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2007 FIAT Doblo User Reviews
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2007 FIAT Doblo Review
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Reviews From Other Years
2005 FIAT Doblo Reviews
We All Know What Fiat Stands For.
Awkward driving position, and cheap parts. I'm not a FIAT fan, and these two went no distance towards changing that. Performance was ordinary, build quality the same, appearance ditto. I think my ... Read More
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In a nonprecedential order issued March 15, 2013, the Federal Circuit granted rehearing en banc in Lighting Ballast Control, LLC v. Philips Electronics North America Corp., to consider the following questions:
The order expressly invites amicus briefs:
The court invites the views of the United States Patent and Trademark Office as amicus curiae. Other briefs of amici curiae will be entertained, and any such amicus briefs may be filed without consent and leave of court but otherwise must comply with Federal Rule of Appellate Procedure 29 and Federal Circuit Rule 29.
The Underlying Case
The underlying case is interesting because the district court judge construed the claims one way in the context of a motion for summary judgment, but then reversed itself on a motion for reconsideration. The Federal Circuit reversed that decision, essentially finding that the district court had gotten it right the first time.
The underlying issue also is one that seems to present a clear-cut case for reversal:
Does the term "voltage source means" invoke means-plus-function claiming under 35 USC § 112, ¶ 6?
Will Deference Create Uncertainty?
While I understand that de novo review of claim construction often is blamed for driving up the costs of patent litigation, I have concerns about the uncertainty that could arise if the final word on claim construction could come from any single district court judge rather than a panel of three of the sixteen judges of the Federal Circuit. Predictability is important not only to parties likely to be involved in litigation, but also to entities assessing freedom-to-operate, considering design-around options, or evaluating licensing deals.
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DISCLAIMER: Because of the generality of this update, the information provided herein may not be applicable in all situations and should not be acted upon without specific legal advice based on particular situations.
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Does anyone have experience or information on Martin 32's?
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Walker Hooker
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Hi - a bit late!
I have a 32, however it was not completed by Martin Yachts but was completed from a hull. As such it is somewhat different from the standard and the accomodation is better, or at least it suits me and does not suffer from some the problems noted in this blog. It is fast for its size perhaps due to its generous sail area. Being a narrowish boat it pays to reef down early before the gunwale is in the water. It goes very well with its #3 and a full main It was a very sucessful racing boat and it is a good cruising boat for a couple and a child. With a 23 hp diesel it motors at seven knots in flat water at 1500 rpm burning a little more than a litre an hour.
It is not a blue water boat, displacing 8,000 lbs, there is not a great deal of stowage but it is quite adequate for cruising in BC waters
I have heard it said that 32's are a little cranky (probably carrying to much sail is the foundation for this), but we find her beautifully balanced. My wife enjoys helming her what more can you say!
Walker Hooker
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Erectile Dysfunction Health Center
A Partner's Guide to Erectile Dysfunction
Anne, 63, of Medford, OR, knows a thing or two about erectile dysfunction (ED). Her husband, now 58, first started taking medication for it about 5 years ago.
"At first you think, oh, you're getting older and slowing down. But it got to the point where it was really bothering him, and he was unable to have sex without the drugs," says Anne, who asked that we use her middle name only,
Recommended Related to Erectile Dysfunction
When Is It Erectile Dysfunction?
To a healthy young man, erectile dysfunction (ED) may seem unthinkable. You can probably remember times (think back to high school) when you wished it wasn't so easy to get an erection. But as you age -- and especially when you have diabetes -- you may notice some changes. Maybe it takes more coaxing to get erect than it used to. Sometimes it may take more direct stimulation of the penis, whereas merely a daydream or the suggestion of sex was once enough. Or perhaps your erections aren't quite as...
Read the When Is It Erectile Dysfunction? article > >
He is far from alone. Some 18% of all men in the U.S. have ED, and the odds of developing it increase sharply after age 40.
People who have diabetes, as Anne's husband does, are three times more likely to have ED than men who don't have diabetes. The disease can damage the blood vessels and nerves needed for an erection.
Having a partner with ED can be difficult to deal with, but think of it from his perspective. "We as women cannot even imagine how frustrating it is for them -- at least, that's what my husband tells me," says Anne.
Get to the Root of ED
Although it can feel personal, you shouldn't blame yourself for your partner's erectile dysfunction. It usually has a combination of causes -- and, experts say, you probably are not one of them.
"It's pretty rare for the source of ED to be the person that he's having sex with," explains sex and relationship expert Ian Kerner, PhD.
"Some women will feel like, 'He's not attracted to me, he's not into me, or he's bored by me.' And that's really relatively rare compared to the other more likely factors."
In older men, blood vessel problems tend to be the main reason for ED. In fact, since the blood vessels in the penis are smaller than those in the heart, heart disease may show up in the penis first. Eighty percent of men who land in the ER with a first heart attack say they developed ED at some point in the 3 years before, says Daniel Shoskes, MD. He is a professor of urology at Cleveland Clinic.


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Shocker: it's alleged that McCourt's law firm charged him too much
Sep 15, 2011, 3:30 PM EDT
The federal bankruptcy trustee assigned to the Dodgers case told the judge today that the law firms representing the Dodgers — who have billed Frank McCourt some $1.66 million thus far — have overcharged, billing for services that were neither necessary nor required. He is requesting that the bill be reduced by 21%.
You know, you used to be able to believe in stuff in this country. You used to believe that fair play and an honest day's work for an honest day's pay and all of that. And then we learn that a law firm has allegedly over-billed a millionaire for legal services that will be paid for out of some mishmash of corporate bank accounts that no one will ever closely examine.
I may need to take the rest of the day off to process this.
- Alex K - Sep 15, 2011 at 3:43 PM
I hope you were near your fainting couch.
- cur68 - Sep 15, 2011 at 3:49 PM
Shocked! I'm sh. . . nah.
- granted42 - Sep 15, 2011 at 3:59 PM
Maybe they needed to charge him more to compensate for the hit their reputation will take for representing him. It's sad when you're such a lowlife that a law firm's image is damaged by your presence as a client. Of course they'll overcharge him.
- proudlycanadian - Sep 15, 2011 at 4:04 PM
These lawyers (I almost wrote shysters but I do not want to be sued.) primarily care about the bottom line. May I refer you to Rusty Hardin. His reputation has probably taken a hit due to his representation of Clemens, but his bank account has done quite well.
- jwbiii - Sep 15, 2011 at 4:23 PM
proudlycanadian, You do know that Craig called his former blog "ShysterBall," right? I don't he'd take offense or legal action.
- proudlycanadian - Sep 15, 2011 at 4:25 PM
It wasn't Craig that I was thinking about.
- Dug - Sep 15, 2011 at 4:11 PM
So, Craig, perhaps you should not faint or take the day off. I am thinking that maybe an office dedicated to high value bankruptcy would pay much better than blogging about a silly game. (sarcasm. I love baseball.)
- robmoore - Sep 15, 2011 at 4:12 PM
I hope your billing rate for "processing" is sufficiently high…
- crankyfrankie - Sep 15, 2011 at 4:26 PM
BTW Craig since you are already on your fainting couch. There is gambling is Casablanca.
- tuftsb - Sep 15, 2011 at 4:52 PM
Craig – too bad Myerson and Kuhn were unavailable – http://en.wikipedia.org/wiki/Myerson_%26_Kuhn
- ufullpj - Sep 15, 2011 at 10:59 PM
Let's be realistic. Last year, Dewey's revenue was around $900,000,000, and their Profits per Equity partner were around $1.6 or $1.7 Million….and Young Conaway was probably somewhere between $50-65 Million in total revenue. This tab doesn't make a dent in either firm's revenue stream.
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Heidi Montag is pulling a Lindsay Lohan. The Hills star is capitalizing on her Twitter addiction.
PHOTOS: Heidi and Spencer In Happier Days
While Lohan hawks Burberry on her Twitter, Montag is tweeting for companies like the discount websites Living Social and Haute Look.
PHOTOS: SCRAM Be Damned, Lindsay Out Late
On June 18, she tweeted: "You had me at "90% off"… h**tp://bit.ly/bS**** Sign-up and RT if you love a great deal! (Ad)".
PHOTOS: Celebs Who Are Most Popular On Twitter
The link goes to Living Social, a website that gives subscribers discounts at restaurants, hair salons and such in Los Angeles and other cities..
PHOTOS: Heidi Montag Post Plastic Surgery
On June 22, Montag tweeted a link to a dating website that only features men called Shop4Guys.com, which calls itself "a playground for women."
Montag tweeted, "Maybe being single wasn't such a bad idea after all… h**tp://bit.ly/9z**** (Ad)."
EXCLUSIVE: Lindsay Lohan Can't Get Fair Trial Says Lawyer
It looks as if Montag's attempts to cash in on her supposed affair with Spencer's friend Cougar Zank didn't work out.
