Marshall JMD:1 50-watt 1x12 combo review. Marshall's Chris George puts it. The JMD:1 series could give. Marshall JMD:1 video review demo Guitarist Magazine YouTube; JMD:1 Series. NEW Marshall JMD:1 50w EL34 tube head. Shop for the Marshall JMD1 Series JMD50 50W Digital Guitar Amp Head and receive free shipping. Marshall JMD: 1 5. When your products ship in cartons with the words 'Guitar Amplifier' printed on them in five different languages, you know you've arrived as a major international manufacturing operation. Of course, Marshall arrived at this point four decades ago and, remarkably, is still on top of the game today. While most of the company's core products are still made in Bletchley, Marshall also has manufacturing operations in India, Vietnam and now China, which is where the newest product range to bear that famous white script logo comes from. With a full digital front- end courtesy of Swedish amp modelling supremos Softube, but still driving a traditional EL3. Marshall JMD: 1. Marshall's Chris George puts it through its paces in the following clip: object. Video : News%2. 0Video/Guitar/marshall- jmd. Visually, there's no mistaking the JMD: 1's heritage – gold control panel, gold knobs, shiny black corner protectors with gold screws and of course the Marshall logo. This is one of the most famous and well- known brands on the planet. The JMD: 1's vinyl appears to be somewhat thinner than that used on UK- made products, but it's still tough and has been expertly applied. Its electronics are contained within a strong steel chassis, which has had reinforcement ribs and locators pressed into it.
Output valves are easy to get to but the single ECC8. However, this won't need to be done more than every couple of years with normal use. A second board behind the control panel contains the knobs, switches and logic stuff, as well as a daughter board for the amp's digital effects. The same main board is used for 5. Internally, the JMD: 1 looks neat, well thought- out and should prove to be quick and easy to service. While most people still associate Marshall amps with valves, it's worth remembering that the company has also had considerable success in the solid- state arena, with products such as the famous JMP- 1 preamp and AVT series. So it's not a giant leap to progress to a fully programmable digital front- end, which is what the JMD: 1 possesses. But before you break out the garlic and crucifixes, this digital preamp still fires into a traditional valve output stage, with either two or four EL3. There are 1. 6 different preamp models, separated into clean, crunch, overdrive and lead categories, which have been voiced by Softube to represent some of the best sounds from Marshall's vast history. Next to the rotary encoder that selects these models is a familiar five- knob arrangement of gain, volume, bass, mid and treble, followed by the digital effects controls, which govern a range of useful delays and modulations, along with reverb. Across the top of these switches are a series of push buttons that allow you to store and recall channel presets, as well as switching individual effects on or off and operating the JMD: 1's foot controller. Finally we get global (non- programmable) presence and master volume controls. JMD:1 Series / JMD102; JMD102. Support; Live For Music; Jump to. The JMD102 was a 100 Watt 2 x 12 Marshall has now launched the new JMD:1 series entering the semi-digital area. Marshall JMD501 Review; Marshall JMD501. Modelling Combo Guitar Amp of the JMD1. Marshall JMD102 Reviews. I had been looking at this Marshall JMD102 tube/modeling . Marshall put over 3 years of design into this and does it. The JMD: 1's rear panel includes a series/parallel effects loop with switchable levels, which features a storable mix setting and can be on or off as part of a patch, along with a balanced speaker- emulated line- out and a handy line- in for patching in an MP3 or CD player. There's also a headphone socket and a separate preamp out jack. Last but not least is a pair of MIDI sockets and a socket for the supplied six- button foot controller. This can either be used in what Marshall calls switch store mode, where you can assign any of the front panel switches to each of the six buttons, or preset store mode, where you can store entire patch presets in seven banks of four, giving access to no less than 2. Overall, the design is logical, well thought- out and easy to understand, with a minimum of manual reading needed for some of the MIDI and footswitch stuff. The manual is typically Marshall: well- written, detailed and a good read. Each of the 1. 6 amp models, for example, has a description, which includes an informative explanation of the original preamp topology. Sounds. Any digital amp which advertises facsimiles of other well- known amps or sounds has its work cut out from the outset, as everybody perceives sound in a slightly different way, consequently the person responsible for making the JMD: 1's JCM8. Because of this, we don't place too much importance on how accurate or not the individual models are, it's more important that they simply sound good and make you want to play them. Having said that, some of the JMD: 1's sounds are very close indeed. The JMP- 1 models do particularly well, as do those of the JCM2. Some of the others have to be taken with a little pinch of salt, as they don't exist anywhere else. For example, Crunch 5 apparently combines the preamp of the 1. EQ of the 1. 