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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[@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!

[@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.

[@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

[@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.

[@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

[@soarornor]

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

[@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.

[@elmaffo]

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

[@ethanjenkins8121]

I have a code 50, so not quite the same thing but it has a plexi setting and a 100 watt setting. it realy is glorious, I absolutely love it

[@chadwickbosarge1830]

I have a 2006 marshall plexi reissue and had no idea how to work it! to this day I'm listening to guys like you to pick up some pointers on how to get great tone from the amp, by the way I have a 1977 marshall greenback half stack to go with it and it sounds incredible!

[@superjim3998]

Sounds awesome Rhett! I can't wait to hear what your recordings sound like when your 4x12 and Plexi arrives. I feel like these massively powerful amps sound much better through a cab than an attenuator or whatever. But 100 watt Marshalls from those earlier years or the reissues from nowadays sound just holy when powering a 4x12. It's a beautiful thing.

[@frankspikes7858]

Hey Rhett great playing as usual. You elegantly explained how the amp works. I'm actually a drummer and bassist. I love hearing that saturated big blues sound. It has a certain mojo to it. Marshall's are great for that!! I saw Robin Trower live indoors some years ago. I want to say he uses plexis, or a custom Marshall based off the jcm 800. His tone was so good I wanted to cry.

[@StevenAnthonyGuitar]

Great video, I've been waiting for this one. I fell in love with the plexi sound just a few years ago, but ever since I'm hooked. Glad you're finally getting one as well!

[@erictripton]

Love the 1983 intro. The Firebired nails the most beautiful melody sound, Jimi created in my opinion. I use 2 Germino Lead 55 LV's [1968 JMP Super Lead]......my amp chase is over

[@bluenotesharp]

Rhett, you totally had me with the opening of 1983 a merman I would be by Jimi Hendrix. After listening to this entire episode (which is full of great examples of tone, style, and taste) I decided to purchase a two notes torpedo for my 1973 100 watt Fender twin reverb which seriously is just as loud when listening at those wonderful tones produced by overdriven tubes. I remember in my younger years blowing speaker coils while playing outdoors and the almost magical harmonics of the over driven speakers as the coils began to melt. Some players used to do this on purpose by mismatching speaker wattages and blowing out the cabinets during solos with backups standing by. Crazy Ted Nugent comes to mind as a well known performer who used this unorthodox technique… (which cost him his hearing I might add) In closing is there any attenuation devices that simulates that just about to blow speaker sound. I’m just academically curious. Some things are just analog is my guess but I’m interested in if anyone ever tried to document or replicate this rare rich harmonic tone. Thanks for all of your great “content”!😊

[@curtisprice9806]

Yes, Ted Nugent was deafening loud...and he bragged about it all the time! All the great recorded tones of overdriven tubes isn't what you are looking for??? I don't know what you are talking about, even though I blew up a Jenson 10" with too much power. I didn't hear anything special happening before it blew. I think you are chasing something that isn't worth it.....

[@bluenotesharp]

@@curtisprice9806 , I’m not chasing anything, I’m just remembering what I and several of my touring musician friends have chatted about in the past. Just a happy memory for me of a really great solo that generated a comb filter full of rich harmonics and ridiculous sustain . What a great moment ! Talk to a few ex heavy rock players …… Many have stories of the magic tones right before a meltdown. And all this usually with no pedals just some hot pups and a loud amp. I truly miss those days. I started performing in 1963 and have played seen and heard lots of great stuff. Believe me…. this phenomenon happened a lot back in the day when PA systems didn’t have enough power to fill a venue and we had to rely on our stage volume especially for outdoor shows. Once in a while a 4-10 cab would get switched with a 2-12 or something custom and begin to blow just as a crescendo peaked. That’s why I asked Rhett the question about did anyone ever record and analyze it.

[@curtisprice9806]

@@bluenotesharp I would like to hear from others more about this....I have read countless interviews from musicians since at least 1980 (I was born in 66') and I vaguely remember reading a couple comments such as 'like a speaker ready to blow" after all these years.(2022 now).

[@webcityguymyclubb4032]

@@bluenotesharp You’re right about the different sound just as its about to blow. Old mid 60’s Vox do the same thing - they sound better the hotter they get. And absolutely incredible just before they self destruct. I think the cheat for this is to use/abuse a Variac. But be careful. Studio clowns blew both transformers on the 68 50w Plexi I bought for practically nothing. Oddly enuf, put great replacements in it and very few ppl can tell the difference in a band.