Zank previously told RadarOnline.com that he and Heidi had been dating for the past three weeks and he had video of them picnicking together.
PHOTOS: Lindsay Lohan's Hairy History
The pair was asking some media outlets up to $30,000 for the footage and juicy details on their relationship.
Lohan has been tweeting ads for a while now, leading to speculation that she resorted to being paid to social market as a way to stay afloat financially.
EXCLUSIVE: Heidi Montag & New Love Cougar Zank Try To Cash In On Their Affair
While Montag doesn't have her own SCRAM bracelet, yet, it sure looks like she and another troubled star have a lot in common.


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The Vintage Marshall Guide
This is my first article here at Solodallas.com. I hope this can be useful to all of you who are interested in buying old Marshall amps.
(SoloDallas' note: it is with pleasure that I introduce to you our already very well known friend Andrè, aka Jaiminho Pagina: he's now a contributor of SoloDallas.net!)
(NOTE – I did some updates at the 2203/ 2204 section of the article ~JaiminhoPagina)
Before starting, I must warn you that acquiring vintage gear can be really risky. You can end up buying something that is not what you expected or even something that is damaged or modded beyond repair. So, always keep your eyes open for "fishy" deals, look for information, and always ask for high definition photos (especially from the interior of the amps – the circuit, the tubes and transformers) to make sure everything is right. If you don't have much experience (myself included, to be honest :P), I recommend asking help from the members here of the community. Post a link of the desired amp on the "Ebay Watch Post", so we can help analyzing it.
In this article, I'll try to cover the more "desirable" Marshall amps that were built since 1962 up to the JCM800 series, wich most consider to be the "last" great Marshalls produced (That until Marshall released the Vintage Modern series. These amps are really great!).
I'll concentrate on "how they sound", "how they look like" and also "how to tell them apart". I will also try to give examples of where they were used..
So, here we go. I hope you like it
Understanding Marshall model numbers
One of the most confusing things concerning these vintage amps are the model numbers. I'll write down the most important ones and what they mean.
- 2245 – Although I believe the first JTM-45s didn't really have a model number, this is the code that is related to them on Marshall's website.
- 1987 – Any Marshall Lead circuit (50w, non-MV)
- 1986 – Any Marshall Bass circuit (50w, non-MV)
- 1959 – Any Marshall Super Lead circuit (100w, non-MV)
- 1992 – Any Marshall Super Bass circuit (100w, non-MV)
- 1963 – Any Marshall Super PA circuit (50w, non-MV)
- 1968 – Any Marshall Super PA circuit (100w, non-MV)
- 2204 – Any Marshall Master Model circuit (50w, MV)
- 2203 – Any Marshall Master Model circuit (100w, MV )
These are just a few of the thousands of codes that Marshall came up with for their amps. I won't write the rest because it may confuse you even more. So, let's stick to those for a while.
It's important to note that, for example, a 1959 amp has nothing to do with the year 1959. Why they chose those numbers then? I don't know.
More important notes:
- The addition of a T at the end of the code refers to a Tremolo amp.
- The addition of a S at the end of the code refers to a smaller version of the head, made to fit with a 4X10 cab – This only aplies to the 2204S head from the JCM series.
- Combo versions of the amps always had a special code attributed to them (for example, the combo version of the JMP 2204 was the 2104).
- The 1959S and the 1987S are the codes for the first "Plexi" reissues, made in 1988.
The JTM Era: 1962 – 1965
The JTM-45
JTM-45 with "block" logo
The first Marshall ever made. It was basically a copy of the 1959 Fender Bassman. It had ECC83 (a.k.a. 12ax7) pre-amp tubes and a GZ34 rectifier tube. The first amps had 5881 power tubes. They were changed to KT66 shortly after. It was made as a head and as a combo (known as the "Bluesbreaker" combo). There were many cosmetic changes on the first years until it finally got the "Classic Marshall Look" by 1964.
The front panel has "Presence", "Bass", "Middle" and "Treble" controls, as well as 2 volumes and 4 inputs. In 1965, the plexiglass faceplates were introduced. This is the reason why Marshalls of this early era (up to 1968) are known as "Plexis".
The sound of this amplifier is "creamy" and "warm". I would say "crispy" too. This amp is more suited for blues players, with a smoother sound.
Eric Clapton used a JTM-45 combo on the legendary Blues Breakers with Eric Clapton "Beano" album (Now you know why this amp was called "Bluesbreaker" :P) He used his Les Paul through the Normal Channel of the amp. He discovered that, by playing really loud, it would start to "break up". It was something really new. It changed music forever. The then "horrible" distorted and saturated sound turned into what we know today as the "rock tone" (maybe not yet… But we will get there).
Another example of this amp can be heard on AC/DC's Ballbreaker album. Free's debut album Tons of Sobs was probably recorded with a JTM-45 too.
The transition to the JMP: 1965 – 1967
This is a confusing era, with lots of changes and new models. So, I'll try to explain it the best I can. 😛 The transitition from the JTM to the JMP amps happened, in my view, with three steps. The first one was the creation of the first 100w amp.
The JTM-45/ 100 (JTM-100)
The JTM-45/100 with the "block" logo
Pete Townshend and John Entwistle of The Who needed amps that could overpower the noisy and energetic crowds.
Marshall then "hot-rodded" the JTM-45 using four KT66 and two 50w output transformers to handle the extra wattage. A larger headbox was also used. The result was the JTM-45/100 (JTM-100, for short). With more power tubes, the amp had more headroom, a tighter bass response and more definition. It was the first Marshall with a solid state rectifier.
Another player that acquired some of those was Eric Clapton, who used them to tour with Cream.
The change to EL-34s
The change to EL-34 tubes resulted in the increase of power. The name of the amps was also changed. This is when the confusing model numbers started being used I believe.
The JTM-45 was now called Marshall Lead 50w #1987.
This amp had a more edgy sound than the JTM-45, due to the EL-34s. But it also had the characteristic smoothness of the tube rectifier. For this reason, this amp is known today as the JTM-50.
I'm not sure what recordings this amp was responsible for. But Fil's Metro is a reproduction of this very same amp, so you might be familiar with it by now.
Please note the "Black Flag" JTM marking that was used at that time.
The JTM-100, now with four EL-34s too, also gained a proper 100w transformer. The name? It was called Marshall Super Lead 100w #1959 (Although they still didn't have the "JMP" mark on the front, In my view, this amps are already into the JMP territory, because they have all of the JMP characteristics).
This is a photo of a JTM-45/100, but it's the same headbox used for the early Super Leads
Back of a Marshall Super Lead
I think you are all familiar with this amp. Many consider it to be the ultimate rock amp. It's indeed, a lengend on it's own. This early "Plexi" versions (up to 1968) are really articulate and have a real nice "roar". If you want to hear this amp, listen to any Free live performance. Paul Kossoff was the man who really knew how to use these. When I listen to the Free Live! album, and I hear the sweet tone of that Les Paul through his Super Leads, I feel I'm in "tone heaven" 😛
The change to the solid state rectifier
By late 1966 – early 1967, Marshall stopped using the GZ34 tube rectifier in all the models and started using a solid state rectifier instead.
The JTM50 now definetly turned into the JMP incarnation of the 1987 model, although the "formal" name ramained the same.
This amp is basically the 50w version of the Super Lead, so the sound is really similar to it's "big brother".
New Models of the "Transition Era"
While all those changes happened, new models started being developed to expand Marshall's catalog. Here are some of them:
Marshall Bass and Super Bass
Back of a Marshall Super Bass
The Marshall Bass 50w #1986 and the Marshall Super Bass 100w #1992 appeared after the change to the EL-34 tubes. Related to the #1987 and the #1959 respectively, they were designed for bass players. But many guitarrists also decided to try those and they found out that they could get really interesting tones with them. They were a bit smoother and had a tad less gain than their Lead counter-parts. They can easily be converted into Lead circuits as well. So, if you find one for a good price, grab it
It used the same headbox as the Super Lead. Front panel was also identical.
Marshall Super PA
A damaged Marshall Super PA
The Marshall Super PA 50w #1963 and the Marshall Super PA 100w #1968 amps may scare you a bit when you look at them. These amps had two "sections" (The most common thing to do was to set one section to Lead specs and the other one to Bass specs). With a standard eq (presence, bass, middle, treble), a total of 8 inputs (4 for each "section") and 4 volumes, this thing is a real Frankstein monster.
So… How does it sound like? The Lead section sound like a Lead circuit. The Bass section sounds like a Bass circuit… duuuhhh 😛
This is a really underrated amp. It is just as good as the other (probably even more versatile), but the "weird looks" probably scare people a bit and they think this is not a good amp. For that reason, these amps are less expensive and are a really great deal (if in good condition, of course).
