This amp is shown in the book History of Marshall, page 66, with black and white photo. Also, my Marshall amp brochure from about 1989 covers it.
>Michael, I also have another clip featuring a nice Tele sound on MP3.com. �Learning to Farm.
Learning to Farm (great Tele amp Tone)
(Bonus by M Carlyle - I archived, but took down due to bandwidth cap.� Not available.)
The used guitar store told me that these do show up, and an appropriate price is $300, not $500.
Ok, what does it mean, "the speaker emulator is nice for headphone use or for recording use"? You can run it the following ways:
� Headphones plugged into headphone jack. [The speaker does not disconnect, internally. So how does the load resistance work out, driving headphones and speaker together?] There is no attenuator setting. [Is there any cabinet simulation on this signal? I guess that there is not. If not, isn't it very bright?]
� Speaker plugged into headphone jack. Speaker level is controlled by attenuator setting. [Is there any cabinet simulation before the headphone out jack? I guess that there is not. If there were any cabinet simulation before the headphone out, the speaker would sound very dull when plugged into that output, because it also adds its own treble reduction.] A user replies: "Again, there is no attenuator "setting". Since I never received a manual, I have not tried this. But, it seems to me that all you would be doing is plugging a 12" speaker into the headphones output."
Generally an attenuator does not have cabinet simulation before a *high-level* output. A high-level Out is meant to drive a cabinet; the cabinet takes care of the treble cutting itself.
Vague copy in brochure: "Innovative Master Volume circuitry maintains musical harmonic relationships at all output levels." Well, that's one way to say it, I guess, but totally unclear.
[To do - email some users and ask them to fill in the Harmony Central amp database info, or at least email me. Does it sound fizzy at high attenuation, even if use a cabinet response simulator filter? How good is the amp for clean tone and how smooth is it, unattenuated and with various attenuation levels? Search Web for used units, user manual.]
>Overall, this amp seems to be a little light on gain, but not too much. I've tried 2 (the first one had a scratchy static noise that would come and go-maybe a bad tube or transformer, but Guitar Center replaced it), but both units had the same lack of gain. Not REAL bad, but I wish the knobs would go to 12! Just a little more of the sweet stuff, you know? But, it's a pretty quiet amp, compared to my old 1970-something 50-watt Marshall stack (it's called- 1959 or something, the one with 4 inputs- I had to trade the head for a Mitchell Pro-100 combo, when I went from an original act to a club band.
If anyone has a copy of the manual available, or know of a web-site where I can download it, please add a link to your page and e-mail me!!
Michael McNenly mmcnenly at gte.net
Jethro Tull fans will be happy to hear that on several of the album's cuts, Barre flaunts his signature guitar sound from Tull classics like "Minstrel in the Gallery" and "Aqualung": majestic, chunky rhythm guitars; fat, soaring leads; and lush acoustics. The electric-guitar sounds are massive, but surprisingly, Barre usually achieves them without resorting to a huge rig. In addition, he typically eschews layering multiple guitar tracks. "If you've got five tracks of guitars," he explains, "the continuity is lost, and it sounds like overdub city."
One of Barre's favorite amps is an old 15-watt Marshall Studio which he removed from its combo case and rack mounted. "That one Marshall 15-watt amp," he admits, "did three Tull albums: Crest of a Knave, Under Wraps, and Rock Island. Actually, I had to use a small rig because we recorded in Ian Anderson's studio, and he didn't have a live room. So all the tracks were done in the control room."
The new link for Mike Carlyle's updated Studio 15 page - Studio 15
Bob's corrections for studio 15 marshall: Studio 15 is 15 watts, not 18
>power attenuator - When the speaker is unplugged, the output gets connected internally to two resistors in series to ground - first the 10 ohm 25 watt power resistor, and then .68 ohm 3 watt resistor. The headphone out is connected in parallel at the junction of these resistors.
>The master volume is just a "post phase inverter" style. It works well, but it's really no big deal.
>The link to the schematic is broken. Get a copy at schematics.cjb.net
>I've got a Studio 15 also. I think the post PI master volume sucks at low volumes. As long as you keep it above half way it sounds ok, but it sounds best to leave it all the way up and use the preamp control to adjust your volume.
Studio 15 (4001) .wav power tube saturation samples. 6V6. TS10 poverdrive pedal. Built-in 1x12" speaker. (see local amp tone mp3 page as well)
Tube combo amps have drawbacks for power-tube saturation and hard-driven speaker sound. It's good to have a tube power amp that is separate from the speaker cabinet which is being miked.
A Marshall combo amp format with power-tube saturation (as Marshalls are intended to be run) is especially great for one thing: developing preamp-tube microphonic feedback.
To avoid microphonics and enable speaker cabinet isolation, it is best to use a separate head and cab, or separate tube power amp and guitar speaker cabinet.
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� 41. 95/12/05 038 Re: 15W and thereabouts?��� �rec.music.makers.guit Mark Joplin���
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