One of the most famous Marshall amp and one of the most representative of Marshall sound. Slash mainly played on this head during the early Guns N' Roses years. "We changed out the tubes in this for 6550's, other than that, it's stock," Slash's guitar tech Ace says in this video at (7:30).more
Zakk Wylde uses a pair of Marshall JCM800 heads on tour with Black Label Society. He and his rhythm guitarist each run through a pair of Marshall amps and cabinets, creating a quadraphonic stereo space. "Basically we have four live cabinets running," Wylde says in this Guitarist Magazine video at (2:10). "It just gives you that wide [sound]...especially when you hit the chorus pedal...everything gets super wide," he says at (2:44).more
“At the moment, I’m getting my JMP sent over from Australia because my JCM800s are not doing what I need them to do. They’re great, but for the schizophrenic kind of dual world, it doesn’t quite work. So I’m tandem-ing at the moment; I’ve got a 100-watt bass Marshall head behind it that’s giving me the power to my JCM800. But normally, it would be a JMP 100-watt Super Lead - hopefully from somewhere around the late 60s to early 70s - and then a Fender DeVille.” - excerpt from his Music Radar interview.more
On the [Gear page](http://www.billyduffy.com/gear/marshall-jcm800-amplifier/) of Billy Duffy's website, he says, "After the ‘Electric’ tour Jamie moved back to bass and I ended up having four Marshall amps, which are the JCM 800s... I still have those four Marshalls today, they’ve pretty much lasted through all the years of abuse, all the tours we’ve done and they’re pretty much all still running."more
An image pulled from [spfc.org](http://www.spfc.org/band/equipment.html?equipment_id=26&img_disp=img&img_id=944) (Smashing Pumpkins Fan Club dot ORG) with the following caption: BC w/ the Marshall head, labeled "SOUL", and slant cabinet, Marshall logo modified to say "Mars" Some supplemental tidbits taken from a notable blog, [Ain't No Sleep When You're Living The Dream](http://glittercop.blogspot.se/2009/10/body-and-soul-behind-guitar-sounds-of.html): KB to Billy Corgan: What are your memories about the amp? Billy Corgan: When I first bought the amp in 1989 from this stoner guy, I thought it sounded ok but I think I was more excited to just be playing thru a Marshall. I realized after a time that I wasn't that crazy about the sound so I asked Mike to look at it and see what he could do. After he changed the tubes to the KT88s the amp just sprang to life, and it was the body of the amp that I used to drive insane amounts of distortion into to get 'that sound'. Butch Vig and I were so sold on the sound of the amp that outside of a few select parts, I would say that 98pct of all guitar parts on the first two albums were done thru this amp/speaker combo. In order to change the sound, the Stratocaster parts would be recorded through a shure 57 on the bottom right speaker, and the Les Paul parts would be recorded through a Sennheiser 421 on the top left speaker. This subtle difference between what speaker we would use created the sense of playing thru a different amp set-up even though obviously I wasn't.more
"Hale is a no-nonsense woman, happy with the simple things, like a 2013 Marshall JCM800 special made for Lzzy in her signature white and gold," reads [this article](Hale is a no-nonsense woman, happy with the simple things, like a 2013 Marshall JCM800 special made for Lzzy in her signature white and gold.)more
Marshall amps: Usually a Plexi, or a JCM800 (as seen here.) Greg's main touring amplifiers in the later years were rented Marshall heads, which he ran with a singular 4x12 cabinet. Greg hated these amps because they sounded very generic and colorless to him, so he ran his homemade preamps into them.more
Schwarzenbach used this amp with Jawbreaker from about 1990 to 1995, right after the recording of "Dear You", then switching to Plexis. The amp has "BLAKE" written in white on upper right corner of grill cloth. Blake bought it from Ian Mackaye of Fugazi fame and then sold it to Kristopher Roe of The Ataris, who eventually has auctioned it off Ebay.more
"We always use anything that we think is necessary. There are plenty of Les Pauls on a lot of tracks, but there are others as well. The live approach and the studio approach are two totally different animals. You treat them differently. There are things that we would use live exclusively. When we’re in the studio we use whatever we think is going to add to the part. I didn’t just go in there with my (Marshall) JCM-800 and use it exclusively."more
"I have a ’64 Gibson SG with one P-90 pickup in it, and that’s pretty much it for me. I love that guitar. I use a JCM800 with split channels, because that’s what I was doing back then when we did It’s A Shame About Ray. And and Ampeg bass cab I have tonnes of guitars. I’ve got one from 1918!"more
John McGeoch says, in this interview, "The output is a split mono line which goes to a Marshall 100w stack, a JCM800 on one side and the other side is a Roland JC-120. The Marshall gives me the power and the Roland has a nice clean-ish sound without being weak." John can be found pictures with his Marshall JCM800 [here](http://images1.bonhams.com/image?src=Images%2Flive%2F2010-05%2F28%2F8054152-7-1.jpg&width=640&height=480&halign=l0&valign=t0&autosizefit=0)more
The amplifier head on the left hand side stack of Orange 4x12" cabs as seen at 2:58 in this video of Catfish and the Bottlemen playing at Reading 2015 is a vintage Marshall JCM800 as denoted by the just visible name stamp, but also more obviously by the number of controls on the face of the amplifier head.more
This is by far the best amp you could possible ever have in my eyes. To think guitar center sold it to me half off, because "Vintage is the same thing as used". I'd prefer it be vintage. So damn loud too. I can't get past 2.25 before my windows start shaking.
Definitive. Classic. Legendary. This is the amp that shaped a generation, and is the sound most think of when they think of rock, hard rock, metal and grunge. With the pre amp on about 2, your clean tone sounds like it is vibrating a metal tray covered in broken glass, just beautiful crisp and a little raw. Turn that dial and you go from a little raw to a big roar. I love turning this amp up to about 5, keeping the pre amp at about 2. The push from the air in front of the cab is far more rewarding and defined than the one coming from the kick drum. At home, bringing the volume up to where it JUST comes through to the speakers, guarantees a very rewarding 30 - 45 seconds of playing before the house and the neighbours get a bit wild.
I simply love this amp a whole lot, goes from bluesy cleans all the way to 80's Metal. This amp is brutal and unforgiving, you need to learn how to play with the amp, because you hear every single mistake you make. But once you get to know the amp, you'll love it.