Ah… Did I mention that Free used a lot of Marshall Super PAs on stage? 😛
Marshall Major
The back of a Marshall Major. Note the 4 KT88 tubes. The extra knob probably is a Master Volume mod.
If you thought a Marshall Super Lead was already too loud. Stay away from this thing. This is a JMP on steroids. It's 200W of pure loudness
The Marshall Major 200w has a different circuit than its "little brothers": the pre-amp has two ECC83s, but the third tube (the "driver tube") is an ECC82 (a.k.a. 12au7). The power section has four KT88 tubes. These amps were not only stupidly loud, but also really really clean.
Ritchie Blackmore was a famous user of the Major, but they were heavily modded at the Marshall factory (as said in an interview) and later by a man called John Dawk. Blackmore's amps had extra power tubes, making it even more powerful, as well as extra gain stages. Don't ask how that's even possible. I have no clue either.
These amps also CAN NOT TAKE ANY KIND OF BOOST OR OVERDRIVE. Its nicknamed "Smoke On The Water Effect". These amps would blow because they were already working at critical point without anything, so if you plugged something to make them run even hotter… well…
This is one of the reasons why the Major was discontinued in 1974.
Marshall Tremolo amps
Marshall Super Tremolo. Note: 8 knobs instead of 6
These amps had an extra 12ax7 tube for the "tremolo" effect. They are easy to tell apart because the two extra knobs ("speed" and "intensity") on the front panel.
These amps weren't much popular and were discontinued in 1973.
On a side note, a faulty Marshall Super Lead #1959T was modified by Tim Caswell (he used the extra 12ax7 as another gain stage on the pre-amp), and it became the legendary #39 of SIR studios in California, USA. The amp was desired by every musician that rented it. SIR studios declined all the offers they received for it. Then, this amp was used on the rehearsal sessions of Guns 'n' Roses' Appettite for Destruction album. Because of rumors that Slash was going to steal the amp (and legend says he did it!), SIR studios switched amps, and Slash ended up "renting" #36 instead: a late 70's JMP, also modified like #39 (He didn't notice the difference?). AFD was recorded with this amp. Then, a misinformed roadie returned it a year later (and was probably fired afterwards). Both amps never were seen again. (Creepy, huh? XD)
The "Plexi" JMP era: 1967 – 1969
Close-up of a "plexiglass" panel JMP
And now, we are oficially into the JMP era.
The first JMP marked amps came out around late 1967, although, as you saw, all of them already had JMP characteristics. So, it was more of a "brand" renewal.
An important note is that, by 1968, there were some changes on the circuits that made the amps more aggressive. All the models mentioned above are still being produced here.
The amplifiers that were shipped to America had an extra toggle, wich was the polarity switch. That happened until around 1976.
A notable user of these amps is a guy named Eddie. Yes: On Van Halen's debut album, a 100% stock 1968 Marshall Super Lead #1959 was used. With a thing called variac, he was able to kind of "attenuate" the amp and obtain more gain.
Jimmy Page of Led Zeppelin is well know for his use of a 1959 Les Paul and Marshall Super Lead #1959 amps (Did you notice that both have 1959 on their name? Coincidence? :P). I'm not sure of the year his amps were made, but something tells me that they are from around this period (1968 or 1969) or maybe from the early Metal-Face years. Anyway… It's said that his amps were modded to accept KT88 power tubes, boosting their power to 200w (and actually, he really told so on an interview in 1977), but the question is: When was it done? – My opinion is that maybe he did that around 1974, since his tone was a lot different in the 1975 tour, but, of course, I might be wrong. 😛
Malcolm Young said his favourite amp is an old Super Bass amp, probably from this period too (it could be an early Metal-Face as well).
The "Metal Face" JMP era: 1969 – 1976
Close-up of a "Metal-Face" Marshall
In mid-1969, the plexiglass faceplates were replaced by brushed aluminium faceplates, hence the nickname "Metal-faces".
This change didn't affect the tone directly. What happened is that there were more changes in the components and the amps became even more aggressive: they were brighter and had a more drive than before. This was actually good for most guitar players, since they wanted more and more gain.
Another good side here is that amps made after 1970 doesn't have so much collectible value as the early "Plexi" amps. These are probably the best oportunities to own a "Plexi style" circuit without spending a fortune (with some tweaks, they can be converted into the "smoother" late 60's circuit).
It's important to note that from 1972 onwards, Marshall amps that were shipped to America had 6550 power tubes, because american dealers said EL-34s were breaking too much often inside the warranty time.
There weren't much changes afterwards. The only one that worth mentioning is the switch to PCB style assembly on late-1973. Did it affect the tone? I can't really tell. It got worse? Definetly not. They are as reliable as the PTP Marshalls. You can read more about this here.
Another change (wich is not that important) is that now the 50w chassis were put in the same bigger style headbox as the 100w. So, the only way to tell them apart (besides the model written on the back, and the number of power tubes) is by looking at the top. If it has a top vent, then it's a 100w. If it doesn't, it's a 50w.
Due to all the hype around the PCB, post-1973 Marshalls are even more accessible to us. 😀
AC/DC probably used Metal-Faces from this era to record High Voltage, TNT and Dirty Deeds Done Dirt Cheap, as well as live performances up to 1976 (Angus used to play his solos with the neck pickup a lot back then, probably because he coudn't always play with his amps loud enough to get the desired overdrive).
The PA and Super PA heads were discontinued around 1975.
The Marshall Master Model
In 1976, Marshall decided to try something new. After receiving many complains, they decided to put a Master Volume on their amps. They used the #1959 and the #1987 as a base, removed the normal channel and added a pre-phase inverter master volume on it, so it was possible to have the pre-amp saturation at lower volumes. The panel of this model had only 2 inputs, standard eq section , a Pre-Amp and a Master Volume knobs. They called it Marshall Master Model 100w Lead #2203 and Marshall Master Model 50w Lead #2204. Did it work? Yes and no. Yes, it was possible to have pre-amp drive at low volumes, but since it was the power amp saturation that made Marshalls so great, guitar players complained that they couldn't get enough "distortion" at lower volumes. So… Marshall had to come up with something to solve this problem…
UPDATE: It seems that the early versions of the 2203 (100w – with the old cosmetics) already had the cascaded pre-amp. Only the 2204 (50w) suffered from the lack of gain at low volumes.
Early version of the JMP Master Model #2204 (no top vent = 50w)
The "Rocker Switch" JMP era: 1976 – 1981
1979 Marshall JMP Super Bass 100w #1992
So… Here we are. This is the part you wanted to see, right? All of you AC/DC gearheads (myself included! :P) here at the Solodallas classic rock comunity want to know more about the Late 70's JMPs, don't you? Well… I'll do my best to let you satisfied! 😀
Around this time, Marshall decided to upgrade the cosmetics of their amps. They started using rocker style switches instead of the old toggle switches (yes. This is why I called it "Rocker Switch Era". No pun intended), the "Marshall" logo was bigger and there was a thicker white binding on the corners, as well as under the logo. The only thing is: there were many parts left on stock and they had to use them! So, if you find a weird looking 1976 – 1977 JMP, it's probably just because they were using some old parts to assemble them. By mid-1977, they were over and only new parts were used.
An example of a "mixed up" 1976 JMP: Notice the old style headbox and, at the same time, the thicker binding, the bigger logo and the rocker switches
Interestingly, the amps for the Canadian market kept the EL-34 tubes and the old toggle switches.
Canadian version of a late 70's non-MV JMP
[Thanks to KyleSG for the information 😉 ]
The "NEW" Marshall Master Model
While the sales of the non-MV volume amps continued steady and well, Marshall faced a serious problem with their new product: Most people didn't like their Master Model amps (this refers only to the 2204) because there was no enough gain at lower volumes. It was a disaster: After 14 years selling non-MV amps, always relying on the power amp saturation, Marshall, the company that made the best RnR amps in the world suddenly had an amp with "no enough gain?"
[Warning: lame joke coming up!] Well… The heads at Marshall worked with the volume on 11 to find a solution. After many blown tubes, they decided to try something really different this time: to cascade the pre-amp to get extra pre-amp saturation.
And on late-1976 or early-1977 the magic happened… It was an instant success! You had a great overdriven tones at any volume (Of course, the louder it was, the better it would sound). It could also work as a "Plexi-style circuit", by keeping the Master on 10 and working with the pre-amp volume. Of course, it also had a unique and distinctive voice.
A way to find out if a 2204 have the cascaded pre-amp or not is the Two Cables test.
Just get two cables and plug them into both inputs of the amp. Turn it on and put your hand on the other end of the cables to produce sound. Theorically, if you get sound only from one input, this means you have the cascaded circuit. If you get sound from both, you have a non-cascaded circuit.
Marshall JMP Master Model 50w #2204
In 1976, AC/DC launched the international version of the High Voltage album, wich actually was a mix of songs from the Australian High Voltage and TNT.
