All user reviews for the Marshall 2554 Silver Jubilee [1987]

On the technical side, everything has been said: 50w splittable into 25, with 3 12AX7 and 2 EL34, full connectivity (effects loop, line out, footswitch, 2 HP impedance selector, etc.).. Mine has the distinction of being 1989. The Silver Jubilee celebrates 25 years of Marshall (1962-1987) and the Jubilee of the Queen. Silver Jubilee Series, the latest Marshall 800 series, more or less well ... rather "less" than "more" in fact. Production was still continued for 1 year and a half (one year officially, but with Marshall in the 80s ...), without the Silver Jubilee name, but still the product number (2550, 2554, 2555, 2558 and 2553), and a "delivered" more traditional vinyl black and gilt panel. Aside from the finish, it is exactly the same amp with the same parts and same patterns. In 1989, the amp is completely stopped, this is one of the shorter productions at Marshall from 1987 to 1989 (SJ included).

The amp could have fallen into oblivion given its lack of success, but some influential guitarists were enamored with this amp: Slash, of course (who managed to get a limited production of 2555 (100w) under his name), John Frusciante, The Black Crowes and more recently Joe Bonamassa you do not come across in concert without a 2550. And when you know this amp is the mark immediately.

UTILIZATION

Use of this amp starts with good musculature. The amp is small (a little smaller than a Classic 30) but weighs his weight. Between the celestion vintage original transformers and Drake, cushy will not move if you put it back! Its small size soften a bit the whole, transformers are closer than a 2550 head who appear heavier equal weight.

Well, talking about sounds and settings. It has 3 knobs gain / volume management, but it will make concessions! It was actually a common clear channel gain and channel saturated, a general volume and volume lead (for channel saturated). To keep a relatively clear channel, we should avoid to exceed 6 input gain. If we play without his clear, there may be many hairy overdrive. The volume will lead to balance the level of saturated and clean, also it will also affect the nature of the drive, since the section attack power output level. We can sculpt beautiful overdrives, soft and dry, this course also dependent power setting 25 or 50w. In any case, it refers us directly to the management of a plexi to channels bridged taken from elsewhere on the Vintage Modern, a result still down ...

Plug'n'play way by AC / DC or a more modern with a boost pedal, the amp is very usable, especially by pushing the volume a bit!

SOUNDS

The 2550 series could be considered a reset of the JCM800 series, handed to the taste of the day. Found a diode bridge to saturation, as in models 2210 or 2205, but with a very different result, closer to a 2203 with the general tone was adapted to more modern sounds (more serious) and non-grain not smooth, but balanced. A JCM800 2203 according to the frequencies played, alternate between the grainy side and gniaqueux that made his legend, and fuzzy frequencies less accurate. Here, the 2554 (and 2550) is grainy, biting, but accurate.

Start with the clean channel. As I said above, it will make concessions. The clean channel is not exactly a dream scratch, do not look here for the Hiwatt or Fender. It is in Marshall. Until 3/4 gain, there is a great platform for pedals. The sound is not too strong, but the print will be printed on the Marshall overdrive pedals you have chosen, and it's pretty good! on the other hand, it's light if you go on the channel saturated gain issue. Beyond 6, we begin to crunch, a crunch that will not please everyone. 6 But you clearly hear John Frusciante. It responds, it lives, it was the rebound. This is again very Marshall, but this leg of vintage amps sound a bit forced.

Saturated channel ... I do not know where to start. We have read 10,000 times "is the sound AC / DC" ... except that here it's damn good "emulated"! We are dealing with a drive gniaqueux, who begins to live at noon gain. When pushed we get a lot of drive, a nice even number, but could become inaccurate if you push the volume lead. Push the lead volume brings a lot of psychics, mediums low, fat. It must be measured, while thinking about the balance between the two channels (unless you have banished clean).

However, this amp is proved that group, 50w mode. 25w mode can not be bad for small meetings, but will not quite open when we pass a group play or repetition. The top is really 50w volume group, this is where the grain is the best, it is simply beautiful. This is for me the quintessence of Marshall.