[@bluenotesharp]

@@webcityguymyclubb4032 Edie Van Halen pretty much invented/discovered the Variac method (after being electrocuted several times trying to do it with a volume pot) 😄 Of course traditionally we used variacs to power up and down expensive analog consoles like Neves etc. in the studio if and when we had to move or work on them. I’ve tried various power soak inductive attenuation boxes with limited success at the cost of some precious tone. But oddly I am not only a player but a seasoned recording engineer and electronics tech so I totally appreciate the Variac solution tip. Funny I never thought of it myself in relation to those magical harmonics of a near or total meltdown. Thanks again. I’ll try it on something not too expensive like my blues Jr. and see where that gets me. Thanks again….. Big Dave Simpson

[@scottrichardson6226]

Great video! A couple years ago I bought a George Harrison type Gretch and a new Les Paul standard. I had a buddy that had a 50watt Marshall back in the mid 70's and it was the best amp I ever played---loved all the sound from every angle. I finally ordered a new Marshall 100watt (DSL 100H) cabinet with a full stack. No doubt it's loud, but even with only the base stack hooked up it has no where near the sound of my buddy's 70's Marshall. Then it dawned on me that this new Marshall isn't a British amp, this one was made in Vietnam! Vietnam! I get feedback and weird noises out of this amp and it sure doesn't have the tonal range of my buddies old amp and I feel I wasted my money. I may go back to a Fender twin reverb. I am kind of basing my latest gripe on construction these days. For instance--my buddies Marshall half stack had steel wheels made for bar hopping---my unit has no wheels! I can get some but they are all plastic now and wouldn't last a weekend in combat bar mode. The lack of workman ship goes right inside from there--the tone sucks, the unit doesn't "answer" when you switch presence and only modestly on bass. You do get the treble tho. This works the same no matter how you configure it. I was always sold on Marshall and as an older retired guy I wanted to finally own a full stack. My buddies could be played in a closet without feedback but not mine. I even took it out to my brother's huge shop on the farm and cranked it up--played around and behind the amp to try to get away from the hum and feedback but never really did. Are these new Marshall amps just knock-off-shit now? Whats the deal. I am very unimpressed overall.

[@jamiemcparland]

I see a LOT of people talk online about how there is NO place for these 100 watt amps anymore. Thankfully Rhett said ALMOST no one needs this kind of volume. I play in a hardcore punk band and we do (did) lots of basement shows. Most of these places have a PA that's hardly usable to vocals, let alone a guitar amp. So in a room with 100 people pressed right up against you, human bodies eat up volume. So you really do need 100 watt amp to push the sound to the back of the room. You're killing people up front with volume... but at good shows, people are going off so hard I think that's the least of their worries.

[@murkish]

In the future folks will probably mostly just hook up a laptop with direct input on some PA speakers running through a DSP amp

[@ramon2008]

@@murkish haha Yeha most likely

[@ryans9029]

@@murkish they'll need to say "no homo" as they plug it in tho...

[@deanjohnston104]

He he, I remember the first time I played (some kind of) a Marshall half stack. It was frightening. That first tentative note made me recoil, like an electric shock. The thing was so loud and in your face, so powerful and daunting, so raw and overwhelming, it was like (I imagine) being suddenly plopped down on the back of an unbroken horse, or a rodeo bull, or something - it was like, take control, right now, or be thrown and trampled underfoot. Twenty years later and I still bear the bruises...

[@duckyjp17]

Great vid. Thanks for taking me to school.

[@mr.astrophysics9115]

Well I thought this Marshall was the best at one time but in 2007 I played a new at the time Vox ADVT50 and ADVT100 I was hooked immediately then again in 2009 with the Vox Vt100 all 3 of these Vox hybrid Amplifiers are available...

[@rmedzoyan]

Nice opening piece. I always in joy your videos.

[@billbracken5671]

This is a great tutorial!! Thank you

[@mikedavis4427]

I gotta try one. I'm not lacking on the power though. I've been playing with an ultra liner fender twin reverb through a full stack wich is 135 watts of pure American fender tube tone. Talk about headroom and everything else. It's very awesome to experiment with the variety of tones. I'm doing it in my living room in a downtown area in north Idaho. The cops have only come out once just to give me some advice. My neighbors must not hate me too much. But I'm not playing anything too offensive or aggressive. Just rocknroll blues funk and soulful stuff

[@samiam7342]

wow, that was an excellent video! very nicely explained and easy to follow.... most of the time I have a hard time following the technical aspects....but not for your video...thanks for posting!

[@Mark95876]

It would be great if you or Rick Beato could check out Marshall's other 'Plexi' masterpiece, the Vintage Modern. BTW, I have a Plexi sounding JCM 600. For me it is the perfect Marshall amp: great sounds, D.I. recording connectivity, not as loud nor as heavy as a 100W, and has a built in tank reverb. Unfortunately, due to engineering mistakes it is the opposite of reliable. I call it Husky cos it hates hot weather.