Marshall realized the potential of the new band and decided to sponsor them. When they got into the studio to record the Let There be Rock album, they already had brand new JMP "rocker switch" amps. So… what they used? MV or non-MV? The nasal and overdriven tone is unmistakable. They used the 2203/ 2204 Master Model heads extensively through the years. But also, they still were faithful to the old non-MV circuits So, they almost always mixed them on stage. Powerage, Highway to Hell, Back in Black… up to the Blow Up Your Video… all recorded with amps from this era. It's hard to tell when they used what amp, but you can't go wrong with these beasts.
Master Volume vs. non-Master Volume
But wait a minute… The old non-MV were still being made with the new cosmetics? Yes. They were. So, if you are looking for a late 70's JMP, always look at the number of inputs so you don't end up buying a Super Bass thinking you've just got a 2203! 😛
You can also look at the back. The model will be written there. So, just to make sure you won't get yourself into trouble:
- 1959/ 1987/ 1992/ 1986 (non-MV): 4 inputs, 2 Volumes, Model of the amp written in block letters at the back.
- 2203/ 2204 (MV): 2 inputs, Pre-amp and Master Volume, Model of the amp in handwriting letter style at the back.
Anything different from that (3 inputs, extra knobs, etc) is a modded amp.
Example of the "block letter style" of a non-MV amp
Example of the "handwriting letter style" of a 2203/ 2204
EDIT: A new finding by user 06AngusSG
The two extra jacks that appear on this head are actually STOCK!
They are simply extra outputs. Here is what he found out:
"I started looking around right after I posted this (a little chat on the comments of this page regarding this same subject) and I believe I found the answer to confirm my thoughts. Here is a link to a Marshall forum page.
The guy here states that the U.S. variants
were required to have 4 holes to attain the proper UL rating."
So, this means the U.S. export versions had 6550 tubes AND the two extra output jacks. All of them are useable.
Quite funny, isn't it? 😛
The combo versions of these amps are really interesting too. So keep your eyes open for those as well.
50w JMP combo, a #2104 or a #2187
Around mid-1979 there was another minor circuit change. The result was, as you expected, more agressive amps. Also, the serial numbers started to be printed on the front panel, close to the switches.
In 1980 , Marshall started using a bigger logo. At this point, Marshall's exclusive distribution contract with Rose Morris was expiring. Free from the contract, Marshall decided to, again, renew the whole Marshall line.
Larger logo used from 1980 – 1981 (And serial on the front panel)
The JCM800 era: 1981 – 1989
Marshall JCM800 100w #2203
In 1981, Marshall launched the JCM800 series. It was mostly a cosmetic change. But some claim that there were, again, small changes in the circuit. making these slightly more "modern" sounding amps. The "simple circuit" JCM800s are, in my view, still quite interesting amps. Let's take a look at what we still have here.
A note here is that the name "JCM800″ itself is, many times, related just to the 2203/ 2204 models, but the JCM800 was a series. This means there were other models. Altough rarer, the non-Master Volume amps (#1959/#1987/ #1992/ #1986) were still being made under the JCM name.
Marshall JCM800 Super Lead #1959 (non-MV)
Some amps with JMP style will surface there and there during the 80's too. But they are basically a JCM800 in the old headbox.
Combo versions, are, again, really interesting. Try to look for the ones with the same circuits as the heads mentioned above.
Marshall JCM800 50w 1×12 combo #4010 (2204 circuit)
Well… Here we got to the end of the line. There were no new interesting "simple circuit" amps launched during this period.
A last important note: Avoid the JCM800 2203 and 2204 amps with "horizontal inputs" (made after 1986). The different position of the inputs meant a change in the circuit. This one was not a pleasant change and the result was a much more grainy and thin-sounding tone as they were turned up.
"horizontal input" JCM800 Master Volume. Not a really good deal
In 1989, the JCM800 line was over, and the high gain JCM900 era begun.
So… This is it. I hope you liked this…. "little" piece of Marshall's history. 😀
Serial Numbers
Serial numbers are a great way to find the model/ year of the amp. Here is some info about them:
Prior to 1969, the amps don't have serial numbers.
Model Code Explanation
A/ or /A 200 Watt
RI Reissue Series
S/ or S/A 50 Watt
SB/ or SB/A Super Bass – 100 Watt
SL/ or SL/A Super Lead – 100 Watt
SP/ Super PA
ST/ or ST/A Tremolo – 100 Watt
T/ or T/A Tremolo – 50 Watt
Date Code Year
Cheers! Thanks for reading!
Interesting links:
…The Vintage Marshall Guide, 8.7 out of 10 based on 30 ratings
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|This entry was posted by JaiminhoPagina on January 5, 2011 at 6:45 pm, and is filed under Amplifier Reviews, Gear Reviews, Premium, reviews. Follow any responses to this post through RSS 2.0. You can skip to the end and leave a response. Pinging is currently not allowed.
Great article!! And just FYI: I have one of those "weird" 1976 100 watters with the "mixed up" components of thin gold binding and a larger Marshall logo: https://reverb.com/item/384567-1976-marshall-jmp-mkii-100-wattVN:F [1.9.22_1171]VN:F [1.9.22_1171]
Just FYI: I have a 1976 100 watt with the "mixed up" components of thin gold binding and a larger Marshall logo: https://reverb.com/item/384567-1976-marshall-jmp-mkii-100-wattVN:F [1.9.22_1171]VN:F [1.9.22_1171]
I was always wondering which amp I really own and found now this great site with the perfect guide. Anyway, my question now:
I have a Marshall amp, JMP MKII Super Lead 100 W
Serial is stating SL/A:3230G
From what I now understand, I own a 1969-70!? If this is true, I wonder what's the value of it! Unfortunately it was mod to "High Gain", but reversable. Thinking if I should bring it back to the original configuration, though the high gain is really doing good! Any comments appreciated! ThanksVN:F [1.9.22_1171]VN:F [1.9.22_1171]
About the JMP2203. In this nice article it is mentioned that "Around mid-1979 there was another minor circuit change.". Does anybody know what this circuit change consist of?
Already thanks to your reply.
DaniVN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hi, is there comparison video between The Schaffer Replica™ and the The Schaffer Replica Pedal?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
hello! I suggest to buy an amp and I'm not sure that it is original. Please tell me whether these were produced amplifiers?
http://img04.slando.ua/images_slandocomua/87832035_2_1000x700_marshal-super-100w-fotografii.jpgVN:F [1.9.22_1171]VN:F [1.9.22_1171]
I don't know about this one, need to look at the guts.
Unless Marshall released an obscure model that had metal corners, metal knobs and a particle board cabinet…???? You need to research this one, because I have never seen this. And maybe I need an education.
Check with the Marshall Forum in the vintage section as well.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Me neither, I've seen all kinds of Marshall but this is totally new to me ! Although I gotta say it looks cool !
They might help you out on the Marshall forum: http://www.marshallforum.com/lets-talk-vintage/VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Never seen one of these either. I don't think this is an original amp to be honest. The back looks totally different to any other MKII amp I've seen. Front faceplate seems off too.
I would personally stay away unless someone gives the okay of legitimacy, but I don't think it'll get one.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hi. I have NO idea if I'm doing this the right way, but please forgive me. My husband died suddenly, and while I intend to keep his bass, I would like to sell his amp. Thing is, I am not sure what it's worth, or where/how to list it. I'm hoping folks here are like musicians of 'old'… and treat each other like family. While I was a musician's wife for 37 years, I am not a musician. I'd like the old Marshall set to have a loving home. They are 1972 Super Bass 100W amp and cabinet. Amp isn't working, hubby wasn't into fixing it, since he was no longer playing. Speaker's fine. Clearly could not ship the thing – how do you guys do it?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hey there,
first of all, my ( and if I may speak in the name of the whole community here : our ) condolences.
Don't worry about your post, it's fine here, you did the right thing. The ' nerds ' of our little family here always watch this post if there are any question about vintage Marshalls
I'll do my best to help you out.
a 1972 SuperBass can be worth quite a bit depending on its cosmetic aspect, if it has been modified or not and if it is fully working.
You are saying it is not working. Do you know if it has been modified over the years ? If not, the better. You should try to find someone who knows how to detect the problem on your amp and fix it. A fixed one can be sold easier than a broken one ( and at a higher price ).
If you would give us your location more or less we could try and find you help around that area.
If the cabinet matches the head this is a big plus for the sale, but shipping is the next question.
Such things are hard to ship ( we know this pretty well ) but on the other way also pretty hard to sell depending on your location.
There a websites like ' craigslist ' , ' ebay ' , ' reverb ' where you can put it on. Can't you ask a family member to help you out with a possible shipping ? This would make it a lot easier for you actually.
About the price: Hard to say as I mentioned before.
