opening chord it was like being thumped or kicked very hard in the chest. It was presumably the characteristic result of an extreme adrenalin rush, such was the shock of it. It felt literally difficult to breath for a moment! So, a "thud" for sure. Our ears took three days to return to normal. Wonderful gig though. I knew it would be quite a loud gig having seen Hendrix on 3rd December 1967 (with Pink Floyd, The Nice, Amen Corner, The Move, etc) - another gig that opened my eyes to new musical directions. But Marshall were on steroids by 1969/70 and had certainly perfected the "thud".

[@U2WB]

Thank you ! I REALLY enjoyed this video. While I never owned one of these, I was fortunate enough to have been in a high school gymnasium when a local player cranked his up, and I know exactly what you mean about the THUD. The word “concussive” about covers it ! That feeling when the player strikes a chord and you feel as though the guitar punched you in the gut, but it’s somehow a GREAT feeling. It’s magical and it’s powerful and it’s somehow almost sensual. Raw rock and roll. Man, growing up in the 60s I was so lucky to be around all of that. While the only Marshalls I have owned were a JTM30 and JCM60, I did own a Sound City 120 head with 2 4x12 Sound City cabs. It was a completely different sound, though, apparently they were rebranded Hiwatt amps (I may be misinformed about this). Always wanted a Super Lead 100 though.

[@SimonMeunier]

I'm a modern player and I like modern gear. But one of my all time favourite heads always has been the Plexi. Love those tones so much

[@billsmith2212]

I grew up with these groups and saw them live . Alvin Lee of Ten Years After had 4 Marshall Stacks when he did The Fillmore East . The sustain was endless ! About 3 years ago when 2 members did a show in a 200 seat venue , the guitarist had a Fender with , I believe a single 12" . I said to him , they went from 32 - 12" speakers and 400 watts to 1 - 12" and about 50 watts . He cracked up . The bottom line is get the TONE and a good sound person will take care of you . Save your hearing . Way back , the stage volume was deafening because the PA's were not sophisticated and could not keep up . Most volume came from the stage .

[@richarddehart7672]

Great review. Thank you for explaining the little details. Some don't bother to take the time to care to share

[@wheelchairtestdummy3059]

The most beautiful sound in music 😀 I grew up in this era, so it sounds like home. Thanks for this wonderful video.

[@tubentruss9628]

Tube n Truss UK guitar tech and vintage amp tech. Old school from the 60s and 70s. I just found your channel. You give a refreshingly accurate overview and cut through some old myths with sympathy. One thing I may be able to inform is the trade embargo between US and UK after WW2. It lasted into the 60s and made it difficult or impossible to import US goods. Hank Marvin managed to get one of the first Strat imports. When I tell young blokes these days about backline competing with vocal PA, they find it hard to imagine. You put that very well, thanks.

[@jackbinkleymusic]

That fire bird is absolutely beautiful and I’m itching to pull the Trigger and snag one

[@Superjet113]

Dude, I gigged 4 nights a week for 7 years straight in the 80's with a 1977 Marshall 100 watt twin with fawn nomex and I NEVER knew about jumpering the channels! Man, I was missing out then I think. It still had huge balls with a Tom Sholz power soak. Great video Mr. Shull! Thank you.

[@michaelhotten752]

I started going to rock concerts around 1980. there were a lot of general admission shows back then. we would always try to spend at least some time near the stage. not so much to see our heros up close, but to get away from the PA mix and closer to the stage sound. and many of our heros were on marshalls. we wanted to hear what those amazing players wanted everyone to hear and feel: that chirp, that movement of air.

[@GBHickz]

You get a lot of points for the Final Cut shirt. That was such an underrated album.

[@brodiehutchins8049]

Great coverage as always. The Studio Vintage 20 is a fantastic (and practical) option, to 100 watts.