95. 9 Super Lead. Whether or not it would sound like that if it were made using resistors and capacitors we don't know but, nevertheless, it's a good chunky rhythm sound. Our other favourites included Clean 3 (based on the JMP- 1), Crunch 7 (based on the Haze 4. Overdrive 1. 1 (apparently a Bluesbreaker pedal plugged into a JCM8. Lead 1. 5 (again a Bluesbreaker pedal, this time plugged into a DSL1. The JMD: 1's onboard digital effects add considerable depth and spice up all the amp models. Modulation effects include phasing, flanging, chorus and tremolo, along with a fast noise gate, while the delays feature analogue, tape, multi- tap and hi- fi types. As with all products of this type, the best results come from getting the core sound right to start off with, then adding in your desired effects one at a time. Both delay and modulation are accessed from rotary controls divided up into segments for each effect. This means precise control is a little tricky as a lot happens in a small amount of travel, but the amp's capability to store things makes up for this. As you'd expect from a Marshall, the JMD: 1's overall voicing and character is not for the timid – this is a big, bold amp and benefits from being wound up loud, so the valve output stage can add its own character to the mix. We often criticise digital modelling amps for their lack of dynamic range; with EL3. JMD: 1. With the 1. Sonically, there's very little difference between the two amps – the increased power output of the 1. The JMD: 1 series could give other digital amps a hard time. The combination of authentic amp sounds and a valve output stage makes for a very capable all- round performer that's equally at home belting out hard rock and metal as it is playing jazz or country. Aimed at those who want to mix in effects without a whole bunch of external boxes, power supplies and cables, we think it represents good value for money, although there's some serious competition, from Line 6 in particular. One thing nobody can compete with, however, is the name and look of a genuine Marshall. Digital or not, there's no mistaking the JMD: 1's heritage which remains as powerful as ever. Marshall JMD1 Series JMD5. W Digital Guitar Amp Head. Explore a vast sonic range with 5. Marshall can deliver. The 5. 0W Marshall JMD5. Marshall package. The JMD5. 0 amp, part of Marshall's JMD: 1 series, uses this technology to create a vast library of tone styles firmly rooted in the foundations of Marshall amplifiers. The Marshall JMD5. These are delivered in 1. The digital and tube combination for JMD5. W amplifier head. After working closely with the digital experts from Softube, Marshall created a digital and tube amplifier solution that offers a multitude of tones, allowing the guitarist to experience and experiment with a variety of preamplifier topologies from Marshall's history, all in combination with the power and warmth of a traditional EL3. The Marshall JMD5. Marshall over the last 4. JCM 8. 00, all the way through to a high gain JVM. For instance, have you ever wondered what a 1. W tube stage with a hint of reverb for ambience? The Marshall JMD5. Do you want to try a Guv'nor pedal through the power of a Marshall 5. The JMD5. 0 amp head lets you do that too. What makes the JMD5. Marshall's delicate balance between technology and tone. Instead of trying to mimic the overall sound of an amplifier by simply creating a copy of the tone that is generated, the JMD5. Not only recreating the tone accurately, but also how the unit reacts when you make adjustments to the equalization. The familiar Marshall front panel is extensive in features and easy to navigate. Selecting the preamp sound you want is as simple as choosing one of the 1. This section has been divided into 4 separate groupings for ease; Clean, Crunch, OD, and Lead. From there, all you have to do is set up your EQ section and choose and adjust which of the high- quality effects you desire. Storing this sound is just a case of holding down one of the 4 channel buttons on the amp or saving to the foot controller, storing everything from the EQ to the parameter of chosen effect. So now your able to go from a classic low- wattage tube sound with a hint of reverb, to a traditional high- gain '8. Marshall Custom FXThe effects section of the JMD5. Not only are the effects redesigned, they are also fully adjustable to be as subtle or extreme as you wish. The effects are divided into 3 separate stages, Modulation, Delay and also an independent Reverb. Marshall Functionality from studio to the stage. With the included footswitch, the Marshall JMD5. The foot controller enables the player to store 4 sounds across 7 banks, giving the option of storing 2. When sounds are stored in the foot controller or the amplifier it recalls everything apart from the master volume and the Presence. MIDI switching capabilities also allow the user to control the amplifier remotely, and add the possibilities of up to 1. Effects loops allow the player to add in any personalization they require, and the balanced line out contains the best Marshall cabinet simulations for recording a multitude of tones directly.
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