If it's in great shape and fixed it could go up to 2000 $ with the cabinet. Most like these ( amp only ! ) go around 1000-1300 $ if they are fully working.
So I recommend you try to find someone who could fix it and then try to sell it.
Hope this helps
If you have any more question feel free to ask them hereVN:F [1.9.22_1171]VN:F [1.9.22_1171]
Thank you, Chris, for the condolences, and your reply. The amp and the speaker are original. I can't remember what the issue with the amp was, and why David opted not to fix it, but I think part of it was, even though he loved it, and had used it for many years, he was kind of in the mood to try something new. Heck, he even had a new bass on order, which I found shocking (but he had a "legit" excuse – the old Precision's frets were worn way down….).
I'm in southern New Mexico, kind of in the middle of nowhere. I suppose maybe I could find a Guitar Center or something in El Paso or Las Cruces… maybe there are even some old musicians around here who can tinker with amps and things… I'll have to scout around a bit, I guess.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
I'd really fix it if it's not that much.
If it gets fixed you should think about shipping it, would make the sale a lot easier although you will have to watch out for scammers, pack that thing and send it etc.
Don't be in a hurry for that sale. It always takes timeVN:F [1.9.22_1171]VN:F [1.9.22_1171]
If you want I'll make a post here on the website saying that you are selling such an amp.
If you are in, please send me as much details as possible ( with pictures etc ) on this following address: email@example.com:F [1.9.22_1171]VN:F [1.9.22_1171]
#18 written by HumanJHawkins
about 9 months ago
Greetings, and indeed, very sorry to hear the circumstances behind your question.
First, an important note: If the amp has not been played in a long time, do not turn it on. The capacitors can change with non-use over several years, such that just turning it on after a long time off can cause all sorts of problems. I believe this is especially true of capacitors that were very old when last played.
You have a gamble on your hands. but it is a pretty safe one. Selling a non-functioning amp will always lose you a lot of money. I think it would likely auction for maybe $500 with an unknown reason for not working… Possibly less.
If you find a reputable amp technician, they should be able to do some level of testing and minor servicing for maybe $60 + Parts (i.e. Tubes, if that is all that is needed). It might be another $150 or so if the capacitors need replacing. Of course it could be even more if something major is wrong.
If the amp is in great condition, and having gotten that handled yourself, the repair should pay for itself easily in a higher sale price. If this is unmodified one-owner stuff in good condition, $2000 may even be a low estimate. However, like anything, quality is key. If it is modified or beat up, or has holes drilled in it from some old thing someone once added to it, it could go for as low as $600-$700. Everyone likes to think their amp is worth a lot, but if you read these forums enough, you find that most people have a story of getting their own amp cheap… That's because not a lot of amps actually sell for the higher prices people ask.
Best of luck to you.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hi again, kind folks. So, I have taken pictures, and Chris, I will email them to you. HumanJ, and Chris, I appreciate that it would be better if I got the head fixed, but I am apparently living in a black hole, and it might as well be 1960 for health care, but 1860 for other services… I'd have to blindly trust that some name I picked out from a list of unknowns 75 or 80 miles away would not only know what he was talking about and doing vis-a-vis a '72 Marshall SuperBass, but that he wouldn't try to take advantage of my truly rudimentary knowledge of equipment, and either way over-charge me, or do a crappy job. If I were still in San Diego or NY, no problem… but this place is a sinkhole. It makes more sense for someone who knows, loves and understands the amp to either fix it themselves, or take it to a place they trust to rehab it, no? Sure, I'd love to be able to get what I can for it, but I have to weigh the pros and cons of my situation.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hi, and so sorry to hear of your loss, this sort of life change is very difficult. I have been following this thread quietly. I might be interested in seeing pictures of this amp, and possibly have some interest in fixing it up since I do have skills. How do I get some photos? Are you able to open the head box and pull out the chassis? Can you post the pictures here or do you need an email address?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
#21 written by HumanJHawkins
about 9 months ago
One thing I forgot to mention… The amp (not cab) is relatively easy to ship. Just find or buy a box big enough. And find or buy some good (not newspaper!) padding. A sheet of foam insulation might or something similar may be needed. I think you can get those cheap enough that it works out.
Anyway, one option (amp only) would be the following:
– Take good pics
– Box it up, well packed (but maybe not sealed as it seems someone always asks a question that you have to look at it to answer)
– Weigh it so you can calculate accurate shipping.
– Take good pics and post it on eBay with the shipping charges spelled out.
– Give it a good description
– Make it a 10 day auction so more people will see it
– Post a link to that auction in the for sale sections of this and maybe MarshallForum.com to increase exposure.
The thing about auctions is, you tend to get what is is actually worth. Sometimes more. It might sell for $450 +150 shipping. Or, it could go for $750. I doubt more, because no one wants the risk of buying a broken amp. If that's OK with you, go for it. The alternative may be sitting on it for a long time, or dealing with flaky Craigslist people who claim to be interested but cancel, etc. You might give it a month or so, just to see if someone here bites, before going that route.
Anyway, speaker cabs are harder to sell. You can ship them in the neighborhood of $150 or $200 also. But you'll get few takers because of that. You can post it. People will drive for a couple of hours for a cab they think they will like if they can't afford it otherwise. The price will be low, but that's life with big heavy equipment.
Best of luck to you.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
I can buy this amp! only need to agree on a priceVN:F [1.9.22_1171]VN:F [1.9.22_1171]
If anyone wants to inquire about bassmanswidow's amp, please check the following thread: http://www.solodallas.com/for-sale-1972-marshall-superbass-cab-superb-condition-except-head-not-working/VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hopefully this is the right place to ask this… Does anyone have any input on a getting a vintage 1959 vs a reissue? I can NEVER find any decent vintage ones, especially the one Fil has here (the 1976 i believe). I feel getting a reissue would be much easier, but could be more expensive.
Id also like to know the sound differences between a newer reissue 1959 and the original… any input at all here guys?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
#25 written by HumanJHawkins
about 10 months ago
Are you mainly (or only) after having an amp that performs and sounds like a vintage 1959 SLP? Or are you also into collector value and/or Marshall mystique?
I ask because the exact circuits and parts are well known. So reproductions can be essentially identical. By "essentially" I mean that no two 1973 Marshall SLPs are identical. Some even have minor circuit differences due to parts availability, etc. So building one (or having one built) today with the closest modern equivalent parts will produce an amp solidly within the range of sounds you would get from different true vintage SLPs.
Also, the quality may be better. Things like the heater wiring on original SLPs varies in quality. Most people doing reproductions do it really well.
Reproductions from Marshall are WELL over $2000. The cream of the crop repros can cost even more… $4000+/-. But you can get the parts together yourself for less than $1000. And/or get a good reproduction for as low as $1200 to $1400 new. Or $800 used without much effort.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
A bit of both i suppose… but mainly one that sounds and performs as a 1959 should. I've already got an original 1979 2203 which is simply amazing, and a Mojotone 18W clone of a 1974x. I'd really like a Marshall 1959 (this is the purist in me lol) but i know there are kits and other options available for a 1959. Unfortunately i can't really afford a freidman or a roppoli clone, because as you stated VERY expensive.
So if i'm understanding you right, all the 1959's from 68 – the mid/late 70's and even the reissues all achieve that "expected" tone that we all know?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
There are kits available, or you can gather the parts for a kit. I have built a few. I am planning a JTM45 soon.
here is a video demo of my build against a real 68 Plexi, the difference is really in the compression (I think) Its not the best sounding video capture. and a lot of buzz from the switcher. which has since been fixed :~)
https://www.youtube.com/watch?v=Yl5592lqBZQVN:F [1.9.22_1171]VN:F [1.9.22_1171]
#29 written by HumanJHawkins
about 10 months ago
Regarding the sound difference between 1968 and 1970's, there is a difference. But they are all pretty fantastic. Like, when the Who used Marshalls, they were the 1968 vintage I believe (because they used them in 1968, no?) And Hendrix used a modified JTM45/100, which is very close to a 68 SLP. And the Young brothers (who sound pretty different from each other) used a variety of amps as is well documented on this site, but certainly many of them SLPs from the 70's.
The bottom line is that this sound that we all love is not solely a Marshall sound. It is the combination of Marshall lead and/or rhythm guitar with some well matched bass lines and drums hitting just right. If you mix a 68 plexi or a 73 plexi with the right other tones, you get this sound. By itself… Yes, but not as much. (And you have to be a hell of a lot better player to sound good without all that support.)
Also, amp tweaking was not invented by us… Many of those old Marshals at least had simple mods applied like moving the NFB to a different OT tap, based on the preference of the player.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
The sound of old marshall's = all about the transformers. The ones in the replicas and reissues just aren't the same. I could recommend a metroamp though, but they are pretty expensive and imo you can get a nice late 70's SL for about 2/3s of the money of a new reissue. Keep lookin' !VN:F [1.9.22_1171]VN:F [1.9.22_1171]
what is the differente between Marshall Super Bass 100w #1992 and its MKII "upgrade"? I read here about an easy conversion from Super Bass to Super Lead, I would to do so, but I wander if it is possible also on MKII.
