Marshall 1962 Bluesbreaker Combo The sound that helped launch the British Invasion. Used by Clapton during his stint with Mayall's Bluesbreakers. With 30W output and 2 x 12 speakers, it produces a gutsy bass and vibrant top, coupled with an overall natural warmth. Features: 30W output 2x12" speakers After the huge success of the JTM45 amplifier, a 2x12" combo version was released to satisfy popular demand and the now legendary 1962 Combo was born. Again the valve rectification, pioneered by Marshall in the early 1960s, was responsible for helping to achieve the famed output stage compression and sustain exhibited uniquely by both the JTM45 and 1962. Though tonally similar to a JTM45, the 1962 combo is loaded with two re-issue Celestion 'Greenback' 25 Watt speakers to re-create that classic sixties tone. The 1962 'Bluesbreaker' Combo also comes with the addition of a footswitchable Tremolo effect. The 1962 received its more familiar nick name, the 'Bluesbreaker', after Eric Clapton used one with John Mayall's Bluesbreakers to record their highly influential 'Beano' album. Here was one of the earliest and finest examples of a guitarist using the natural tone and overdrive of an amplifier to help form a fundamental ingredient in his own overall sound. So if you're looking for that sensuous, creamy early Clapton sound, we guarantee that you'll find it in this beautifully re-issued combo.

Marshall 2061X Handwired, all valve Head The Marshall 2061X Head: Original versions of this new 20 Watt, all-valve Lead and Bass 20 Head are now highly collectable. The 2061X has two channels — Lead and Bass — both of which boast the same, simple features: two inputs (High and Low Sensitivity) and controls for volume and tone. The 2061X is built with 2 x ECC83s in preamp, 2 x EL84s in power amp and was first made from 1967-1973. To enhance the user-friendliness of the 2061X, an impedance selector has been added to the rear panel (switch able between 4, 8, 16 Ohms) and both the Mains and H.T. fuses are now accessible via the rear panel. These new features have no tonal impact on the amplifier whatsoever. Marshall Handwired Amplifiers and Speaker Cabinets This ongoing series will feature some of the world's most sought after, vintage, all-tube Marshalls. Other than the limited edition Offset JTM45 Halfstack available in 1999 (only 300 were produced worldwide), this represents the first time Marshall has offered a handwired product in recent years. Like the originals, these new amps share simplicity of operation and rich, natural valve tone. This new series was created to meet growing public demand, and to pay homage to models that, for many players, represent the ultimate in organic, all-valve guitar tone. Marshall's primary objective was to achieve maximum authenticity in terms of components, circuitry, construction methods, materials, specifications, aesthetics, signal path, performance, tonal characteristics and feel. All of the original components and materials were used or reproduced, and the original methods of construction employed in the late 1960s were revisited. All transformers - output and power - have been meticulously re-created by Dagnall Electronics, and each amplifier's handwired tag-board lives up to the slogan, 'Point-to-Point Perfection'."

Marshall JH-1 Jackhammer Distortion Pedal This metallic monster boasts two modes (Crunch 'n' Lead), each of which is loaded with ungodly gain plus all the tonal control you need to push your guitar's sound straight over the edge. From cranium crushing crunch and scooped, modern metal mayhem to savage, slamming solos, the JH-1 is the most extreme distortion pedal on the planet. If you want the earth to move - you need a Jackhammer! HM Government Warning: Use of this pedal will add unsurpassed brutality to your tone. Definitely not for the faint of heart . . . Features: Selector switch - Crunch or Lead Gain Bass Contour Contour Frequency Treble Master Volume Solid metal construction Cold forged name badge Passive Bypass

This compact, gig-ready, 100W, 1x12" combo is a powerhouse of killer tone. Its two footswitchable channels offer a pair of selectable modes - Clean/Crunch on the Clean Channel and OD1/OD2 on the Overdrive Channel. Each channel has independent tone controls for Bass, Middle and Treble, and the Overdrive Channel also features our critically acclaimed Contour control for tonal versatility. Higher Gain settings on the Clean Channel will yield a healthy, bluesy overdrive, especially when the 'Crunch' mode is selected. This said, when in Clean mode, this channel has bags of headroom which makes high levels of clean performance easily attainable. The Overdrive Channel's OD1 mode is reminiscent of the throaty drive that has made our vintage amps famous, while OD2 is brimming with modern, high gain aggression.

