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The Marshall Major (Model 1967 [1]) was a bass guitar amplifier made by Marshall. It was introduced in 1967 as the "Marshall 200" (in reference to the power of the amplifier). It had a plexi panel and two inputs in one channel, but in contrast with the 100 watt heads made by Marshall, the first series had split tone controls similar to the ...
Throughout the decade, Mesa continued to produce combo and head amplifiers, and began production of rack power and pre-amps, developing power amplifiers such as the M180/190 and Strategy series, as well as pre-amps such as the Quad and Studio. Other models developed in the 1980s included the Mark III, Mark IV, the Son of Boogie, and the Studio .22.
The models contain 20, 40, 50, 60, and 100 watt amplifiers. All models except the 50W and 100W are available in combo form. The 50W and 100W is head only, and the 20W comes in either head or combo. The HT Venue series also contains three different cabinet sizes: 1×12, 2×12, and 4×12. All speakers in the HT Venue are Celestion.
The 1959 (Marshall's identifying numbers are not years of manufacture), produced from 1965 to 1976 (when it was replaced by the 2203 "Master Volume"), [1] is an amplifier in Marshall's "Standard" series. [2] It was designed by Ken Bran and Dudley Craven after The Who's guitarist Pete Townshend asked Marshall for a 100 watt amplifier. [3]
Further development led to the JCM800 series in 1981, which was widely adopted by the hard rock and metal community, while the brand celebrated its 25 years of making amps by releasing the Silver Jubiliee in 1987. Marshall updated the JCM lineup in the 1990s (JCM900) and 2000s (JCM2000) and developed new amp lines, like the DSL and JVM models.
MPU MT-32 GM GS XG level 1 XG level 2 XG level 3 GM level 2 XGlite; Entry date 1984 [1] [2]: 1987 1991 1991 1994 1997 1998 1999 2002 Organization Roland: JMSC MMA ...
The Marshall Bluesbreaker is the popular name given to the Models 1961 and 1962 guitar amplifiers made by Marshall from 1964/65 to 1972. The Bluesbreaker, which derives its nickname from being used by Eric Clapton with John Mayall & The Bluesbreakers , is credited with delivering "the sound that launched British blues -rock in the mid-1960s."
The large size and weight of the RE20 requires a strong microphone stand or boom arm, and a very sturdy microphone clip or robust hanging yoke. The supplied mic clip (model number 320) is tightened securely with a knurled knob. An optional shock-mount is available for the RE20 family of microphones: the EV model 309A.