I would like to buy this one:
It is supposed to be 1979, but is does look older or mixed up (rocker switch and an older headbox)
Would be the coversion to SuperLead possible?
Thanks!!!!!VN:F [1.9.22_1171]VN:F [1.9.22_1171]
If it's a Super Bass after 1978, it has a whole different tonestack than the normal supers, it doesn't sound like the old ones and is a lot of work to convert. Easy to date on the serial number. Really, only buy SBes older than 1978, on SL's it doesn't matter.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hi, thanks for an advise… ! I will ask for the serial.. the year matters that much? What changes happened there…?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
A lot.
– Split cathode on V1
– Baxandall tonestack
– 0.022uF coupling caps
I once converted one, there is some information about it here, but I wouldn't recommend it.
http://forum.metroamp.com/viewtopic.php?f=3&t=41767VN:F [1.9.22_1171]VN:F [1.9.22_1171]
80s amp in a 60s/70s headbox… That's an interesting one for sure.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hi Guys
I was keen to purchase a YJM100 as ive read nothing but good things about the amp and its supposed to be good for producing an ACDC tone. But, i just came across this on some local classifieds.
What do you guys think? Its not in the same state as me, so would be going off the sellers word and photos on its condition and if any mods have been done.
Can anybody spot anything that doesn't look right? I don't really know what to look out for on these.
Perth, AustraliaVN:F [1.9.22_1171]VN:F [1.9.22_1171]
Buy it….or I will….
I have a 77′ JMP…. You want AC/DC tone? There it is.
that one is kinda nice as it still has its
Daly Caps in it. Is it all original?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
The inputs on the front have been replaced…you might want to ask what else has been done. If its modded its might be worth slightly less.
The transformers look to be original but there is no way to tell on the internet. See if he can get you a gut shot. I can tell if anything is amiss. But its got to be a good one.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Will make the call and see what he has to say.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
He said that he had it serviced last year and the tech apparantly said he couldn't believe how much of it was still original.
He said he could try and take it apart if i wanted a photo but i said i would try and find out how hard or risky it is first.
I wouldn't want the guy to fry himself.
How hard would it be for him to get a shot of the internals?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
If he has no experience doing this then he probably shouldn't. He could accidentally touch something inside and get a good whack from a cap that has not discharged.
That being said……Its easy, four big screws on the bottom and the chassis comes out. But its heavy and awkward.
Getting it back together is goofy too. Those Transformers are heavy.
The amp needs to be upended (heavy side down) first the two bottom screws. then while supporting the chassis remove the two top ones. The chassis will slide out. but like I said its heavy and awkward.
Touch NOTHING inside. Assembly is revers of removal. Another way is to straddle it on a narrow work bench or table and get to the screws that way.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
sounds a bit risky then because he didn't sound too confident with fiddling with it.
I might just have to take a gamble on it.
So IF there have been mods done, are reproduction parts available to restore it back to original?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Yes, I mean it depends on the part your looking for but there are parts out there.
One thing you should do, is have a GOOD Vintage tech look at those filter caps. Electrolytics do need to be changed after so long. It will hurt your amp if they are going bad.
Also the output selector and voltage selector on those are the older pull out ones and they should be changed. There is updated selectors that are safer. I can see on his photos that someone had taped the output selector down as a precaution. thats something you do not want to vibrate out during play and kill the output transformer. I changed mine to the newer rotary ones.
This did happen to my vintage plexi but I was aware of the problem and caught it.
I asked about a gut shot because i saw that tape. I wanted to know if the output transformer had been changed because of that. However that is a smokin' badass amp.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Does anybody know the weight of one of these?
Im trying to get a freight quote.
Ive googled but cant find any info on thisVN:F [1.9.22_1171]VN:F [1.9.22_1171]
around 22 and 24 kilos… I have a hard time moving them from cab to cab 😆
If I were you, I'd get a 2204 or 03 instead, difference might be even bigger.
For sure a 1959 from that era will get closer to the AC/DC sound thant your YJM, but the YJM is modded 1959, so soundwise they'll be closer than with a 2203/04.
BUT: It is true that there is a difference between new and old 1959. Friend of mine was here on saturday, and he tried my 1959 from 76. This is what he said: The hand wired 1959 from Marshall ( reissue ) is a great amp, but it's missing something compared to a vintage one. Also the higher frequencies are more modern on a 1959 reissue than on a vintage one. And this all makes the difference from a great Marshall to a good Marshall.
So either way my friend, as long as it's vintage and stock, you'll be damn satisfiedVN:F [1.9.22_1171]VN:F [1.9.22_1171]
Well hopefully i will have the 2203 in my hands sometimes next week!
Just scored these as well.
Now just have to wait for the pedal to get shipped.
This is adding up and I also need an attenuator and the Aracom doesn't come cheap:(
Im sure once its all setup and plugged into the SG though, there will be a grin from ear to ear!VN:F [1.9.22_1171]VN:F [1.9.22_1171]
you luck you, vintage G12-65's !
Well with the 2203 you don't really need an attenuator. I sounds really good with master on 2. But thing is, if you really want that very last final bite in the sound, like on Down Payment Blues, you will have to crank it up at least a 6-7.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Yeh im pretty shocked i found those speakers straight away and in a set!
well im sure it might be a bit of a sin to never play that amps master volume above 2! The Aracom is a must, ive gone this far already.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
I'm almost this far too, just haven't got 4×12 yet, and not vintage G12-65's
Got a Ted Weber attenuator, but it's not really working on my 2203… Working fine on my Orange though.
Next on my list is: SG to paint in black / G12M'sVN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hi, anybody can tell me what the difrence between: S and S/A in the code model series?
ThanksVN:F [1.9.22_1171]VN:F [1.9.22_1171]
It explains the S ans S/A at the bottom of this articleVN:F [1.9.22_1171]VN:F [1.9.22_1171]
Yeah! But what i want to know is why there is two ways (S and S/A) to say 50w? Probabli it means there is a diference, don´t you think?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
In 1968 /69 they were they were still getting the serial #'s together. Remember that the plates that the serials #s are on did not follow the chassis until they had to be put on. This also means that the serial does not mean that 0001 was second to 0002
They could be in any order.
so in Jan 65 thru June of 69
/A 200 watt
SL/100 watt super Lead
SB/100 Watt Super Bass
SP/Super PA
ST/ 100 Watt Tremolo
S/ 50 Watt
T/50 Watt
Then in July 69 to sept 1992
A/ 200 watt
SL/ 100 watt Super Lead
SB/A 100 watt super bass
SP/ super pa
ST/A 100 watt tremolo
S/A 50 watt
T/A 50watt tremolo
RI reissue
Then the year is a suffix starting with A (1969 late)
Through Z 1992
Also remember that its still a mess, some older codes have been known to be on newer amps.
They changed conventions in mid year of 1969, hence the confusion.
There is a chart you need to get and its from the book "History of Marshall" by Doyal.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
I've just bought a Marshall jmp 2104 lead 50 watt combo from 1980. It arrives on friday and I'm pretty excited. I think this is the combo version of the 2204 head. Amp looks really neat, it is bought from the first owner (supposedly).
So does anyone have any experience with the amp?VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Nice info page. Could you address the Canadian import rules?
It seems that the Canadian Imports (which seem to be popping up recently) had some interesting rules that altered the appearance of some early Marshall amps. I have a 1968/69 1987 JMP that has the HT Fuse internally, Old style Laydown Transformer, The mains power cable does not detach, The inside of the cabinet is painted matte white, The large Data tag states its a JTM 45 it is clearly a JMP. Solid state rectifier. And no Voltage selector. It does have the very early output selector.
Any info on these would be helpful.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Hey there noticed your post and I am from Canada and have have 2 JMP's a 1979 U.S 2203 and a 1981 Canadian 2203 The Canadian ones back then due to some CSA electrical code thing they couldn't import amps with 16ohms although I don't know why. My friends 1987 jcm 800 has only a 4 and 8ohm selector switch. My 81 does have a 4,8,16 switch but the transformers are only wired for 4,8 so you couldn't even have the 16 wired up which I tired to get done lol. The Canadian imports also more rare as they all have a lay down transformer instead and metal toggle switches no plastic rocker. The Canadian ones like the U.K one still have the EL34's which like my U.S 2203 they went to 6550's. Also power cable on the 81 does detach.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Thanx, that is consistent with mine. What about the white paint on the inside of the cabinet?
