View other reviews for this product:
Chips
Published on 05/08/08 at 14:22
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'
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 ...
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'
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 ...