[@williamkerr3350]

So informative,thanks Rhett

[@burroughs334]

What a positively, undeniably, beautiful sound.

[@raybassman7536]

Rhett, Many top pro players decided 50 Watts was the best, even on arena stages. Paul Kossoff in "Free" pulled 2 of the 4 EL34's to make his 100 watt head a 50 watt. Same with Pete and Steve in HUMBLE PIE belive it or not.

[@Olegstuff21986]

Thanks for the quality content!

[@zbigniewsekulski6280]

No single word on ...(what is the most critical on the sound) the speaker drivers. Transducer - the pick up and the speaker make fundamental difference. And as to POWER. It has to be said tube 100W power is completely different planet than solid state 100 Watt. I play acoustic stuff. My vintage 10 watt tube amplifier is louder than an say Fishman 100 watt .

[@tonyqunta32]

My first 'real' amp was a 1969 Plexi stack. What an amazing amp, but in my experience quite unreliable. Replaced it with an Orange 100watt head. In the days before master volume amps to get a good crunch sound the volume was earsplitting! Relaced that set up with a 1959 Vox AC30 - used it with a separate top boost unit - another amazing sounding amp!

[@squirelova1815]

That thing is like "Spot" under the stairs from The Munsters.

[@jamesgheen6158]

I'd love to see you do a video on the Gretsch sound.

[@AlphaBravoCapital]

Great video! Thanks from Chicago.

[@hyperluminalreality1]

2:45 is a huge misnomer because of the wording. No they did not "clone" the 59 Bassman, or they would be identical in every way including the tweed 4x10 combo cab. They directly copied the schematic, exactly. Same EXACT signal path including the tube rectifier. The Plexi is where they made slight circuit voicing changes, like solid state rectification and different value plate and cathode resistors and cathode bypass caps on preamp tubes. Compare the schematic of a 5F6A Bassman with a JTM45. The only changes made were out of sourcing necessity, including filter capacitors, power and output transformers, output tubes and speakers. The schematics are identical and no changes were made to tweak the sound as seemingly implied by Rhett. British VS American builds of the same exact schematics, with the only difference being parts sourcing and manufacture methods. The Marshall sound is in the transformers and speakers. Not output tubes IMO. The JTM45 used KT66 output tubes, because that was the closest thing to the 6L6GC of the 1959 5F6A Bassman available in Britain at the time. They copied the 5F6A schematic directly, and did not use the EL34 until the Plexi came out. Clapton's Bluesbreaker combo used KT66 tubes. That is THE Marshall sound. So EL34 tubes are not really a factor for the sound, but for feel...like solid state vs tube rectification. A feel, thing, not a sound thing. By the way, the Fender 5F8A was the 4 output tube version of the 1959 Bassman, and nobody talks about it. The tube rectifier gives that amp the most sag of any amp ever. The best blues amp.

[@topfuelfan]

Nice,👍 Well at least I can afford Jimmy's coffee table book 📖. Went to see LED Zeppelin in 1977 in Cincinnati, OH . I was only 15.. Woo! 🎸

[@ibanezcollector]

Would love to see a JCM800 video like this

[@gilmarriner3011]

Love that t-shirt Rhett!

[@randy206]

Pink Floyd’s final cut is possibly my favorite album.

[@garythomas4431]

I own a 68 JTM 45 handwired reissue. Hard to beat. I like it more than My Soldano Hot Rod 50.. and that's saying alot.

[@jonathanbelling9068]

Great amp, but what specifically is that Les Paul? Model, finish, etc. It's ideal...it looks and sounds great, thanks

[@marshalpatrick9132]

1983…and Honeysuckle Blue…nice song choices

[@mickthebandit]

I used to own a JCM800 head but I sold it because it was just too heavy for me. I now have a Marshall Origin 20 combo which is plenty loud enough for small gigs and sounds amazing.

[@kylecravens8052]

Such a great series!

[@joshuaireland5510]

Um is there somewhere I can get your little cover of 1983? That sounded killer

[@rroades]

I can’t afford, nor contain the sound of one of these but this video blew me away. I have the spark, Bias Amp 2 for Logic Pro. I’m so green but need to ask: can these approach the real thing in Logic Pro so I can find aural tranquility?

[@AngelMartinez-qs3cf]

Hey, what kind of fender Strat is that? Is that a custom shop or an American Traditional? It sounds awesome with the the Plexi!

[@earthdog1966]

Don't own one yet , but I'm putting my order in

[@jmanzemail]

Such a well thought out, entertaining, informative channel! Thanks for paving away at so many great topics covered so well! You must have a great team!

