All user reviews of 5/5 for the Marshall Vintage Modern 2466H

100-watt amp with 4 all-tube preamp and 12 AX7 in 4 KT 66 power. basic equation bass treble acute, especially if the particular setting of this amp the body and detail. It acts on the body with the preamp gain for low frequencies and lower midrange, and treble detail and upper midrange. Effects loop channel two low and high fashion.

UTILIZATION

Configuration using simple but sharp enough, because it takes time to find the right setting. This amp can give all sounds vintage to modern to rock, and they are very very good, but the one fois.Le manual received with the head was that of the JCM 800, a small factory error, but not serious the manual should not be used much.

SOUNDS

I play blues rock and hard rock to the former (clapton, bonamassa, ac / dc, guns n'roses, aerosmith ...) I play it with Gibson Les Paul Standard with Seymour Duncan Slash micro and BFG in BB3 P90.Je am a follower of his greasy, and I must say that I am more than satisfied with my head. I said that I use it for my basic sound, and I have a pedalboard quality to inflate my sound (Xotic AC booster, wampler plexidrive, blackstar ht dual overdrive for ...) My basic sound mode is set so low mode "vintage" Plexi typed! the body at 12 h and 15 H detail, I manage my clear sound with the old knobs from scratch, when I'm back, that is the limit of the crunch and the attack did the rest, if I arpeggios a little dirty, I'm going soft, and if instead I want to do well cruncher I press the right hand ... This is the most dynamic amp I've tested .. . I do not use it the way high, so modern, that sounds like a JCM 800 boosted too aggressive for my taste.

OVERALL OPINION

I've had it a year, I tested a bunch of amp before buying (and hugues Triamp Ketner, marshall jcm 800, jcm 900, jcm 2000 DSL TSL JVM, Orange AD30, blackstar HT came, peavey classic 50 ...) it is much better than these amps ... for my taste. For the price. I remake that choice without hesitation!!
this amp is a very special and just made for the blues hard rock to pop ... possibly ... but especially for the metal ...

In the words of Marshall: What weird paradox ...

Usually, Vintage and modern do not mix mnage ... We must understand what the will of a t Jim for this amp:

Submit an amp by its current services, and vintage with its heart, its me ...
Although Obviously what these lments? Well here they are:

Modern:

- Effects loop with selectable output level (-10 / +4 dB): This did not exist on the ancestors and rpond demand guitarists today to be able to poss der one, without them installed postriori.
- Rverbe numrique footswitch: A rverbe, nothing new. But the spring that are rverbes 'CHLONG' ds a guy jumps on scne is a little way. The rverbe numrique can here avoid these problems, while providing something of plutt enjoyable for an amp. The footswitch is still a rponse the necessary modern guitarist.
- Choice of Dynamic Low or High dynamic range, or how to get the sound of a boost than a plexi amp HiGain. The again, the select can be done by footswitch, and switch between each other to switch from solo to the accompaniment of a click ...
- Body - Detail: two of frquences rglage for saturation ... Basically, a button to rgler bass, treble and the other, which adjusts its own sound, and adjust it as his instrument.

Vintage:

- Power is by 2 or 4 rgy KT66 Figure lamps that are in use by their price and rarity since donkeys. But before the JCM800, most rock hits of the 60's and 70's are passs by this kind of power tubes ... More round and warm as usual EL34 (JCM800), these lamps are the guarantors of amps other faith.
- The BTE is a single channel o one moves from clean to crunch and distortion in rglant just a volume knob and tone of the guitar ... No more incessant tap to switch between each other right in the middle of the song ...
In short, apparently nothing in this bewitching trs to announce ...
But here's a comparison:

So this test: 800 vs. Vintage Modern

The heads are tested:

JCM 800 1959


JCM 800 2203:


Vintage Modern 2466

Then their pet names will be: 1959, 2203 and 2466 ...

Commenons by simple things:

In Torah, the 1959 does not possde master volume, however, that tests in a possde. So we have three heads with single channel master volume above the grate to the volume without touching gnral at the disto ... In addition, the 1959 can increase the level of distortion in "bridging" two inputs and using the other two as between guitar ...

