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Marshall 1959 JMP Super Lead [1967-1981]
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Tous les avis sur Marshall 1959 JMP Super Lead [1967-1981]

Tête d'ampli guitare tout lampe de la marque Marshall appartenant à la série JMP.

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( 4.8/5 sur 16 avis )
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  • les oreilles qui saignent

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 24/06/17 à 12:38
    1980, pas de master volume, donc pour obtenir ce fameux son qui nous plaît tant faut pousser les volumes, et là tu peux refaire les placos chez toi. En répète, il est rare que je mettes des bouchons, mais là pas eu le choix. Pas l'ampli idéal pour jouer en bar.
    Question pédales, la Worm Electroharmonix qui sonnait si bien sur ma tête A-Wai, perd toutes ses capacités, il ne reste plus qu'une espèce de vague dégeulasse sans âme, fuque!
    Faut tout de même admettre, c'est plutôt un ampli d'homme....
    Lire la suite
    1980, pas de master volume, donc pour obtenir ce fameux son qui nous plaît tant faut pousser les volumes, et là tu peux refaire les placos chez toi. En répète, il est rare que je mettes des bouchons, mais là pas eu le choix. Pas l'ampli idéal pour jouer en bar.
    Question pédales, la Worm Electroharmonix qui sonnait si bien sur ma tête A-Wai, perd toutes ses capacités, il ne reste plus qu'une espèce de vague dégeulasse sans âme, fuque!
    Faut tout de même admettre, c'est plutôt un ampli d'homme.
    Lire moins
  • Mythique mais dont l'usage s'avère très délicat.

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 12/02/15 à 15:44
    Notice, je l'ai acheté en 1978 et revendu en 1993 car je n'en avais plus l'utilité, ne faisant alors plus de scène. Il s'agissait d'une tête vintage avec ses lampes d'origine, datée de 1970. Sur un cabinet d'enceintes 4X12 célestion.
    Son usage s'impose sur scène car on perd le rendement en dessous de la moitié du volume (il n'y a pas de master). En studio ou en repet dans une petite pièce, il peut facilement casser les tympans.
    Perso, je n'aimais pas le canal bright seul avec une strato, jugeant le son maigre et trop agressif. Le canal normal donnait lui un son mou.
    On pouvait compenser en branchant la guitare sur le bright et en poussant le volume du canal normal à vide. Ca donnait du......
    Lire la suite
    Notice, je l'ai acheté en 1978 et revendu en 1993 car je n'en avais plus l'utilité, ne faisant alors plus de scène. Il s'agissait d'une tête vintage avec ses lampes d'origine, datée de 1970. Sur un cabinet d'enceintes 4X12 célestion.
    Son usage s'impose sur scène car on perd le rendement en dessous de la moitié du volume (il n'y a pas de master). En studio ou en repet dans une petite pièce, il peut facilement casser les tympans.
    Perso, je n'aimais pas le canal bright seul avec une strato, jugeant le son maigre et trop agressif. Le canal normal donnait lui un son mou.
    On pouvait compenser en branchant la guitare sur le bright et en poussant le volume du canal normal à vide. Ca donnait du souffle en plus mais un son à la fois plus plein tout en restant nerveux.
    Mais si on chaînait les deux canaux avec un câble de patch, là c'était encore mieux. En jouant sur les deux volumes, on avait tout ce qu'on voulait.
    J'ai fait une belle connerie en le revendant sans doute, mais franchement, il m'encombrait. J'espère avoir fait un heureux. Je sais que le magasin qui l'a revendu s'est largement gavé au passage. Ca, ça m'énerve.https://img.audiofanzine.com/images/audiofanzine/interface/smileys/icon_facepalm.gif
    Lire moins
  • A la hauteur de sa réputation!

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 08/11/13 à 14:46
    Ampli 100watts tout lampe, connectique jack (en entrée comme en sortie). On est sur du basique: 2 volumes qui correspondent aux deux entrées, PAS DE MASTER (ce qui en fait son principal atout et défaut à la fois),bass medium aigus presence, et c'est bien tout! Il lui manque un master rajoutable par tout bon artisan des lampes et de l'electronique, et une boucle d'effet éventuelle.

