I prefer the 1987X for the dirty tones, it's fuller in the bass frequencies and has more growl. Hands down for the clean tone on the JTM45, sounds clear and precise.
I've loved all three for 40 years+. They sound great. I am partial to the 1987X over the years but here the 45 sounds best. But I am happiest to see/hear some new pickups in the Les Paul!
Daaamn I was so sure I was gonna go for the 1959HW or the 1987x....but you just can't beat that jtm 45. Great demo buddy. And the timeline was excellent help.
Nice. I started out with the Super Leads but have gravitated to the JTM45 and that's where I live now. I love the vintage sound and the lower volume level. I've also come to love combos.
After wading in the Marshall pool (and many other amps), for many years, I landed in my happiest place with my JTM45 into a 1-1 recreation of a Marshall mid-'60s 4x12 slant, but loaded with 30w Celestions instead of 25w greenbacks - I think the 30s tighten the low-end.
Good comparison video. However, my original '66 script logo JTM45 Plexi with cream backplate and GEC KT66 power valves can cover both your reissue 2245 & 1987 tone territory but the reissues do appear pretty faithful in their originals sound reproduction.
All good but I preferred them as 1-1987x, 2-JTM45 and 3-1959HW based on dirty tones. Nice demonstration! And thanks for the separated timeline - instant comparison through clicks.
I just can't decide between these.. Solution: the three in full stack and a warehouse! Btw I've been always looking for a comparison between these...thanks Marshall
1959 sits sort of inbetween the two. I still like the JTM45 the best. Sweetest cleans and a very organic overdrive. The 1959 seems to be a bit more compressed and midrangey which I feel like isn't a good trade off to the JTM45. The 1987 is a good, higher gain, faster responding, rock machine. But I didn't like the cleans on it.
If you're after Cream tones, then the 1987X is actually the last amp you want of the three. It's modeled after the metal panel Marshalls of the '70s, so technically it's not even a true Plexi. If you plug straight into the 1959HW into the normal channel, dime every knob to the right (and get a quality attenuator so you don't go deaf), you'll nail Cream tones. I own the 1959HW and have played all three; The JTM-45 is more your Fresh Cream tones. The 1959HW is your live Cream tones in spades, and the 1987X is your '70s hard rock anything-but-Cream tones. Lol.
These things have even more gain on tap if you DON'T jumper channels. When you have a guitar plugged into the high treble input and a jumper in the low treble input, the resistor in the low side is knocking off some signal. This can be good for taming high end but you lose gain Best way to mix channels is plug separate leads into each hi input
The dirty channel on all 3 amps had too much treble in the EQ, especially the 1987x and 1959 which sounded a bit too harsh and trebly than I expected. Would have been nice if he switched pickups.
So glad Marshall manufactures these... which are the reason all other hi gain amps are made. I admit I use a Germino Lead55 LV, but it is a period correct [1968 JMP Super Lead]. For decades I was unaware of what 'old Marshall or Plexi' truly was. My heroes said to turn it full up on a Marshall. Thinking this rule applied to all amps, I was totally off since I never experienced a real Plexi. Just distortion pedals galore. I would crank my Peaveys or any other preamp gain master volume amp and just be disappointed. Even my Soldanos, EVH and others. They are designed to have nice output sections, and the preamp is all the breakup and distortion. Cranked full they all sounded muddy and pointless Until you try the original [non master volume design], you will miss it as I did. Output tube distortion, within this circuit design is the key!! Granted I was 13 in 1980, and Plexis were not something easy to come by in Musicians Supply. The JCM800 may have its place, but any time I tried one, I was like, "No no, that's not the sound!" It wasn't till I bought the JMP Super Lead, began experimenting that the Holy Grail revealed itself. With modern reactive load boxes to tame the volume, it is now evident that the whole amp is the best distortion/overdrive pedal ever made. LOL The Bassman is the original blueprint, but with Jim's evolved designs up to 1971, a monster was made. Including the Marshall Major. Thanks Marshall for these modern re issue amps. The talented builders stay on their toes with their replicas.
I still don't understand why Marshall have chosen a gym instructor to be the face of their new product range. Probably shouldn't have said that cos he's probably a hot shot whiz engineer who has had a big input in some of the gear I have bought from Marshall. Can anyone fill me in who he is?
Be nice to see one of these amp demos done with an SG instead of a Les Paul for once. Those things pair nicely with a Marshall as well and you don't get the muffled LP tone.