NB:
rglages available on the 2466:
Reverb - Master Volume - Presence - Bass - Mid - Treble - Dynamic Range - Mid Boost - Detail - Body
The connectors: an entrance, an effects loop the rear of the head, a footswitch jack, two speaker outputs with impdance to select)

UTILIZATION

legalization

1959 - Presence - Bass - Mediums - Treble .... If rglages, except the presence, not trs effective, they are not used much. As long as you love the sound of this head, then it will ring with all rglages (almost ...) it's really refining more than change its ...

2203 - see above is the same ...

2466 - Presence - Bass - Medium - for Treble EQ. Body - Detail, for Section pramp ... Basically, it's the RULES quickly with body and detail to the level rgler gnral bass and treble, then refined using the EQ. The only problem: the presence is not effective ... This gives the trs a wide range of sound. However rglages are less obvious that the two heads Previous. It is therefore time to tame the bte ...

Winner - No: in one case the EQ is not necessary but is not ( ) And the other is useful, but complicated master ... In short no rel winner l. ..

Clean - Crunch
A single channel head that can be used for a single sound, its basic objective is to move from her the other using his guitar volume knob ... We will therefore take into account the re-enable the amp to have a crunch sound that passes clean and vice versa, and the sound quality achieved ...

1959 - For once, the 1959 is doing much more than trs. Indeed, if the standard is not clean, if the crunch is not a MODEL of its kind, the passage from one another is done without forcing. There is a diffrence in volume, but reasonable for this kind of practice.

2203 - This is the most EHJV 2203. Indeed, one can not bnficier its full value without losing the clean crunch. To return to clean, so we must lower the volume of the guitar that is lost in the mix trfonds. If we want to get a good clean volume, it loses all the charm of crunch. Not the best choice I think for the game volume knob ...

2466 - All knobs back, lowering the volume of the guitar 10 7 (possdant a microphone output level 'standard&#39 we get a good clean and trs without losing too much volume.

Winner: 2466, because the clean is clean vritable, but the 1959 is really not far away ...

SOUNDS

So first of all: while back, with master volume audible

1959 - By far the most Gentillet. She leaves a crunch sympatoche loud but not bad, and winded, short, a good crunch, but not break down the walls ...

2203 - The crunch is trs Submitted, you get much pleasure, we understand why this amp is all AIM to crunch.

2466 - By far the most buggers, but the crunch is phnomnal in size ... It felt like a 2203 boosts hormones.

Winner: 2466, hands down!

Clean

1959 - On s'apperoit right away that it is not his cup of tea. Although the TRS is clean and good, but it does not sound very ... However it is trs direct trsractif (which can be aggressive or out of a perfect mix ...) or trs round: a question of taste. Even when we have 4 inputs with which you can play to find us clean dish, the palette is pretty impressive ...

2203 - With the help of two inputs, one can have between one that saturates less than the other, and thus obtain a clean plutt trs cool, warmer than the 1959, but less dynamic . If the head is more powerful than the 1959, and the more clean me parat apprciable, however it is less clean, less clean ... In short, a blessing in disguise ...

2466 - L even if achte a head for clean, the Vintage Modern has its Pingle of the game .. Can be obtained its own perfect trs blues or funk, warm trs, trs or cold, it's your choice ... In short, the game of pure clean, Marshall toe the line and offers a beautiful head!

Winner: 2466, again in front of others ...

NB: I play funk rock (Red Hot Chili Peppers, Big Soul, etc ...) and the Hard ... I play a Gibson SG with P90 goes round in HB + bridge ...

OVERALL OPINION

In short, you'll understand ... Marshall was not a head amp cr diffrent marshall of the mind, but no doubt this is the best it's been a CRER ... If the Vintage Modern does not become a legendary amplifier, not be the fault, but just today, competition is great, and trs gots Varis ...

