IN A WORLD OF none-more-black amp stacks, there’s something irresistibly lustworthy about a rig swathed in bright, bold, stage-stealing red levant. Sure, the circuit, tubes, transformers, speakers and everything else under the hood are just the same, but a stack like this just has to sound better than the standard issue, right?
Regardless of any imaginary sonic superiority, custom color Marshalls from the golden years are extremely rare, and highly collectible. And regardless of that, we can still expect this month’s featured amp and cab to generate a raging aural assault defined by gut-thumping lows, fat mids, and sizzling, crackling high-end crunch, and that’s what it’s really all about. Call it classic rock, Brit rock or what have you, it’s the sound that launched a thousand hits, colloquially known as “the Plexi tone,” even when the so-called “Plexi” in question was produced well past the era of the genuine plexiglass-paneled amps.
Marshall introduced its first proper production model, the JTM-45, in 1963 and used control panels back-painted in gold on those and all amps through 1969. In 1966, the model designation segued to a more powerful 50-watt JTM-50 and then to JMP-50 in late ’67 (which had by then been joined by 100-watt models), until the company began using metal control panels instead of plexiglass after 1969. Although all of those 1963-’69 amps had plexiglass panels, the term “Plexi” is more often used to describe the ’66-’69 amps, which gained more power, a few circuit changes to make them brighter and tighter, and a solid-state rectifier in place of the previous tube rectifier, among other things.
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Steel of a Deal
Jerry Byrdâs Steel Guitar Favorites packs a heap of American styles in one outstanding disc.
The Knockoff That Became a Knockout
Forced to stop copying U.S. guitars, Ibanez launched the all-original Artist line and took America by storm.
UNCOMMON FOLK
He grew up in a folk music haven. As he celebrates his latest album, Wide Open Light, Ben Harper shares sights and memories of his childhood home.
WILD SIDE
After Lou Reed's Berlin concept album bombed, guitarists Steve Hunter and Dick Wagner helped him get his groove back. The result was Rock 'n' Roll Animal, the live classic that redeemed his spirit and saved his career.
'THE BUILDING BLOCKS OF OUR BAND IS TWO GUITARS'
Sleater-Kinney were making bass-less records long before the White Stripes and the Black Keys came along. Says co-leader Carrie Brownstein, \"The power comes from the conversation the guitars are having with each other.\"
YOUR INFLUENCES STICK WITH YOU
Scott Henderson spent lockdown training his ears and building improv skills. As Karnevel! shows, his jazz chops flourished, but his blues-rock roots remain as strong as ever.
EYE ON THE PRIZE
Erstwhile blues-rocker Hannah Wicklund finds her true self with an album of songs she calls the most authentic Iâve ever written.â
'I PLAY LESS NOTES THESE DAYS, BUT THEY ALL MEAN A LOT MORE'
On Broken, Walter Trout packs his licks for maximum impact as he testifies to the hope that can save our divided world.
TIP SHEET
Think effects are a crutch? Reeves Gabrels has a few choice words and good advice) for you.
WATER UNDER THE BRIDGE
As he releases One Deep River, Mark Knopfler reflects on the guitars he's loved, the music that keeps his passion youthful... and how he'd like a do-over on that Dire Straits Rock Hall induction.