In this interview with Kurt's guitar tech, Earnie Bailey, he explains that Kurt used a Fender Baseman Quad and a Marshall Plexi 100 during the "In Utero" recordings.
more"Marshall SLP-1959 100-watt amp which was modded with KT-88 tubes, which boosted its output to 200 watts."
more"These heads were at Woodstock. I repainted them for some other show back then. We call these the Dookie mod and also the Bradshaw Gain mod. This gauge is the front end and puts on the master volume. The SE lead mod adds a tube to it for even more gain. The way we run the heads is really all the knobs pretty much straight up and the master and gain at 10 o'clock. You turn it up any louder or any more gain it doesn't really sound that great. And Billie's tone is really not about tons of gain. It's actually cleaner than you would think it is. His technique playing and using the pick is more about where the sound is coming out of. I mean he'll turn the guitar down and clean it up then pop it back up," explains Hans, the tech for Billie Joe Armstrong.
more"This one goes through a tape delay. It gives it some fullness. It has a browner sound. It's on all the time," says Dan Auerbach's guitar tech about the Marshall Plexi 1959SLP 100W Tube Guitar Amp Head.
moreUsed extensively since the early 70's until the 90's, when Peavey started making signature 5150 heads. All the knobs were usually cranked up on 10 except the reverb.Usually used 100 watts, and the 50 watts were backups.
moreYou can see on the right there is a Marshall full stack throughout the video. A closer look is on 1:58.
more"We have two Marshall Plexis, one is a '69 and one is a '70. The '69 Plexi has the KT-66s in it. I listen to them every day and determine which one I want to use. This is his main and the other ones are his backup. The '70 has the EL-34s. This is the backup Plexi," says Joe Perry's guitar tech. (These Marshall Plexi amps are the 1959 model,but were built in 1969 and 1970, respectively).
more["Used for the In Utero demo sessions at Reciprocal and the '94 session at Robert Lang Studios."](http://www.livenirvana.com/equipment/krist.php) as shared by Earnie Bailey, NIRVANA's primary guitar tech.
moreAt 16:10, White's guitar tech Chris shows two Marshall Plexi 100 watt amp heads. Similar to Billie Joe Armstrong's, one head has the Dookie mod (Bradshaw gain mod) and the other has the S.E. Lead mod.
moreAt 1:26 in this live performance at the 2010 V Festival, Simon can be seen playing through a Marshall Plexi 1959SLP amp head tilted on its side.
moreLindseys Marshall Super Leads only used in 1976 live Amp Settings Presence=40% Bass=70% Middle=40% Treble=35% Normal=60% Bright=40%
moreThis video shows some of the equipment used by Andreas for the recording of Sepultura’s album "Kairos. The Marshall Super Lead can be seen at 2:00.
moreIn this live photo from 1967 we can see Peter playing his Gibson Les Paul while plugged in to a 1960's Marshall JTM45!!!! Guitar Amp Head featuring an old style Marshall Block logo.
moreAn old Marshall Plexi is one of the main amps that Tracii uses these days with reunited L.A.Guns.
moreMarshall Amps gave Tyler a 50th Anniversary edition of the famous 'Plexi' amp in August of 2016, and he's been using it on tour since.
moreAccording to Marshall's website, O'Keeffe plays through Marshall 1959SLP amp head.
moreIn this photo, we can see a part of Leifsson's gear, which includes the Marshall 1959SLP guitar amplifier head.
moreBlake has been using this amp from 1995 to present day, both touring and recording with Jawbreaker, Jets to Brazil, Thorns of Life and, most recently, Forgetters.
more"For the Blizzard album I used one of Randy's 100-watt Marshall amps..." The Randy in question is Randy Rhoads, the legendary guitarist on that album. The only amps he used were Marshall Super Leads.
moreIn this photo, the Marshall 1959SLP tube amplifier is visible below the Marshall 1987X amp.
moreIn response to a fan question on Twitter, Wil posted a picture of his setup, including a Marshall Super Lead 100w head with the channels jumped.
moreAccording to [this interview (transcribed from the February 1998 issue of *Guitar Player* magazine)](http://www.oocities.org/sunsetstrip/backstage/1076/article2f.html), Kevin utilized a '69 Marshall Plexi during the recording of Third Eye Blind's self-titled debut album.