[@jeffcharles5858]

You call it "The Thud" I call it The Zone - you are swimming in both a physical acoustic and and electromagnetic field when you stand next to your rig with your guitar, and it does indeed become One Magical Instrument. It is a Theremin, on steroids, with 6 strings for antennas. Back in the day, the magical rig for me was a 50 watt Marshall and a Super Reverb, and I had a super sweet slant 4x10 Marshall bottom with Celestions. I would play a 1974, or a JTM 45 with SS rectifier and a bright cap, and was pretty much a humbucker player - '71 Guild M75 Aristocrat with a Bigsby and Duncan Pearly Gates loaded. Those were the days, my friend. We've gone from Plexis to Plexiglass Sound Shields on drums and amps these days, it ain't the same.

[@johnquevillon8753]

Loved the explanation, history and applications of this amazing time piece, thank you Rhett!

[@djizzah]

Nothing finer strat through a Marshall is about as good as you can get or need for anytime in rock and roll, absolutely legendary

[@bmcash3411]

I have a 1969 Marshall major 200 Watt. Fun times……

[@GraffitiPhysical]

I've got a reissue 1987x. An absolute legend of an amp. Cleans up so nice yet it you dime it you get a fantastic distortion. So many famous guitarists and popular albums have been recorded with them it stands alone.

[@chrispercival9789]

I had a '76 JMP100 with 2 x 4x12 cabs when i was 18. Damn it was incredible, tone forever and outrageously loud...i wish I'd kept it but i had to sell when i left the UK cos damn it was bulky

[@RealRunner7]

8:39 love how it sounds good clean and with crunch.

[@vanessajazp6341]

I’ve been getting into the Synergy system, and they have Plexi module that I’m planning to buy. Some amps are just THE sound. The Fender Twin or Deluxe Reverb … the Roland JC120 … the Marshall Plexi … the Peavey 5150 … Mesa Boogie anything … nothing else will do but the best!

[@matthewduncan9405]

The module just does not nail the feeling though 😢

[@brianhensien]

Awesome, high quality and super informative!

[@dougc84]

Definitely. Needs have changed. My rig consists of a bunch of pedals into an Iridium into studio monitors. And I love it. But, you're 100% right - there's something about that "amp in the room" sound that's truly amazing. I remember, back when I was a teen, and my dad spent too much money and bought me a Dual Rec, a 4x12, and a 2x12. I bought a wireless unit and plugged it in. Turned it up to 4. And walked outside. It was terrifyingly loud, and something I never did again, but... I will never forget it. Now, if I need a "real" amp for something, an AC-15 is all I really need. It's loud enough for small gigs - all I'll ever play - but I still prefer the Iridium. I can DI into a board and get the exact same sound every single time. It's reliable and predictable, even if it does miss the "amp in the room" sound.

[@chriscampbell9191]

Nice demonstration of the way the Plexi was used, especially the mixing of the two channels.

[@stevenmiller9773]

It's 2022, and amps like the Blackface Super Reverb, 59 Bassman, Marshall JTM45 and Plexi are still among the best sounding amps out there. They were perfect then, and still are. I still struggle to decide whether I like Plexi cleans or Fender cleans.

[@clgmafnas]

You're not alone. Their circuits are similar enough to cover similar ground and yet different enough to have their own voice.

[@barters8124]

For me I needed fender cleans. So went the fender with as good of a plexi in a box pedal I could find. Gets me close enough for low to mid gain.

[@hkguitar1984]

I have struggled with that question since I purchased my Fender Twin Reverb back in 1976. I can tell you that several years ago I found a solution, I now use both my Twin Reverb and a Marshall 1987x with a 2x12" Greenbacks Cab. At first this pair-up sounds like I've finally got my cake and can eat it too, that isn't the case though, moving this rig is difficult due to weight.

[@slowhandblues187]

The correct decision is BOTH! 🙂

[@hkguitar1984]

@@slowhandblues187 The correct answer indeed.

