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50w speakers 100w amp head

Marshall amplifiers made hard rock possible. While Fender and Vox amps have their place in moving electrified guitar forward, the creations of Jim Marshall fostered an entirely new sound and allowed guitarists to fill stadiums with it. Marshall amps had such precedent-setting wattage and tone that their history can hardly be separated from the history of rock itself. We recently wrote an article detailing that rich history which you can read here , but for those simply looking to figure out how old their Marshall amp is, we offer this shortcut. The guide below will help you quickly and clearly date Marshall amps and cabinets, without us waxing poetic about their influence. The best approach is to cross-reference the serial number with known features for the model during different eras and the personal account of previous owners.


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85w speakers 100w amp?


Skip to content or Skip to navigation. Note the Y-cable splitting the guitar signal to both amps. Guitar is Rickenbacker Rose, Morris Co. According to Marshall, Pete, among others, bought one of the first of these amps. There was no such thing as a watt output transformer — so instead they would end up pairing two watt transformers. An excerpt from a Guitar Player review of the book:. Me and Pete Townshend had a different sort of rivalry back then to see who could get the loudest.

We kept on pushing Jim Marshall to make amps with more watts and volume controls that went up to 12! Marshall would build custom amps to your specifications.

Terry Slater who worked there used to do us favors and help us out with easy payments. He had a weak spot for me. You can take it away and try it out. Just pay me as soon as you can. The stack derived from both a desire to project sound better and a desire to have an intimidating backline. The bottom cabinet was likely a dummy. Unsatisfied with the sound and following their van being stolen on 2 September; after which they leased Vox gear until November, when they unceremoniously dumped it back at the hire company , however, they returned to Marshall for their continuing quest for volume and power.

Delivered in November first known use is 13 Nov. These cabinets actually had an open back to the top portion, closed on the bottom. Two weeks later, Pete returned to Jim Marshall asking for the stacks to be cut in half. Through —67, Both Pete and John varied their setups, either in traditional stack form, with the amp on top of the cabinets, two amps stacked high, one on top of the other, on top of cabinets, or as a precursor to their future rigs, with the amps on a stand or chair next to the speaker cabinets.

Unfortunately, for U. All quotes and references are copyright their original owners and are included for reference only. The Marshall cabinet gave John such a boost in volume that Pete was compelled to get one as well.

It was at the Oldfield Hotel, where the band had first discovered Keith Moon, that Townshend made an equally momentous discovery. So I started to put it up on a chair and then I decided to stack the things so that I could induce feedback. When I first got amplified with big speakers, I used to have them at waist level. I could never work out why most people played with them on the floor.

I wanted them belting in my ear-hole. So I used to put mine on a great stand so the speak was actually firing into the guitar pick-up dead level.

Feedback started by accident and I started to use it. Simple as that. The more I used it, the better I got. At the Oldfield, Townshend sometimes placed his amp on an unused piano at the back of the stage. One day, I was hitting this note and I was going ba-ba-bam and the amplifier was going u-ur-ur-ur on its own. Everyone went completely crazy. I regulated the guitar so that the middle pickup was preamped on the inside with a battery and raised right onto the strings so that it would feed back as soon as I switched it on.

And I could control it and go through all kinds of things. Entwistle and Townshend soon after started stacking their amplifiers, with their huge four-by-twelve speaker cabinets. Townshend at first used to place his amp on a chair to locate the feedback. And so I bought one and then later on I bought another one and I stacked it on top of the other one. I was using a Rickenbacker at the time and because the pickup was right in line with the speakers I was instantly troubled by feedback.

But I really used to like to hear the sound in my ears. I tried Marshalls for a while because we always had a very friendly relationship with that firm but I never really used them. I have the honor of still knowing Jim Marshall and his son Terry very well, and we still get together and go over what really happened in the early days with the design of the first really big amplifier.

They credit me almost entirely — along with a couple of other people, a couple of bass players — with being the guy that drove them to produce the four-valve power amp. So they started with speaker design, driven by clones of the Fender amp.

The two were linked together with a split cable. I said I wanted that sound, exactly that sound, but just a bit louder, a bit bigger. They managed to achieve that. And I got very angry, very frustrated — I kept pushing them. You get up to a certain pitch, and something happens between the pickup and the amp.

I knew that in distortion there was music of a much higher harmonic order than anything that I could play, so I started that whole trip off. Because, as I said, I was in this mode where the guitar was a weapon. So I went out and bought a Fender Bassman as well and plugged into both. We made the first three watt heads for him. I asked him what sort of cabinet he wanted, and he said he wanted eight 12s in one cabinet.

I said that a big square cabinet with a little amplifier on top would look ridiculous, so I told him to let me design something. I built what turned out to be an 8 X 12 stack. Pete tried to carry it out of the workshop and it was so heavy. I told him to leave it to me, and that I would redesign something that would do the job. I went back to the straight 4 X 12, which is now the bottom cabinet, and put the angled one on top, and the amplifier on top of that.

The stack was born. But actually, some lads have even gone so far to say that Pete was responsible for the design. Pete never broke any one of his amps or the speakers, just the speaker cloth. He used to tear those with his guitars.

That was it, and we used to replace them. Jimi Hendrix never smashed anything, really. He just tore the speaker cloth. But Jimi was away from England a lot and rarely got his speaker cloth replaced. By , the members of the Who were in an all-out volume war.