    Le mien possède un line out, mais il n'a pas une grande utilité.

    UTILISATION

    Pas de manuel, ou alors depuis 1974 j'ai eu le temps de le perdre :) Avec 6 boutons en façade, y a pas besoin de sortir de saint cyr pour le faire fonctionner correctement de toutes façons.

    Le son est simple à trouver, dur à affiner,......
    Lire la suite
    Ampli 100watts tout lampe, connectique jack (en entrée comme en sortie). On est sur du basique: 2 volumes qui correspondent aux deux entrées, PAS DE MASTER (ce qui en fait son principal atout et défaut à la fois),bass medium aigus presence, et c'est bien tout! Il lui manque un master rajoutable par tout bon artisan des lampes et de l'electronique, et une boucle d'effet éventuelle.

    Le mien possède un line out, mais il n'a pas une grande utilité.

    UTILISATION

    Pas de manuel, ou alors depuis 1974 j'ai eu le temps de le perdre :) Avec 6 boutons en façade, y a pas besoin de sortir de saint cyr pour le faire fonctionner correctement de toutes façons.

    Le son est simple à trouver, dur à affiner, comme sur tous les grands amplis. Le clean est excellent pour un marshall, qui n'est pas réputé pour ça à la base.

    SONORITÉS

    Je lui met que 9 parce qu'il est très typé, mais c'est son charme aussi.

    Au vu de mon jeu les médiums sont très présents, mais à bas volume ils sont gérables dans le mix (mes oreilles disent merci!)

    C'est le son marshall, avec une proco rat au cul, c'est mordant, ça gnacque.

    Les aigus sont pas les plus beaux du monde, donc en studio je le couple à un ampeg vt4 qui apporte du crunch et de très beaux aigus bien droits!

    J'en joue avec une jazzmaster, des les paul, et une strat pour les sons clairs.

    AVIS GLOBAL

    je l'utilise depuis 6 mois, j'ai aussi un jcm 800, qui a le même circuit mais un master et pas les mêmes hp, donc pas le même son. Donc je connais bien les marshall.

    J'aime son son et sa capacité à s'adapter à ton matériel (hp, guitare, effets), avec des black shadow ça sonne moderne sans souci!

    Je n'aime pas le volume qu'il peut dégager, les oreilles c'est important, faites gaffe! Si vous posez un master, demandez un master post-phase!

    Ayant deux marshall, je referais pas ce choix, mais si ça devait être mon premier achat, oui j'irais!!
    Lire moins
  • Une tuerie...

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 17/10/12 à 19:32
    Tête d'ampli MARSHALL JMP Super Lead 100W
    4x EL34 + 3x 12ax7


    UTILISATION

    Pas de manuel! Les réglages: on ne peut pas se tromper...
    Si le son des 70' vous fait vibrer, alors oui: le son est terrible!


    SONORITÉS

    Rock, Hard-Rock

    AVIS GLOBAL

    20/20 sauf qu'il est trop puissant pour jouer en appart ;-)
  • "Classic old British tone"

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 19/01/12 à 01:23
    contenu en anglais (contenu en anglais)
    Marshall is one of those amplifier companies as really stood the test of time. They probably easily one of the most recognized amplifier companies in the world. They're mostly used from pop all the way up into metal music. They do have a particular sound and feel that is unlike any other amplifier in the world. If the classic British tone that is inviting in vibrant to say the least. This is one of the all-time best amplifiers that it's ever been built.

    UTILIZATION

    Features

    100W
    4 EL34s in the power stage
    3 ECC83s in the preamp
    True bypass series FX loop
    3-band EQ
    Presence control



    SOUNDS


    This amplifier has such a great sound and anyone who has ever been around any type of music knows that the Marshall plexi is just one of the best. This amplifier is basically two channels in one. You have a higher low input for each channel so that gives you a total of four possible guitar to put plugs. Each one of these channels has two volume controls. This is a non-master volume amplifier so in order to get some crank distortion or overdrive you really have to crank the volume out of this amplifier. Of course if you're an apartment or small home this is not easily doable. So therefore you will need any attenuator or some sort of modification to get the amplifier to distort at lower volumes. This can be done quite easily if you push the front of the amplifier with an overdrive pedal such as an Ibanez tube screamer or a boss SD-1 pedal. Or you can or you send it out to get modified by many of the online amplifier modification specialists out there.