The MG100DFX's specially-voiced DFX section offers Chorus/Delay, Delay, Chorus or Flange effects plus a natural sounding digital Reverb with its own individual control. Add in our revolutionary FDD technology, a parallel effects loop (with switchable level an Effects Mix control), custom 12" Celestion speaker, CD input, Speaker Emulated Headphone and Line Output plus a Master Volume control, you have a world-beating combo.

Marshall MG15MSII You won't be able to resist this 15 watt Micro Stack, complete with two 1x10 cabinets. This is the "mini-me" of Marshall stacks! Surprisingly loud, the MG15MSII Micro-Stack makes an excellent practice amp, and looks great in any location. Features: Marshall MG15MSII Micro Stack Guitar Amplifer 15 Watts of Marshall Power Designed by the Valvestate team Twin Gain Controls for maximum preamp flexibility Controls for Bass, Treble, and Contour for maximum tonal flexibility Master Volume control Spring Reverb Headphone jack which mutes loud speakers CD input Line Out jack Two 1x10 in. cabinets - 1 angled, 1 straight Custom voiced speakers Has an incredible low end Looks amazing! Sounds amazing!

Marshall has taken the acclaimed JCM2000 DSL and made it even better! By giving you three independent channels and many innovative features, the all-valve TSL range puts and unheard of amount of control, flexibility, and, most importantly, tone, at your finger tips - from sparkling clean to the full on mightiest Marshall roar.

Each of the TSL's three channels features its own volume and gain controls, plus totally independent EQ networks, effectively giving you three separate amps in one box. Though the three channels on the TSL are labeled Clean, Crunch, and Lead, don't let this fool you. As the TSL is like three classic amps in one, each individual channel, though voiced differently, is capable of giving you a whole range of sounds in its own right.

Clean will take you from bright country twang to warm jazz and with the Gain and Volume cranked, you'll get class 'woman-tone' blues. To offer you an even wiser array of tonal options, the Clean channel's Mid Boost switch disconnects the Middle control and reconfigures the way that the Treble and Bass controls work.

With low Gain settings, the Crunch channel, though darker in tone than the Clean channel, is relatively clean. Cranking up the Gain will take you from subtle blues to traditional Marshall beef. And, when you wind the gain up all the way, you'll be rewarded with all the high gain scorch and dynamics you could wish for ... and then some.

The Tone Shift, which reconfigures the middle to produce a more mid-scooped sound, and Deep switches, which adds low end resonance, offer even greater flexibility to this channel.

When on the Lead channel, you can clean-up your sound by either using low Gain settings or by turning the guitar's volume down. Cranking the Gain wide open will give you the highest level of distortion ever found in a Marshall without losing that all-important factor - note definition. For example, when you're wailing away at the speed of light, the TSL will follow every single note without blurring.

When you're playing slow legato runs, the amazing sustain will bloom into controlled feedback, hanging on for as long as you want. Here again, judicious use of the Tone Shift and Deep push switches allows you to totally re-shape the roar of the amp.

The master section of the TSL involves innovative controls that further allow you to enhance and modify the sonic palette of the amp. These features include: Accutronics spring reverb with separate controls for the Clean channel and Crunch/Lead channels; individual FX Loop Mix controls for Clean and Crunch/Lead; individual Presence controls for Clean and Crunch/Lead; individual Deep Switches for Clean and Crunch/Lead; a Power Amp Mute facility for silent recording via the built-in Speaker Emulation DI circuit; and an innovative Virtual Power Reduction switch which when engaged, emulates a valve power amp of approximately 25 Watts.

The preamp section of the TSL100 and TSL122 uses four ECC83s, and the power amp section is driven by four EL34's.

The TSL boasts two FX loops. When used by itself, Loop A is the master loop for the whole amp or can be used solely for the Clean Channel if Loop B is also being used for the Crunch/Lead Channels. This allows you to have different effects on the different channels. The loop level can be selected to suit either rack or standard stomp boxes. The loops can also be configured to act as extra switchable master volume stages.

The rear panel features loudspeaker outputs, send and returns for effects Loop A and B, XLR DI output with speaker emulation, and input for the 5-way foot controller.