Things you see while on a spending freeze..
- Thread starter Bob Zaod
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Stone
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Hahaha you wont get no help here Bob
Beano is the answer and Ultra Strength to boot
Bob Zaod
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I mean I don't really keep up with pricing stuff but that seems like an insane deal no?
JiveTurkey
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TIME TO THAW
MirrorProfiles
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Vintage Modern’s are the nuts, amazing underrated amps. But for that money, you could get a nicer quality modded JTM45 style amp and who wants another eight T75’s in their collection (and I don’t mind T75’s).
For context I paid £350 for a 2266 and 1960A. Add another £250-500 or so for reltolexing it. Wouldn’t say this is a great deal even though it looks nice.
For context I paid £350 for a 2266 and 1960A. Add another £250-500 or so for reltolexing it. Wouldn’t say this is a great deal even though it looks nice.
MirrorProfiles
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who in this thread is underestimating vintage moderns then?
Bob Zaod
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Price-wise Marshalls in England as Peaveys are in the USA.
MirrorProfiles
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Yeah fair. I love a Vintage Modern, but IDK, for that kind of money I’d be looking towards a Dirty Shirley or a nicely built JTM45 clone that can be modded a bit. I think for around £500 or so they’re absolutely killer amps though.
TubeStack
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Vintage Moderns are awesome. I had the 100W head as my #1 amp for six years, before the Electra Dyne. They got a bum deal and a lot of flack when they came out, but grew to be appreciated later on.
The VM was like a hot-rodded JTM45, with a fourth preamp tube as a boost, super responsive and inspiring sound and feel, with KT66 power tubes too. The designer, Steve Dawson, said he got the idea for the VM while working on the Hendrix reissue stack.
I would prefer those cabs in the ad had either the original VM speakers (G12C) or G12Ms, though. (The Cs came in the Hendrix stack, as well, though the VM ones were Chinese-made and the Hendrix ones UK, I think, for those who care about that.) I don't think 75s are a good match.
The VM was like a hot-rodded JTM45, with a fourth preamp tube as a boost, super responsive and inspiring sound and feel, with KT66 power tubes too. The designer, Steve Dawson, said he got the idea for the VM while working on the Hendrix reissue stack.
I would prefer those cabs in the ad had either the original VM speakers (G12C) or G12Ms, though. (The Cs came in the Hendrix stack, as well, though the VM ones were Chinese-made and the Hendrix ones UK, I think, for those who care about that.) I don't think 75s are a good match.
TubeStack
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Coalface1971
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That setup looks awesome. Reminds me of Randy's back in the day.
Find it interesting the often-negative perception of Marshall's post 2203/04. The SL/X (Mkiii and Mkiv), 6100, Jube, DSL, (and despite the reliability issues) the TSL's, rack poweramps, JMP1's, Jim's boys built some great stuff. They haven't been frightened to try some new stuff.
I've stood right in front of two Plexi full (Greenback) stacks on 10, and it didn't sound like I thought it would (the volume is an experience, btw). There was no instant VH1, Hendrix or Cali-Jam Blackmoore.
But seems to be this idea if it isn't a Plexi-face, 2203, JTM45 or a Bluesbreaker, Marshall got it wrong.
Guitar players are funny when it comes to iconic manufacturers getting away from their past.
Mesa's Mk line seems to always reference back older models. The JP2C seems to get this love-hate perception - is that because it is conceptually a little different?
Find it interesting the often-negative perception of Marshall's post 2203/04. The SL/X (Mkiii and Mkiv), 6100, Jube, DSL, (and despite the reliability issues) the TSL's, rack poweramps, JMP1's, Jim's boys built some great stuff. They haven't been frightened to try some new stuff.
I've stood right in front of two Plexi full (Greenback) stacks on 10, and it didn't sound like I thought it would (the volume is an experience, btw). There was no instant VH1, Hendrix or Cali-Jam Blackmoore.
But seems to be this idea if it isn't a Plexi-face, 2203, JTM45 or a Bluesbreaker, Marshall got it wrong.
Guitar players are funny when it comes to iconic manufacturers getting away from their past.
Mesa's Mk line seems to always reference back older models. The JP2C seems to get this love-hate perception - is that because it is conceptually a little different?
Bob Zaod
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Harkens me back to the time I walked into a Daddys Junky Music (@DrewJD82 should remember them I think) with 5k in cash and my Les Paul Standard and said "Sell me the best rig you have" The Salesman stuck me in front of I think a JMP Plexi full stack and said "this is cheating right here. They let me play as loud as I wanted. My consensus at the time was farty loud crap. Needless to say I ended up at a local Mom n Pop and bought a bunch of rack stuff and a couple ADA cabs.
Coalface1971
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The Marshall sound is all things to all people.
Had a '76 JMP 2204. It had some minor mods to try to tame the nail-shower treble. With an SD-1 for a bit of push, it sounded really good. Foolishly sold it for about $1000.
TubeStack
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A few other VM points:
- the two preamp volumes threw people off; you really had to keep the "Detail" (mid/high mids) about 2 numbers higher than the "Body" (low mids), or it got super flubby, super fast (it imitated jumpering a four-hole NMV)
- the Low/High, foot-switchable "Dynamic Range" also threw people off, making it seem like it had two channels, but it was really two gain ranges of the same channel, with a huge volume jump in the High range (that was when the fourth preamp tube kicked in); all I ever used was High range
- Dawson didn't want the digital reverb on it, but Marshall made him add it
- Slash loved the VM and asked for it in his backline when playing awards shows, etc
- other fans were Paul Gilbert, Doug Aldrich, and one of the Mastodon guys
- it was a precursor to the Astoria series, I think
- the VM used to have its own forum, which is now Musicians Roadhouse, and Dawson was a member and a super cool guy, very helpful with questions, etc (he would be awesome for an AMA here, he also designed the Class 5)
- the two preamp volumes threw people off; you really had to keep the "Detail" (mid/high mids) about 2 numbers higher than the "Body" (low mids), or it got super flubby, super fast (it imitated jumpering a four-hole NMV)
- the Low/High, foot-switchable "Dynamic Range" also threw people off, making it seem like it had two channels, but it was really two gain ranges of the same channel, with a huge volume jump in the High range (that was when the fourth preamp tube kicked in); all I ever used was High range
- Dawson didn't want the digital reverb on it, but Marshall made him add it
- Slash loved the VM and asked for it in his backline when playing awards shows, etc
- other fans were Paul Gilbert, Doug Aldrich, and one of the Mastodon guys
- it was a precursor to the Astoria series, I think
- the VM used to have its own forum, which is now Musicians Roadhouse, and Dawson was a member and a super cool guy, very helpful with questions, etc (he would be awesome for an AMA here, he also designed the Class 5)
MirrorProfiles
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MV on the amp isn’t the best either, on HDR mode it can sound ok around 5 but the amp really comes alive when it’s higher up. Luckily the 50W isn’t a particularly loud 50W (JTM45 circuit after all so 50W is being massively generous), so I just use it mostly cranked.