It's been two weeks that I tested back in all directions, comparing my other amps, and I never t too thrilled with a head amp. What I love most is the fact rcuprer low when low volume, I who have a treble bleed on my microphone when I lower the volume to get a clean sound, I powerful, rich sound is enjoyable ...
I test the range and plays Marshall on trsrgulirement jcm 800 2203, otherwise I possde a JCM 800 1959. I also possde Soundcity 120 (very close to Hiwatt). The brand I've experienced: Fender, Bogner, Peavey, Mesa Boogie, ...

The price seems a little lev ... but when I see that other brands offer a similar product (any proportion of his guards) a lot more, I am reassured.

Since I am more than what I would do REALLY Packing choice of dozens of times if I do ... As set by the adaptation time at Marshall uncommon to find my sound, this amp is a marvel ...

The Marshall 2466 Vintage Modern head is a 100 watt tube head that was introduced by Marshall to capitalize on the "modified Marshall" craze being spearheaded by guys like Dave Friedman, Rick Onslow, Scott Splawn and many others.The specs are as follows:

Valve compliment: 4 x ECC83 (12AX7s) in preamp, 4 x KT66 in power amp
Master Volume with two Gain Controls: Detail (highs) & Body (lows)
Two footswitchable Dynamic Ranges Low & High
Mid Boost switch
Footswitchable Proprietary digital Plate Reverb
Series FX loop with level switch and bypass
Made in England

It's a very simple amp upon first inspection. The front panel looks a lot like the traditional Marshall JMP/JCM 800 layout, but with a couple major changes. On the far right there is the Body and Detail controls which control your two different gain frequencies, low and high. There is also a Dynamic Range switch which allows you to switch from a lower gain, looser sound to a higher gain sound that is a little bit tighter in my experience. Though it's basically a single channel amp, there is still a lot of flexibility if you use the guitar's volume control and amp's various gain adjusters to hone your sound. There is also an effects loop on the back and a plate reverb on the front panel.

UTILIZATION

Getting a good tone out of the Marshall Vintage Modern (2466) is really quite easy. I found that was very dynamic and responsive to the type of guitar, type of pickup, picking attack, and use of the volume control. Since there is no "clean" channel on this amp, the best you're going to get is by using a combination of the low range modes, low settings on the body and detail controls and use of your guitar's volume control and picking dynamics. However, most people don't buy Marshall type amps for cleans, myself included, so that's not a huge dealbreaker in my eyes.

Really, the biggest thing about setting up this amp is remembering one key word... "balance." Make sure to set the controls to a happy medium between super high gain and lower gain if you want the best of both worlds. However, if you are looking for a single sound (IE: classic plexi, super high gain 800) just set the amp up to your taste and enjoy the dulcet tones!

SOUNDS

I tried this guitar with numerous Les Pauls mainly, as I wanted to get a feel for it when playing seventies and eighties hard rock and see how it would handle tones ala Van Halen, Whitesnake, Dio, et al. Because of this, I spent most of my time in the high dynamic range mode with the body and detail controls to taste (I tended to leave the body control around noon, and the detail was set to about 1 or 2 oclock.) I was using this amp through a Vintage 30 loaded 4x12, which is a great sounding speaker compliment for this amp's tonal range.

The tones I liked best were those higher gain settings that were very similar to the tones of guys like Doug Aldrich or John Sykes. Very full and thick sounding, not too grainy, but with enough of that top end Marshall-y "sizzle" to give the tone that classic burning quality for riffs and leads. For that set of tones, the only amp I've played that was comparable was the Splawn Quick Rod. Everything else Marshall makes falls flat on its face when compared to this amp for raunchy British aggression, in my opinion.

OVERALL OPINION

All in all I was very impressed with this amp. I was recommend to try it by a friend of mine who works at the local Marshall dealer. I was very skeptical, since I normally *loathe* new Marshall amplifiers. However, this one was a pleasant surprise! The vintage and modern tones were both there in spades, and I really dug both tones. Though I spent more time with the more modern riff rock tone, I did mess around with the lower range cleaner tones and was impressed with those as well for a smoky blues/classic rock vibe.