Mine has a 16 ohm tap however the older style selector is too flimsy to use, I had to hardwire it to 8 ohms for safety. Also the HT Fuse is internal preventing any "quick fix" during a gig to get it running and subsequently dealing with negative consequences. (Talk about control)
Yep EL 34's…..
2203's rock. I have a 1977.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
I know the main fuse on mine is on the back of the amp but no HT fuse but my U.S 2203 has the main and HT on the back of amp. My CA 81 ohm switch has a slot and can be changed with say a flat head screw driver but my 79 U.S has the 2 prong switch that can come out which you have to be careful not to lose lol. Didn't notice any white paint on the inside from what I can remember the last time I had it open.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
Also know that the early JCM 2203/2204 or 2104 combo has the sound you're after. It's going to be the 2 input heads. High and low sensitivity. So you don't have to limit it to just the JMP's. Also if you were to get a head an attenuator would be a good addition. You could play a Superlead in your bedroom at tv volumes with an Aracom. But that's a whole other thing and you may not be after that option. Just let us know when you find another amp.VN:F [1.9.22_1171]VN:F [1.9.22_1171]
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AC/DC's "Riff Raff", Studio Version, Schaffer-Vega Diversity Series
about 3 years ago - 91 comments
This one took me circa four days to prepare, before final recording that is. I have been trying with the microphone position (Neumann U47) and with mild – really just a bit – equalization. The microphone used in this album – or the microphones – was a Neumann U47 FET, a different microphone to the Read more >
AC/DC's "Gone Shooting" (Studio Version, Schaffer-Vega Diversity System)
about 3 years ago - 67 comments
After doing Riff Raff, I wanted to embark into something seemingly simpler (seemingly!). So I chose another one I knew already, at least in part (every time I approach these fine songs, I find some difference to what I used to think/know).
Powerage Era: AC/DC's "Gimme A Bullet" (with SoloDallas Solo)
about 3 years ago - 55 comments
NOW I'm starting to have fun. This video is the second one of the "debunking" series with the Schaffer-Vega Diversity. As with the previous one, "Back in Black", I intend to cover quite a few songs with the exact same equipment they used back then, or the closest approximation I have available. I used Read more >
A Passion For Gear
about 3 years ago - 57 comments
A passion for gear. Now before I get into the fun facts and knowledge about my gear. I would like to say few things about how I got to the point I am at today. My guitar and gear journey started about 7 years or so ago. Before this I had no or little knowledge Read more >
High Wattage – AC/DC's Marshall amps through the years (Work in Progress – UPDATED: Back in Black era uncovered)
about 3 years ago - 223 comments
Main Research: André Kozuma Edits and additional info, SoloDallas _______________________________ So, hello again everyone! Here I am again with another article. This all is mostly things we already know, but I felt that we needed a place to put it all together and make it easier to consult rather than have to search though all Read more >
An Aracom Attenuator and a Few Vintage Marshalls (Complete)
about 4 years ago - 176 comments
So… been meaning to shoot something like this for some time, here you have it. It's a long journey into what an attenuator can do for you, with powerful, loud tube amps (ONLY tube amps can be attenuated with an attenuator such as the Aracom). Total of 6 videos, all being processed right now, here's Read more >
Lynyrd Skynyrd's "Free Bird" Solo Tutorial, Part Three
about 4 years ago - 18 comments
fb3-2 from SoloDallas on Vimeo. Played with a 1976 Marshall Super Lead MkII attenuated with an
Lynyrd Skynyrd's "Free Bird" Solo Tutorial, Part One
about 4 years ago - 72 comments
Welcome to www.solodallas.com Tutorials! Today, I feel I can say a new era begins for solodallas.com: tutorials. I.e., what this place was born to make. Tutorial Video, Part One intro2720 from SoloDallas on Vimeo.
1973 1960B G12H30s And Some Boogie
about 4 years ago - 80 comments
Update: Adding Simone's song backing track: ________________________________________________________________________________________________________________________________________________________________________________________________ Update: adding another little thing I did for the wife's birthday (next sunday). Used the '50s Les Paul for all of it, and the Gibson "Dusk Tiger" for the acustic parts (piezo only). I remember many times people asking me what were my originals like. This is what Read more >
Playing with self-made backing track – Updated
about 4 years ago - 149 comments
Little update as of Oct. the 19th 2010. I am always experimenting as soon as I have a minute available, so I tried what follows. Now, one thing that also intrigues me immensely is "Powerage" and LTBR tone. Both of them. So I replayed rhythm and re-soloed this track trying to capture a bit of Read more >


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Home > Lifestyle > Books > News
Sunday February 24, 2013 MYT 12:00:00 AM
Saturday April 20, 2013 MYT 5:27:44 PM
by martin spice
Back To Blood
Author: Tom Wolfe
Publisher: Little, Brown, 704 pages
MAKE no mistake about it, this is one large brick of a book. But if the thought of 700+ pages puts you off, then feel comforted by the fact that the print is large and the lines well spaced. That and the fact that this a rolling roller-coaster of a ride from the moment the book opens to its final page.
Tom Wolfe is best known as one of the leading lights of a movement that became known as the new journalism. Gone was the traditional persona of the journalist as a dispassionate and uninvolved recorder of events, and in its place was a real attempt to recreate the story and give the reader a feeling of the events and people involved. Stylistically, a number of devices more usually associated with literary texts were employed, such as dialogue and scene by scene reconstructions. Journalistic fact and literary fiction were edging closer together.
Wolfe has always been regarded as an acute commentator on society, nowhere more so than in that chronicle of 1980s New York greed and disgust, The Bonfire Of The Vanities. "There is a saying," he has offered in interview, "that New York is about money, Washington is about power and Miami is about sex", a comment that brings us nicely to his latest book, Back To Blood, which is set in Miami and is not entirely about sex but is very noticeably about race.
Miami is not unique in being a city with a huge racial mix but is certainly unusual in the extent of it. Policed in large part by émigré Cubans with a Hispanic mayor and a black police chief, Miami is not the usual American city. Puerto Ricans, West Indians, Haitians, Dominicans, Cubans, Columbians, Senegalese, Russians and still more races and nationalities walk the streets of the city and people the pages of the novel.
And to a fair extent, they all revert to their race when pushed, or, as the title has it, go back to blood. Most things in this book ultimately do.
Wolfe runs a number of plot lines simultaneously. One of the first concerns Nestor Comacho, a cop of Cuban origin whose differences from his Americano colleagues are played up from the start. Speeding across the harbour waters, Nestor's muscle-toned body is a stark contrast to the more formless bulk of his colleagues. Their mission is to rescue a man who has got himself stuck at the top of a boat's mast. Nestor volunteers to go up and get him down and chooses to do so by climbing the rope hand-over-hand, as he does in his gym workouts. In front of a noisy crowd he reaches the top of the mast and then caps his performance by wrapping his legs around the man's waist and lowering him to the ground, once again going hand-over-hand. It is a prodigious feat of strength and the crowd loves it.
Unfortunately for Nestor, his family, his girlfriend and his community don't. It turns out that the man he has rescued is a Cuban refugee seeking asylum. The rules are that he will be granted asylum only if his feet touch American soil. As he has been lowered down to ground level and put back on a boat, he will now be deported. Nestor goes from hero to villain in one move, despised by his own people. If it's Cubans against American law, there is no question who the Cuban community will side with: back to blood. It is a theme that emerges again and again in the book, regardless of the ethnic and national origins of the characters involved.
You will not get far into a Tom Wolfe novel without having to come to terms with his style. His writing has an exuberance and a loudness like no-one else's. Exclamation marks abound and capital letters blaze across the page. This is language that shouts. It is coupled with linguistic pyrotechnics of all kinds. If literary styles can be likened to an orchestra then Wolfe resides almost entirely in the brass section. There is little here that is subtle, nothing that is understated. It is megaphone prose that clamours for attention – and to a large degree gets it.
Back To Blood is a good read. Wolfe is a strong storyteller and if you can tolerate its over-the-top exuberance, the writing will sweep you away. The stories he tells here combine at some level to give us a portrait of a city in all its turmoil while largely ignoring the subtleties of the heart and mind that constitute most people's inner lives.
There is plenty of power, plenty of money and plenty of sex. To the charge that Wolfe's world has something of a cartoon quality about it I would concur, but there are other rewards in this instance that make Back To Blood an eminently entertaining and thoroughly worthwhile read.
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Tsonga, Wawrinka prevail but Federer's gone with the wind
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The .50 Cal is a Stationary Weapon found on several Multiplayer Maps. It's a large .50 caliber machine gun, usually with a man-sized steel plate to protect the user from small arms fire coming from the front. This weapon cannot run out of ammunition, but it can overheat if fired for six consecutive seconds. Firing in bursts will keep it from overheating.
