market, this ’74 50-watter carries a pair of 6550 output tubes, which Marshall’s American distributor started requesting in late ’72 or ’73 after good E元4s became more difficult to find on this side of the pond. This is achieved, in most cases, by plugging your electric guitar into the high input of channel one and using a short jumper cable to connect that channel’s low input with the high input of channel two. The second trick involves jumpering the two channels so they can be blended to produce optimal EQ and gain levels.
MARSHALL STACKS FULL
Turning up the volume control ushers along more of the signal’s full frequency range, overbalancing the brightness with more mids and lows, while making it sound like a Marshall. The first is simply inherent to the design: In addition to the brighter-sounding coupling cap and cathode-bypass cap in the High Treble channel, there’s a relatively large bright cap on the volume potentiometer that sends more treble into the signal at lower settings, thereby increasing the perceived brightness even further. To many ears today, this channel on its own sounds entirely too bright, but there are a couple of handy tricks for taming the icepick treble and achieving the scorching Marshall sizzle we all know and love. Some circuit changes over the years had made the latter dramatically brighter in that eternal quest of the ’60s and ’70s for more treble (or “top end,” as the British call it).
![marshall stacks marshall stacks](https://www.for-sale.co.uk/sh-img/Marshall-Stack-Guitar-Amplifier_marshall%2Bstack.jpg)
Volume II and Volume I control Normal and High Treble preamp circuits, which are bassier and brighter, respectively. It controls a circuit that remained largely similar to those used in the latter two of these, chronologically speaking. Model 1987, is identical to that of the metal-panel, Plexi and even JTM-45 Marshalls that preceded it (and come to think of it, of the Fender tweed 5F6A Bassman upon which it was based). Check out the full interview over at Ultimate Guitar.The layout on the control panel of this Marshall 50 Lead amp, a.k.a. Thereafter you are instructed to hit those strings as hard as you can and make the amp fight back. “To get Angus' tone, and you turn it up all the way until the speaker completely exerts itself, meaning the cone moves forward but can't move back, then you back it off to where it's got movement again. “The thing with AC/DC, in general, their tone is really clean and clear, the tone comes from sheer volume,” said Foster.
![marshall stacks marshall stacks](https://www.roadhousevintage.com/wp-content/uploads/2020/09/IMG_5918-1536x2048.jpg)
![marshall stacks marshall stacks](https://cdn.wallpapersafari.com/83/42/aMvkpr.jpg)
SoloDallas even brought out a replica of the hard-to-find wireless system’s boost circuit and put it in a pedal, the Schaffer Replica Storm (opens in new tab).įoster, however, says the secret is more straightforward, and there is no single overdrive pedal (opens in new tab) that will do the job. Recent years have drawn attention to the significance of the Schaffer-Vega wireless system in the mix, which Angus – and others – historically used even in the studio it had a receiver tower with a clean boost that could push the amp.
![marshall stacks marshall stacks](https://images.reverb.com/image/upload/s--RnmAwyMG--/t_card-square/v1658515828/uwsbihoor1qbqrvvwpxd.jpg)
Guitarists looking to replicate this sound at home should not look to digital amp modellers (opens in new tab) or high-tech solutions to what is essentially an act of rock primitivism. Foster says that AC/DC are 100 per cent old-school.