    OVERALL OPINION


    These amplifiers you can find new for right around $2300 or so. That is a decent price for this amplifier and certainly one that might be a little bit out of the budget range of many budgeted musicians. However you can find these all day long used very easily for probably less then half about. I have seen them as low at $100 used so I would go that way on this amp.
  • "Classic in one word or less"

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 31/12/11 à 19:03
    contenu en anglais (contenu en anglais)
    These old Marshall amplifiers have such a crazy tone and a fantastic feel for anyone who is playing pop, rock, or metal music. If you are into the pop and rock tones then you really need a overdrive pedal that can push the front end of the amplifier to get that nice preamp type of distortion. Otherwise these amps are so loud because primarily all the you're getting power tube amp distortion when you really crank the volume. These amplifiers at the time didn't have a load of preamp distortion so what you would have to do is somehow boost the front end of the amplifier or have the amplifier modded buy some guitar amplifier technician to really juice up the tone. Many of your 70s and 80s and even 90s albums that would feature the British tone if they were using a marshall probably had the amplifier modded by someone. And if they didn't they generally would use an overdrive or distortion pedal to really boost the front end of the amplifier.

    UTILIZATION

    These amps basically feature a simple layout design on the front panel. You have a presence control knob, bass, middle, trebel, and then your volume control knobs. You have your simple high and low inputs and that's pretty much about it. There's not an effects loop on the back because this is before the time that effects loops became more popular and more common. Now today you effects loops on pretty much every single amplifier in production. If it's a new or modern style amplifier you're generally good to see an effects loop whereas many vintage modern amps will sometimes have an effects loop and other times bypass this option.

    SOUNDS


    The tone of these amplifiers are fantastic and if you have a good overdrive pedal with maybe some effects modulation such as a chorus, delay, or a phaser, then you can get some great singing tone and effects tone that will mix very well in most band situations. There isn't a whole lot this amplifier cannot do when combining it in a nice pop, rock, or even hard rock band setting. These amplifiers are great platforms for getting a general tone that is widely excepted and sounds pretty good in most applications. Overall this is a great sounding amplifier and have a great vintage tone that also can sound very modern depending on how you set the cues and what type of the effects from your floorboard or your rack units can come up with.

    OVERALL OPINION


    You can find these amplifiers pretty easily and most use classifieds section. It's very common amplifiers and we're heavily circle circulated during its time of production. These are great amps and right now if you can get great deals on used gear because a lot of people are not buying gear these days I would recommend this amplifier to anyone who wants that vintage type tone with an EQ section that is very easy to dial in a good sounding guitar tone with. These are fun amplifiers and just a classic amplifier for most musical applications.
  • "Hello I love you!"

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 31/12/11 à 20:44
    contenu en anglais (contenu en anglais)
    This is about as classic as you can get when he comes to the marshall amplification hundred watt amps. This is such a great sounding amplifier and is a great platform for modification and high gain territory. These amplifiers are probably one of the most heavily used amplifiers in all of pop, rock, and metal music. They're extremely versatile in their tone and they cover a wide range of possible musical styles with just basically one channel. There isn't a whole lot of extra features that these older amplifiers have compared to the newer production models. You basically have a presence control knob, bass, middle, travel, and then your volume controls for each set of high and low inputs with the dark and normal input. They are very standard type of amplifier that is a great platform to use effects or modulation or any type of overdrive boosting pedals.

    UTILIZATION

    No manual is require and probably hard to even track one down from the early 70's However, you don't need one to get this thing up and running. It is as basic as it gets.

    SOUNDS


    I absolutely love the tone of these amplifiers in a loud aggressive setting. These amps have such a warm and articulation that is extremely comfortable to play and makes your notes of your guitar just jump out. there is a warmth that comes with Marshall amplifiers that is very different from a Mesa boogie or a Fender amplifier which are probably the top three amplifier production companies in the world. I would probably say that Fender is the biggest and then a close second would be Marshall and then a Mesa boogie would be the third most popular heavily used amplifiers. The Marshall has a distinct tone that is very different than most Fender amplifiers but really it takes a lot of its influences from the Fender bassman amplifier. The large majority of the circuit is a reflection of that original amplifier with some new modifications at least for that period of time when Marshall was building these amps. These are great sounding vintage tone amplifiers and they are excelling at giving you a perfect blend of frequencies that compliment most band mixes.