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Fire Life
Urban Firefighter Magazine
Fire Engineering University
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Training Community
Niosh Reports news and technical articles from Fire Engineering. Search Niosh Reports latest and archived news and articles
accumulated noise drowning out the heightened importance of NIOSH reports is real. This noise is not just created by solo distractors ..... service, allow it to have breathing room and support. NIOSH reports are what the balance of the fire service looks at to
members do not create these documents as a way to justify their jobs; they create them from factual recommendations from NIOSH reports and because the firefighting profession comes with serious, extraordinary life safety risks. WHY DO WE ALLOW THIS
protected elements to identify deficiencies in policy, procedures, staffing, equipment, and training. In some NIOSH reports , preplanning recommendations are specific to certain occupancy types such as mercantile and business establishments
Occupational Safety & Health ( NIOSH ) reports of firefighter fatalities. The ..... So, with the availability of NIOSH reports and many other resources to review ..... battalion chiefs. If you look at NIOSH reports on firefighter fatalities, you
advice to read this and other NIOSH reports cannot be overstated. From these ..... of your annual training plan. NIOSH reports offer an excellent way to share lessons ..... dead. This report, like all NIOSH reports , contains a section on key recommendations
way?" Or would they try to help us in a more personal and insightful way than the cold, sterile narratives of the NIOSH reports ? I believe that they would tell us to slow down and look outside of our narrow tunnel vision and pay more attention
Incident commanders face a dilemma. We all know, and the National Institute for Occupational Safety and Health ( NIOSH ) reports continually remind us, that a 360 survey is needed at every fire. Squaring this with the dictum of maintaining stationary
Fatality Investigation Reports The following National Institute of Occupational Safety and Health Administration ( NIOSH ) reports were recently released: F201025, Aug. 09, 2010, "Career fire fighter dies from fall off fireescape ladder
provided by a German fire organization, www.atemschutzunfaelle.eu . A secondary source of training is to review the NIOSH reports for firefighters who have died wearing breathing apparatus. Numerous case studies identify the strengths and weaknesses
and discrepancies that were in place among existing standards. With some of the recommendations that were made in NIOSH reports regarding air quality testing, you must have a command of this standard. Compliance with it will have a direct financial


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View all Energy Management Controls
Energy Management System - Facility Management Product Release
Advanced Telemetry LLC
website | Company information
Energy Management System monitors and manages HVAC utilization through real-time consumption monitoring and climate control. Controlled uses can also include lighting, refrigeration, water and gas. EcoView Commercial can be accessed remotely by Internet connection and can manage multiple locations. A wall-mounted touch panel is the system's brain.
Content Category: Building Automation
- Hesitations over Smart Technology and the Promise of More Benefits
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- BAS Can Help Facility Managers Take Advantage of Smart Grid
- BAS Has an Important Role with Demand Response
posted: 8/24/2009


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Many companies would be thrilled with a 29% jump in year-over-year sales, but for Facebook such an increase is likely to be viewed as proof that the company's business is [more]


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Speedy tuna pasta salad
By Emma Lewis
Cooking timePrep: 5 mins No cook
Skill levelEasy
ServingsServes 4
A quick pasta using leftovers from the night before. Makes a great packed lunch
Nutrition and extra info
Additional info
- Easily doubled / halved
Nutrition info
Nutrition per serving
- kcalories
- 238
- protein
- 19g
- carbs
- 31g
- fat
- 5g
- saturates
- 1g
- fibre
- 5g
- sugar
- 3g
- salt
- 0.96g
Save to My Good Food
A printable version of this recipe will be downloaded to your device. Open it to print. Learn more.
- 2 x 220g packs ready-cooked pasta (we used Dolmio Express), or 440g leftover cooked penne (about 200g dried)
- 100g can tuna in oil
- 400g can cannellini beans, (borlotti or butterbeans are also good)
- 1⁄2 red onion, finely chopped
- zest and juice 1 lemon
- large handful parsley
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Microwave the cooked penne according to pack instructions. Tip into a bowl. Mix through the remaining ingredients (the warm pasta will really soak up the flavours). If using chilled leftover pasta, simply mix everything together – it will still taste great. Can be kept in the fridge for up to 3 days.
Recipe from Good Food magazine, August 2007
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Nice and quick to make. The lemon gives it a lovely fresh taste. I added a couple of handfuls of chopped cherry tomatoes which gave it a little bit more of a kick and freshly ground black pepper. Was very much appreciated by all. My 8 year old, who is an extremely fussy eater, wanted (and ate) seconds!!


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The Facebook page launched by Emirates in advance of its new "Hello Tomorrow" rebranding campaign attracted 300,000 followers in just three weeks. The Facebook page "was set up to support the carrier's evolution from a travel brand to a global lifestyle brand," this feature says. The page offers exclusive content, deals and job opportunities.
View Full Article in:DubaiChronicle.com (United Arab Emirates)
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Bill on Bankruptcy: Big Time Lawyers Pricing Themselves Out
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What is an appeal and how do I know if I should appeal?
Bill on Bankruptcy: Delaware Garners Almost All Big Chapter 11s
Bill on Bankruptcy: Madoff Victims Rooting for Stanford Victory
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Xavier Burgin Plus
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I'm a southern-born native, raised in the fields of Mississippi, currently a graduate student at USC's School of Cinematic Arts. I am a director, writer, and cinematographer.
You can find me at:
Portfolio: qtlimages.com
Blog: quethelights.com
Tumblr: thephotographersdomain.tumblr.com
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- QTL Images - Portfolio Site
- Que The Lights - Blog
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CAMPING/MOTORHOMES: 2003 Keystone Montana 5th wheel with three slide outs. 34 foot length. two roof AC units. Electric fire place with heat. New 40,000 BTU gas Furnace. Residential interior wood and Carpet. New stacked washer and dryer. Island kitchen and built in computer...More info Email a friend
TICKETS: Best seats in the stadium. Close to Panthers bench on shady side of stadium. See and hear all the action. Section 131, row 7. Price is $18,000 each plus transfer fee. Great for individuals or companies. Call or text 919-215-4350.More info Email a friend
MISC MERCHANDISE: Parabolic - Great for home/RV/camping. See www.solbase3000.comMore info Email a friend
APPLIANCES: ALL APPLIANCES and air conditioning fixed 24/7. All areas 704-777-2000 or 803-599-0043.More info Email a friend
FURNITURE: 6 piece dining room & china hutch, like new $1500.00, Large Hooker 3 piece entertainment center $800.00. Computer desk and hutch $300.00. RCA video disc player & 120 movies $600.00. Cash only, call for appointment.More info Email a friend
MISC MERCHANDISE: Queen Size Puff-Top Bedspread. Colors are Dark Rose, Green, and Beige. Very Nice. Pd $140. Only used a few times. $25.00 OBOMore info Email a friend
MISC MERCHANDISE: DALE JR. #8 5 ft. Stand-Up Poster. $20 OBO.More info Email a friend
MEDICAL EQUIPMENT/SUPPLIES: 24 inch Invacare Wheelchair. Like new. Only used 2 weeks Holds up to 300 lbs. $125 OBOMore info Email a friend
COMPUTERS/ELECTRONICS: CANON EOS REBEL S Camera w/Zoom Lens 75-300mm. This is NOT a Digital Camera.Lens can be used with digital Canon Camera $150 OBOMore info Email a friend
APPLIANCES: Never used! Plastic from manufacturer is still on the shelves. All Stainless Steel with ice maker in the door. Slight scratch on bottom left corner. $900More info Email a friend


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The shift lever may not move out of park. Our technicians tell us that updating the electronic shifter module (ESM) may be necessary to correct this concern.
2007 Dodge Sprinter 2500 Problem Reports
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Some vehicles may develop a musty odor coming from the HVAC system, Dodge has issued a cleaner/disinfectant and a coating for the evaporator designed to inhibit bacterial growth.
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The crankshaft position sensor on diesel engines may be subject to a recall. Failed crankshaft position sensors may result in a stalling or no start condition.
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Item Number: 31BT308
Armalite Inc. proudly introduces the new AR-31. The AR-31 shares the design and the accuracy of our highly acclaimed AR-30A1 bolt-action rifles, but with three MAJOR differences: the AR-31 is chambered in .308 Winchester, it is a short action version of the AR-30A1TM, and it accepts Armalite's AR-10B double-stack magazines. That means you can use 5, 10, 15, 20 and 25 round mags with the AR-31. For sub-MOA accuracy, think ArmaLite's AR31!
*Bipod, scope, and scope mount not included
Caliber: 7.62X51 mm / .308
Barrel: 24" double lapped, chrome moly
Rifling Twist: 1:10" RH
Muzzle Device: Muzzle brake
Trigger: Single-stage
Stock: Adjustable cheek piece (height) & buttstock (length)
Overall Length: 45.4" - 47.4"
Weight: 14.1 lbs.
Your Price:
ArmaLite Inc | 745 South Hanford St., Geneseo, Ill. 61254
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