For the $1,200 or so price point they hit new, it's an absolute no-brainer to me. They're a great sounding hard rock amp. Users of the classic Marshalls will be happy that it's so similar to their favourite JMP or 800 in terms of controls, and modern users should enjoy the fact that this amp doesn't take endless tweaking to get sounding great. Probably the only new Marshall I would recommend right now is this one. If you want that classic Marshall rock tone, this is the one to get!

All Lamps 100W amp:

Preamp: 4 x ECC83
Amp: 4 x KT66
Dimensions (mm): 750 x 310 x 230
Weight: 22.5 kg

Preamp with adjustable "Body" for the serious and "Detail" for the treble.
- Mid boost button for digging mediums.
- Button "Dynamic range" to go into overdrive.
- 3-band EQ.
- Control of presence.
- Digital Reverb Loop footswitchable.FX ON or OFF

Footswitch and dynamic range (two gain levels) and reverb

8ohm 16ohm speaker output, etc. ...

UTILIZATION

The manual is not particularly clear that Marshall but this amp is designed especially for playing guitar with the guitar as the contol at the time and like most tube amps but here biensur Marshall insists that the should be obtainable with this Vintage Modern a clear, crunchy and full, with nothing but the volume of the guitar because its dynamic is incredible .. SI SI!

Simple yeah if you want ... Or so I thought.
But I would say no I rediscovered two or three times this amp ...

SOUNDS

I would say it was appropriate that I play, Blues, Jazz, Fusion, Rock and Hard Rock ... On Start and Tele ...
but I have a Laney GH5OL for a more modern and a more pronounced grain much more mellow and medium sound so British, but thicker than Marshall.

In its clear he is doing well and yes it may sound in Marshall clean as it incorporates the old Marshall plexi characterstics style JTM45 1987X (more sweet) etc ...

It was the usual setting of BASS MED Trebble PRESENCE will be highly or closely linked to volume control preamp DETAIL & BODY giving the character of the amp ...
Wholesale RETAIL saturates and high treble and midrange and lower midrange BODY Bass ... is of course schematic!

Remember plex entries "High Trebble" and "Normal" that you could mix or play on one or the other ...
Well here it is the same except that egg you save the master volume because here they only serve to saturate the preamp ...
It biensur schematically for the less knowledgeable and Deplus remains a plexi plexi!

The Dynamic Range is a second floor Gainet should not be considered a second channel recess can of course depending on the settings if desired and boost overdrive pedal or distortion and more!
But woe to those who play very saturate position "High" and who would return to "Low" for a clean if the settings are pushed Details and Body recess you cruncher in Low volulmes therefore use the scraper, selector Micros or OD pedals etc ...

With two settings (body details) you can go crunch in a clean and low in saturated Crunch was high.
It sounds very old Marshall Vintage way so it sounds great for clean and crunch to LOW is to hell can we then push BODY LED ZEP is BACK!
Yngwie Malmsteen, Paul Gilbert and Slash, Jeff Beck and many others have adopted it so ...?

HIGH position can go Bluesy sounds good, old Rock or AC / DC, GUNS N 'ROSES MR BIG ... and all the 80's etc. ...
And with the Knob MID BOOST is Thickened sound is to play a little more modern, or for other sonnorités plain or saturated because the sound is less sharp (for some critics of the Marshall aigrellé or screaming) and inevitably less V in the medium and this just reinforces the GAIN too.

The reverb is doing its job but it is a bit too much Room to my taste and a tad short what, so we like it or not and for me it means ...

OVERALL OPINION

2 years that I have and it's a rugged amp that I trust what is important ...
Access to the sounds of the 60's 70's which is a luxury and of course the 80's has today ... of Modern or Vintage.
One has the impression of crossing time and rock history because it is close to almost all the sounds Marshall ...

Let's face after a plexi or a JCM other's personality and will make an amp but only for those who love the sounds of old Marshall JCM800 style plexiglass and no concerns have much in there for my great happiness is just d hell!
Good value for money, yes, but a bit expensive when it came out ... but now it rolls!

Amp seemed simple at first but that should be played long before the well is tame and an amp that can rediscover ...

I would do but that choice may be I would take the 50W version because I prefer the heads 50!