    OVERALL OPINION


    With the market right now the way it is with people not really purchasing gear as much as they used to be. These amplifiers you can find pretty inexpensively just a few years ago. They are heavily cycled and pretty available if you look throughout many classifieds and especially eBay. If you give enough time you can probably find one that's a really good condition that will fetch a little bit more money but there are a lot of people that are just simply dumping these older amplifiers for newer production amps that have multiple channels with different bells and whistles that are more applicable to today's modern music.
  • Marshall 1959 JMP Super Lead [1967-1981]Publié le 15/05/09 à 00:20
    contenu en anglais (contenu en anglais)
    The Marshall Super Lead 1972 is a tube based guitar amp head that delivers 100 watts of power. It has four 1/4 inch inputs in the front as well as a speaker output in the back to send this amp to a cabinet. It has switches for both power and stand by.

    UTILIZATION

    Using the Marshall Super Lead 1972 guitar amp head is a pretty easy thing to do if you have any previous experience with guitar amps, and if you are using or looking at this amp you probably do. It has pretty basic parameters including volume and gain knobs as well as three EQ knobs. Getting a good sound is pretty easy to do considering that the all the tone control you could want is there and the inherent tone is pretty awesome. I have never seen the manual for the Marshall Super Lead 1972 so I can't speak to how helpful it is, but the amp is easy to use and you really don't need one if you don't already have it.

    SOUNDS

    Both the overdriven and clean tones on the Marshall Super Lead 1972 are noteworthy and truly sound great. I use this amp mostly with either a Fender Strat or Gibson SG for recording and have found this to be a great set up for recording heavy rock and thick distortion guitar parts. While I've only used this amp for recording, it is definitely suitable for any type of use whether you want to use it for recording or for on the stage. The Marshall Super Lead 1972 is simply an awesome sounding amp for rock music.

    OVERALL OPINION

    I've been using the Marshall Super Lead 1972 guitar amp for about four years and it is one of the coolest sounding Marshall amps that I have used, not to mention the awesome classic look it has. Everything about this amp is great - it has an awesome tone and the perfect amount of parameters so you have total control over your sound. These are somewhat hard to come by these days, but if you can find one used they vary in price. If you can find a good deal on one and are looking for a great guitar amp head for playing thick lead and rhythm distorted parts, the Marshall Super Lead 1972 is a great option.
  • "Great amp but not for everyone"

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 16/03/11 à 04:50
    contenu en anglais (contenu en anglais)
    This is what most rock amplifiers were derived from, and many of your favorite classic rock tones were recorded using amps very similar to this one. 100 watt All tube amp. 4 EL34s and three 12ax7s, with a solid state rectifier. One channel at a time, but four inputs. Two volumes, bass, mid, treble, presence controls. polarity, standby, and on switch. No effects loop. No footswitchable channels or boosts. Hand built tube amp, non PCB construction. Rated this a 7 because someone used to a modern amp will likely be unhappy with this amp because of it's limited feature list.

    UTILIZATION

    If you can turn the amp up very loud, it's possible to get a nice overdrive tone. This will not get you modern levels of gain. Think Thin Lizzy, not Metallica. Most people use a boost pedal in the front end, have these amps modified for more gain, or use an attenuation device so that you can turn the volume up on the amp but the heard level stays the same. There's not a lot to learn about setting these amps up - plug it in and turn it up. EQ works ok, but newer amps have a greater range of tone controls. I gave this an 8 as many users may not have the extra gear needed (attenuator, overdrive/boost pedal) to really make the amp grind, or may not be able to turn it up loud enough to get the sonic goods. This is NOT a bedroom amp!