[@jimmyperry7309]

Dude, that shirt....Awesome!!

[@alanbarber483]

I use a germino clone of a 50 watt 68/69 plexi. It's tamed with a post phase inverter master volume. Just used in the studio. Too much amp for gigging. Very nice amp!

[@bloosorangebox7497]

Dude I love your vids man!

[@dutu000]

excellent video! Love IT!. Yea, 100w is insane.. I find that 18W (2 el84s) is enough :)

[@TK-fk4po]

It sounds great but I have to say a HiWatt sounds a little clearer and more versatile.

[@TomPark1986]

Sounds good. I'm going to reach for something more affordable...like a mark 5.

[@davidfield8122]

Bogner La Grange pedal! you're welcome 🙂

[@matthewruffley1392]

I love these video series. Is it possible to get one on a Canadian amp the Traynor Bass master. It's been called the Canadian plexi.

[@rhettrock558]

I got one in September. You can dial in such a rich full tone. Definitely not a good thing in a regular size room. Brutally loud.

[@gcvrsa]

The JTM45 is absolutely a clone of the Fender 5F6A (1959 Bassman) circuit. If you look at the actual schematics, this is totally obvious, and it is a fairly trivial matter to convert a 5F6A to a JTM45 and vice-versa, other than the power sections. The only changes that Marshall made to the circuit are some passive component values which give the JTM45 a different tonal signature, and the output tubes and transformers, because it was much easier, cheaper, and more sensible to use items commonly available in the UK rather than importing tubes and transformers from the US. So, Marshall selected the KT66 tube, which is a close cousin of the 6L6GC/5881 types used by Fender at the time, and an output transformer designed to complement the KT66. Later, Marshall changed that to the EL34. Contrary to popular belief, the differences in sound between the three types of output tubes are minimal. What gives Marshalls and their equivalent Fenders their character tone has much more to do with the preamp component values and the precise relationship of the characteristic impedance of each different type of output tube and the particular output transformer with which they are paired, coupled to the particular loudspeaker (Celestion for Marshall, Jensen for Fender). The characteristic sound of the JTM45 and Super Lead (Plexi) amps is a much brighter sound than the original Fender amps, which is exactly why the combination of Les Paul with Marshall became so popular-the more prominent upper midrange of the Marshall amps compensates for the relatively darker tone of the Gibson humbucking pickups, and tends to lead to a more coherent overdriven tone when pushed hard. Conversely, this is exactly why Hendrix often used Stratocasters with Marshalls, because they were even brighter, still. I personally do not generally like the Marshall sound for my music. I much prefer the tonal balance of the Fender amps. That being said, I would very much like to acquire a pair of Marshall Astoria Classic 1x12 combos. The Astoria Classic is the best amp Marshall has made since the original JTM45 (or the 2003 limited edition of it), in my opinion, but the Astoria offers some interesting new tweaks in the preamp, and a sensible 30 W power output. It's a shame the Astoria line was not more popular and was quickly discontinued.

[@Dogboy1960]

The irony of Jimmy Page's comments is found in "reliability". I've never done a single "gig" without having a second Marshall head on hand, just in case. I love 'em and can't imagine my close to 50 years of playing in bands without them........but reliable is not a word I've ever described the heads with. From fuses to tubes.....they can act up and cut out at anytime.

[@Burnenwhysee]

Great intro tune!

[@gibsonlpcustom2007]

Great video!!!

[@daveyguitarman9287]

Cool man thanks for the info

[@Naminorite]

What is the best way for an ‘at home only’ player to get that Marshall plexi sound without buying a 100 watt actual Marshall? I would assume that there is a smaller head or combo (tube) that is able to provide the wonderful sound without destroying your windows and running your wife and neighbors out of the neighborhood

[@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.

[@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?

[@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!

[@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!

[@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.

[@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

[@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

[@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.

[@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.

[@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.

[@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 😁

[@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

[@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 😂

[@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

[@drhoward5538]

what song opens this vid?

[@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?

[@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.

[@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!)

[@Mudder1310]

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

[@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

[@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!

[@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

[@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.

[@danedgar1539]

Everyone over the age of 40 knows exactly what the plexi sound is because theyve been listening to it their whole lives...they just never knew it was a plexi

[@ippotsk]

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

[@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.

[@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

[@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.

[@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!!

[@bmcash3411]

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

[@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 .

[@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..

[@rocksteady309]

And also you said you ordered your own 59HW. I’m about to do the same. What specific cab did you order and also speakers? Your doing a great job. Really enjoy it! I hope you’ll reply!

[@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

[@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!