He loved the tone — Townshend heard what Jim had in the overdriven tubes — but he wanted more of it. We made a prototype first then we made three heads just for him. We were so proud of them when they were finished. He was not as stupid as everyone said! When he used to push the guitar through the speaker cabinet, he only used to tear the front baffling cloth.

He never used to go through a speaker — we only had to repair the cloth. The group used to come in my shop, and at one time we were waiting for a check.

The check was put in, but my son sent them another bill, thinking they still had a balance due. And Hiwatt was one of the first copies of us! It was a complete misunderstanding. Among the persuasive youngsters was a guitarist named Pete Townshend. In a few years he would find fame with the Who, but in Jim Marshall just knew him as the son of Cliff Townshend, the noted British sax player with whom he had played in several big bands.

Marshall recalls that young Pete voiced a complaint common among his youthful peers. Marshall gear played an integral role in the explosive stage act the band was developing in the London clubs, before audiences of buzzed mod kids.

Guitarist Pete Townshend and bassist John Entwistle began piling up speaker cabinets onstage like to rival nations amassing nuclear warheads. I bought another one, and Pete bought another one. By this point the JTM45 had morphed into the model , and Marshall had switched from KT66 power tubes to EL34s, bring the power rating up to 50 watts.

But Pete Townshend wanted even more. In he approached Marshall with the idea of building a watt amp. Jim Marshall had a quite a task convincing him that this design was hardly practical. Leave it to me, Pete, what you want is the straight front cabinet I originally designed with the angled cabinet on top. A chap who worked for me at that time was a muscle man, and I was quite strong too in those days.

I tried to life one of these things with the roadies. If you cut them in half, they would have fallen apart. He was happy. Well, not really.

John was the first person to use a Marshall stack on its side. In fact, I never used Marshall in the beginning at all. In the end I got what I wanted.


50 watt head into a single V30 speaker?

Impedance is the load connecting to the speaker socket on the amplifier or combo to give the maximum power transference. The impedance of the speaker and amplifier must match to avoid causing damage to your unit. You should be able to find the model number and rating plate on the back of your cabinet. Impedance ratings for current cabinets can also be found in the product sections of this website. Alternatively, you can email us and we will do our best to help you. Below you can find information on what the impedance can be changed to in different cabinets. If you would like to change the impedance of your cabinet then get in touch with a qualified engineer who can carry this work out for you.

Most people generally shop for amplifiers and speakers simply by You might be scratching your head wondering what these terms mean.

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50w speakers 100w amp head

Speaker size and number — Size more or less affects which frequencies are emphasized and the number of speakers has little effect on tone but noticeably affects volume. When you double your speakers, volume is increased by 3db. Therefore you would need to multiply your speakers by 4 to double your volume. Amps are designed give the best sound at a volume over the half way mark, so putting a w tube amp on 3 for a gig is somewhat pointless.

My priority is to build tone machines that goes a bit further on than just cloning amps that so many are doing today, these following amps are result of over 30 years of research for the ultimate clean guitar tone that responds extremely well to effect pedals, all built with careful attention to tone.

Marshall Amp


Power ratings can be one of the more confusing concepts, especially for newer players looking to find the perfect match of head and cab or to get a PA system up and running. Unlike power amplifiers and bass amp heads, which generally list a single rating or ratings at different impedances, speakers have up to three ratings listed, further confusing matters! But fret not- this article will break down the differences between these numbers and what they all mean. Speaker power handling is a very complex subject. But you need to understand the general ideas behind these ratings to prevent breaking your gear!

How many watts should a good car sound system have?

Yes, you can use an amplifier more powerful than the rated power of a Torpedo product. With a Torpedo Studio or Reload, you can use an amplifier rated for more than W. With a Torpedo Live or Captor, you can use an amplifier rated for more than W. The only thing is : you just have to keep the output volume of the amp low enough. The Torpedo products are rated for a specific power measured in Watts. This means that the internal loadbox can dissipate up to this amount of power assuming proper ventilation.

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Well, when it comes to matching that amplifier with your speakers, the answer is; quite a bit, actually. Though we spend countless hours scouring local HiFi suppliers and reading reviews to find the perfect speakers, often, our choice of amplifier is something of an afterthought. This remains true despite the fact that amplifiers are almost as crucial to the tone and overall presentation of your audio as your speakers are. Yes, though that innocuous metal box might look similar to other amplifiers in the showroom, it will produce a unique sound profile and, through its technical specifications, support some — but not all — of the speakers available to you.

Toggle navigation Unofficial Warmoth Forum. Home Help Search Login Register. Pages: [ 1 ] Go Down. Gravityfield 6. A couple of killer deals on tube amps have come up for sale in my area, and I need to make a decision. One is 50 watts, the other

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By thistledom , February 27, in Amps. I'm curious if it can be done without damaging either the head or the cabinet. I'm not talking about running the head on '10' - probably no more than 3 or 4 - with a Celestion G12T watter. I ran a 60 watt vht deliverance; LOUD 60 watts with a 30 watt speaker a couple days ago, and kept it conservative on the master volume. I have done it for small venues of course now I have a 50 watt rack setup. It's all relative to the wattage you are peaking at. If you are using a 1x12 just keep the volume down and you should b OK.

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  1. Jinny

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