    SOUNDS

    Tone wise, this amp is very pure and every nuance of your playing, good or bad, will be showcased. Vintage Marshalls from the 60s and early 70s are THE tone of classic rock, and are difficult to play because of how clean/undistorted they are compared to modern amps. However, they cut like a knife through a mix, and reward the user with expressive tone. I've used dozens of different guitars through my '72, from Les Pauls to Tom Andersons to Fender strats, teles, Vintage Jacksons, newer Charvels, etc... and every guitar, even the same model, sound different through this amp Even when you boost it with a pedal for a little more gain or use a attenuator, it maintains the character of what guitar you are playing, and even subtle things like where you are picking along the string length, how hard, and angle. Most newer amps homogenize your tone, and make several guitars sound the same. Not this amp.

    OVERALL OPINION

    I love the fact that the amp takes what I put into it and blasts it back out, toneful and nuanced. I didn't like the lack of things that most modern gigging guitarists need - at least two channels and an fx loop... but it sounds so good and pure that you don't miss it as much. Run a pedal in the front or a hotplate for attenuation, and roll your guitar volume down for cleanish tones.

    Almost 40 years after this amp was built, and there are many amp companies that try to make clones... and even Marshall tries to state in much of their product literature how their new amps sound like the old ones. Why get a copy when you can buy the real thing?

    Value for the money used is great - find one in good shape reasonably unmodified and you could even make a profit when you resell. I didn't try other amps when purchasing this, when I bought it, it was the only one like it in the music store. It's not often that you find one '72 super lead marshall, let alone a wide selection. It's so different than modern marshalls that there isn't really a comparison. And yes, I'd buy it again.
  • "Almost perfect"

    Marshall 1959 JMP Super Lead [1967-1981]Publié le 04/09/11 à 00:55
    contenu en anglais (contenu en anglais)
    This Marshall amplifier is an established rock 'n roll tone that you've probably heard on countless albums and recordings. This is such an iconic Marshall amplifier with its classic look and remarkable tone. This is the guy and that you wish you could've started out playing if you were lucky enough to own one. It's been a while now since I start first started to pick up the get electric guitar and I continue to always go back to this classic martial tone.

    The amplifier sounds extremely good when coupled with a good hard rock guitar such as if Gibson Les Paul or a Gibson SG guitar or even a Fender Stratocaster guitar. It's a great sound that will have you playing for hours on it.

    UTILIZATION


    The control dials are pretty easy to follow as there is only a presence base, middle, travel, and volume. You have your normal inputs high and low and then you have your darker inputs high and low. I really like to use a jumper cable and connected to channels and run it that way cause I find it gets a better punchier tone that just sounds better to my ears.

    When you use a jumper cable to jump the two channels the tone is quite remarkable and get a little bit dirtier and three dimensional to my ears. I hardly would ever play this amplifier with just the one channel and less it was a Modded amplifier of some kind then which defeats the entire purpose of why I'm even talking about the two channels.

    SOUNDS

    There are two sounds to this amp you have the volume level that is one in under on the volume control and then everything past one is pretty much the same volume level. So as you increase it past one the volume never really changes when you continue to go clockwise all it does is get the power tubes to saturate more. So you have the bedroom volume which is a little bit thinner that is wanted under and then everything else is past one is the same volume. This is a simple circuit and Marshall's never really changed this is pretty much the original specs when it first came out.

    I absolutely love the toner this amplifier when you have a good solid distortion paddle in front of it and a guitar that has a humbucker pick up installed. Even with adding a little bit of delay or some course you can get a really good beefy tone added when you use a jumper cable to blend in the darker thumpier low in tones. This guitars and amplifiers and very versatile as far as the modern technology nowadays with multiple channels and everything but this is a classic sound is for those type of people you really love that classic martial sound.

    OVERALL OPINION

    This amp has obviously been discontinued for a long time but still serve a great price on the used market. I seen him go for right around $11-$1200 for a good price ones and as much is $1800 if people are willing to spend that much money. The great amplifiers if you can get one that's unmolested or on Modded because they're able to retain their resale value a little bit better than a modified one. And if you decide to get a modified these are great starting points for a monotone any hiking tone. If you heard any album from the early 80s all way through the 90s you've probably heard a Modded Marshall is sometime. I highly recommend this guitar amplifier to anyone is looking for that classic Marshall tone or is looking for some Marshall amplifier to get modified. It's an exceptional aunt and with 100 W of power you can really get your speaker cabinet push a lot of loud air.
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