moreIn this picture, Luke is seen using a Marshall Plexi 1959SLP. He also stated in an interview with Lucky Sky Press that this is the amp he uses. Interview Link: https://lucyskypress.com/2017/05/14/travelling-and-playing-rock-n-roll-with-my-friends-an-interview-with-luke-bentham-of-the-dirty-nil/
moreFor quite a while now I have been using the Marshall JCM800s, the re-issues and even some old ones if I can get my hands on them. We have been using the Kerry KIngs as well, just for the clean setting. It has just a little bit of a different sound, but it’s really cool. Joel has been using the 1959 SLP and the re issue one, plus we take a couple of DSLs on the road with us too.
more"I had the choice of either taking the VOX or Marshall with me for my toy store tour- the choice was difficult but I ultimately went with the Marshall to achieve a 'Hey I'm Over Here!' screech." -John Jeff Rig Rundown, NY Times
more"A couple of my guitars in Europe have EMG pickups and they sound good with particular Marshalls. I have a Marshall SLP reissue and it sounds really good with my stock pickups on the Standard. Some of my older Marshalls need brightening up, so they sound better with the guitars that have EMG pickups. I go back and forth depending on the way the Marshalls are acting that night. They can be finicky."
moreI had one of the '88 RI's as an integral part of my touring backline for years thru a tall cabinet with great old celestions in it. What a fine amp. I tweaked mine a little to sound better with a strat, but I recommend this amp stock for anyone who needs a lot of stage volume and plenty of treble on tap. She wasn't as reliable as a vintage blackface fender, but she never failed at a show and always sounded pretty solid unless the wall voltage was outta control high (I eventually started power conditioning or even running a variac). While I typically deplore working on PCBs, Marshall does a great job with their layouts and spacing. This amp was easy to repair, rebias and modify. Not the holy grail as some attest, but very very good
I have one more thing to say.... this amp will not be what you expect at less than theater-filling levels. If you do not tour then get a 50 watt JCM800 2204 or maybe an 18 watt. Still, this is THE Marshall sound you've always heard about. You may not find that sound easily, but its in there if to start in the right place. If you don't use overdrive or fuzz pedals, here is my advice:
Try setting the amp fairly flat (dime the mid and crank the treble to 10 or until it hurts your ears, add bass to suit your taste and cab) but keep the presence below 5. Don't jump channels like Hendrix, plug in the bright channel and dime it out, then add the normal channel to taste (there's crosstalk and subtle ghosting, but beware nosie and squeals at high presence settings). Then use your guitar volume control (yes, the knob next to the tone you don't use either) to vary between clean, crunch and lead. This amp does not respond like a hot rod deluxe or even the venerable tweed bassman that's in its DNA. I prefer an Amperex bugle boy ecc83 in V1 and an rca or ge 12ax7 in v2. The phase splitter sounds fine with ost any well made tube. In a pinch V1 sounds good with a well-tested tung-sol RI 12ax7. Alright, TMI
I own a 1997 35th Anniversary 1959SLP. Super Leads are "the" Marshall sound. Many say a one trick pony but responds great to your guitar controls and pick attack to give you quite a bit of variety. Paired with a 1960AX with Celestion Greenbacks - one of the greatest rock tones ever.
I've owned a few marshalls (JTM and JCM800) and without doubt this is the best one. Mine is slightly customised in that it's permanently jumpered.
My drives come from pedals so I need an amp that takes these well and provides spanky clean headroom when required. This has it spades.
The only downside is that the headroom comes at a volume cost...it's difficult to get this amp performing well at low volume levels.
I've have this head since 2003. It's modded with KT88 tubes, master volume and it has been voiced like a 1972 JMP 1959 Metal Panel.
Personally it had too much high end so I had to "mod" it by clipping the high pass caps from channel one. Other than having to do that, it's a solid amp.
I'm stage right. Plexi and a tall vintage cab for all dirty tones.
hmmm.... wait, I'm not stage right, I'm on the right if you are facing the stage....
also the lead at the beginning has a tonebender m3 going or maybe a fuzz face, not sure... and there might be some fender showman going too at times.... it was hella humid at that back yard so sorry for the tuning issues and squeals
love a plexi all stock great great amp
I've been wanting one of these for a very long time. Straight up power and has a very strong tone. These have been used by so many musicians and it's a tone that will never go out of style.
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