[@stewartmatheson3101]

I bought one of the last one's in UK I could find about a year and a half ago. Never regretted it once. It's a total showpiece for the studio and you just can't get the feel from anything else. i've used it ever since. Not all the time but what an amp to use when it's needed. Absolute GEM of an amp. You defo need a load box for home studio use though!!! Great video m8.

[@gregmullins6927]

Great amp,to get a distorted tone like that without a pedal is amazing.

[@jdkimple]

Love that you tossed in that Drivin and Crying riff.

[@kevmet84]

I must admit to loving the Plexi sound; it for myself ties with the Hiwatt. Also, I agree with the ability to if not occasionally, but at least once experience playing one of those classic 100 watt amps at high volume where you can feel the sound waves; it's an almost transcendental event that inspires. So few kids understand that vibe nowadays.

[@stoneysdead689]

They understand it man- they're not into it. For one- kids now don't have to stand in front of a several thousand-dollar Marshall stack to feel "air moved" - they can sit in their cars and feel the same thing- and they did, and thank God they grew out of it. I was so sick of hearing "thump, thump, thump..." coming down the damn road. MY dad was hard of hearing for several years before he passed- we're sitting in town and one of these kids pulls up beside us "thump, thump, thump..." my dad looks at me as seriously as he could be- "I'm no mechanic but I think I'd have that looked into." I just laughed and let it go. Secondly- they don't listen to that kind of music. If you put Polyphia or whatever it is these kids are listening to nowadays on a Marshall stack it would sound like shit. The last thing they want is that tube amp, pushed too hard sound we all used to love. Even if they want distortion- they want a different kind- much lower, lots of lower end to it- many of even tune down to really accentuate that low end. The tube sound was all about crunchy mids and high end- it was great at punching through the drums and everything else and staying on top. Nowadays they want the guitar to blend more with the bass and drums- they're all one thing.

[@fisheyelens876]

@@stoneysdead689 yes, the end of artistic prowess,so sad.

[@paulg3686]

@@fisheyelens876 The end of artistic prowess? Are you saying people arent skilled if they arent doing what you want them to? Nah, man. Just say you dont dig it and move on. Lots of people like a bunch of the newer tones coming out, if no one did, no one'd be making them. Plus theres still tons of people who're chasing that Hendrix tone, that SRV tone, and whatever else. Theres still bands making accurate music of that era, so if you're complaining about not seeing that, you're not looking. Theres also a bunch of skilled people making music that you'd enjoy if you gave them a chance. Also, all those records still exist. People still listen to them. Hendrix has 7 million monthly listeners on spotify. Thats just spotify. People still understand that music and love it and recreate it.

[@karantaktawala86]

Drivin’ N Cryin’. Oh man, it’s been a while since I heard these guys. It’s officially time to reboot my memory for songs I heard on a radio once! There’s so much great music I need to rediscover. Thank you!

[@the.gods.of.obliviousity]

I used to play the song "fly me courageous" in a band many years ago

[@riv-music-7]

Great!!! Awesome video, I'm learning a lot from you and Rick Beato, who I also really, really like. I've played technical death metal for years and just recently I've absolutely fallen in love with everything about rock music... All the masters from the 60s and 70s and later on...and about the sounds, the gear they used! So besides my Jackson Kelly and Solar I now own a Fender Strat and a Gibson Flying V... They are talking to me whenever I play them... And it is also because of your videos that this love evolved...

[@markn4526]

Great video! I've owned a '72 Marshall Super Lead since the late-90's that I bought for only $535!!! It's the best amp I've ever played (especially with Greenbacks). As you said, it sort of blends and interacts with the guitar creating one instrument more so than any other amp I've ever played. The versatility of the amp is usually not talked about as much as it should be. There are many different tonal "flavors" available once you learn how to use it to it's full potential. Most of the learning curve is in understanding the interactive nature of the tone controls and the blending of the bright and normal channels. I bought my Super Lead with a post phase inverter master volume modification so the volume is somewhat more controllable than it would otherwise be. The magic begins though when the power amp tubes start to breathe.