I forgot the rhythm clip. This little gadget is supposed to boost both channels. The result on the clean channel crunch is not really attractive, and lead rather surprising result: you lose the bass guitar, gniaque, the sound becomes less dynamic ... short, I do not use it! And I think not the only one. Too bad the idea would not have been bad if the sound and the possibility of the footswitch engaged was there. But ...

Finally, the amp, even with the gain fully remains in philosophy 800. If you play on a 2203, you will not feel the difference, and you may even not hear this heretic diode bridge! A small boost (TS9 example) is invaluable. Here, the emphasis grain gain, saturation precise office will not cover poverty, he will not forgive approximations and not replace hand muscles for Legatos furious. But the sound is so rewarding in the end we are willing to take the risk!

OVERALL OPINION

It is not always practical. While designed as a hi-gain amp, it works like a 800, and requires a bit of volume to reach the sublime. I read a notice about a best-of Marshall ... That's exactly it! I understand that guitarists, Slash Bonamassa, though accustomed to having the gear changed or rare, have a crush on this amp. It is for me a great JCM800. He achieved what would normally do in 2210, produce a reasonable volume of 800. For use in apartments, it is doable but not very rewarding, but in a group setting, even reasonable volume, it is great! Marshall was the universe without inaccuracies or sounds a little harshy some models (I use even lead with a Telecaster!).

If you have the opportunity to try this amp, do not hesitate to push the overall volume rather than gain, you will understand why it has become collector! I fell into the "trap" against my 2550. I tried years ago the 2555SL (slash signature) then a 2550 NOS (not looking for a unique case of SJ found in a shed at the former distributor!). Until me to do a scene with this amp on loan. And what is presented as an alternative to my 2210 got a little too cheap has really turned into passion.

These amps weer produced to commemorate Jim Marshall and they were labeled the 25th anniversary of Marshall. These were great amps at the time and more of a modern touch than the other models that Marshall was producing at the time. These amps had the unique silver tolex covering and the mirror faceplate. The were a huge departure from the tradition look of black and gold to which Marshall was recognized.

These were the amps that John from Red Hot Chili Peppers played through as well as Slash from Guns N Roses and Velvet Revolver played. They seemed to have a boutque wuality to them as well as a more usable and hot rodded tone. I believe they were built to the JCM800 circuits with some extra tweaks and juice to make them the jubilees.

UTILIZATION

These amps were two channel one for teh clean and one for the the distortion channel. Like most Marshall amps these were easy to dial in and get a great tone. For all Marshall a general rule of thumb is to turn the bass all the way up and the treble and middle around 1-2 o clock. Then the presence as desired. Max out the preamp gain and tun the volume to the tolerable level. There you have it, the most basic Marshall tone for Eqing most amps.

SOUNDS

There is a magical tone that comes to life when you hook up a Gibson Les Paul through a Marshall amp. These amp followed that trend. If you played this amp with a solid Gibson Les Paul or an SG you could get some solid rock tone and have it sustain all day long it seemed. This was the favorite setup for guy like Slash who used a Les Paul.

A nice Fender Stratocatser will work wonders as well. This was used on the last album by Red Hot Chili Peppers as John F was using his Strats with this amp only in a head version. He was able to get great rhythmic tone and lead lines that were just amazing.

OVERALL OPINION

These amps have long been out of production. The used market is the only way to go at this point. I have no idea what the going rate for this amp is now. They can be had pretty inexpensively. The 100 watt versions will fetch more money of course.

I would recommend this to anyone trying out the guitar or someone who needs c good combo for practing or light gigging. These amps will serve their owners with solid tone and reliability.

Combo amp marshall jubilee anniversary all lamps 50/25 watt 12 inch speaker, 2 channels with a crunch on channel knob volume for the lead, DI output, an effects loop and a footswitch pedal.
Power ok for ox and small scenes

UTILIZATION

Total Simplicity of use

Built in 1987 to commemorate the 25th anniversary of Jim Marshall in the industry, he said himself that it is without doubt the best amp he had built. The Silver Jubilee amp is the favorite Slash, John Frucciante, Black Crowes and Steve Vai

SOUNDS

2 channels sound good versatility
however, clear sound with crunchy sounds almost max volume
So a flat for her vintage jazz

OVERALL OPINION

Blues rock sound to the top
use for 10 years, super strong
value for money raised since it is a limited edition