Marshall 1960A 4×12

I have never seen another Fawn Marshall 4X12″ Cabinet in this kind of awesome barely used condition. I’m calling it near mint because there are slight signs of use on the caster wheels see pictures and the head rests on the top of the cab. I could find no other wear or damage, it couldn’t look any more new. The Cabinet is original with 4X12″ English Made Celestion 25 Watt speakers with original cones, and functions perfectly. Speaker date codes are: All 4 Celestions are marked “Made In England” and are original to the cabinet, solder undisturbed.

MR-PIN68_G12M20

I will not deliver. This was only used a couple of times by me. So why am I selling this? I moved from a house to a condo. This deserves to be played not collect dust. Great amp, sounds awesome as a Marshall 50 usually does, be it clean or crunch.

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MR-CB71_G12M25

No part of this book may be reproduced in any form without the written consent of the publisher. Printed in the United States of America. I didn t realize I had undertaken a project without end, that it is a continuing work in progress, an evolving organism.

This amp sounds fantastic and I have owned, or own just about every marshall pretty much dating back to Here is the dig, many people complain about there being too much preamp gain yes it does and stock it does not sounds great on the ultra gain channel.

Hi everybody, I was thinking about how to connect my helix with my old A cabinet, just for fun. I would be like this, right?: Helix with any amp simulation ON, FX etc. Kind of a power amp of course. I have a spare 2 x W power amp from an old PA somewhere in the basement no idea about the ohm settings. Or would I blow something? Make sure the power amp is not in “bridged” mode as this would probably be more power than you want going into the cab.

If you can find it online or better yet know how to test with a multimeter try to figure out the ohm rating for the output s of your amp and and the input s of your A cab. You might want to keep in mind that if you do have to go with an impedance mismatch it is always safer for the cab and especially the power amp to have the higher ohm setting be on the cab, NOT the power amp. For example 8ohm output from the power amp into 16ohms on the cab is preferable to doing the reverse.

The higher resistance on the cab keeps the power amp from having to work too hard and potentially burn something.

“marshall 1960” in Classifieds in Ontario

Store Clearance The only choice for serious musicians. Nothing compares to Marshall cabinets in terms of awesome tone and projection. Both visually and aurally, Marshall 4×12 cabs are indeed “the business. Many years of experience mean that Marshall’s speaker cabinets are also built to stand the test of time. Their highly skilled craftsmen construct them from the finest quality materials with precision corner locked joints, tough cotton backed PVC covering, heavy-duty hardware, and the highest quality fittings.

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Origins[ edit ] Site of Jim Marshall’s first shop, now a men’s barber After a successful career as a drummer and teacher of drum technique, Jim Marshall first went into business in with a small shop in Hanwell , London, selling drums, cymbals and drum-related accessories; Marshall himself also gave drum lessons. According to Jim, Ritchie Blackmore , Big Jim Sullivan and Pete Townshend were the three main guitarists who often came into the shop and pushed Marshall to make guitar amplifiers and told him the sound and design they wanted.

These were very popular with guitarists and bass players, but were very expensive. The three guitarists were among the first customers of the first 23 Marshall Amplifiers made. T Prototype’s were produced, in Jim’s words, the “Marshall Sound” was born, although at this time the only involvement Jim had was to sell the amps on a commission basis in his shop. As business increased, Marshall asked the three to work for him in his shop, as he had more space and capital to expand.

As of Dudley’s death in and Ken Bran’s death in , the only original individual is Ken Underwood. They were almost copies of the Bassman circuit, with American military-surplus power valves, a relative of the 6L6. Few speakers were then able to handle more than 15 watts,[ citation needed ] which meant that an amplifier approaching 50 watts had to use four speakers.

For their Bassman, Fender used four Jensen speakers in the same cabinet as the amplifier, but Marshall chose to separate the amplifier from the speakers, and placed four inch Celestion speakers in a separate closed-back cabinet instead of the four inch Jensens in an open-back combo. These circuit changes gave the amp more gain so that it broke into overdrive sooner on the volume control than the Bassman, and boosted the treble frequencies. This new amplifier, tentatively called the “Mark II”, was eventually named the ” JTM 45 “, after Jim and his son Terry Marshall and the maximum wattage of the amplifier.

marshall 1960a cab

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Experiment with many different mics, mic positions, and even mic preamps before settling on a “best” sound. There is really no “right” answer since music is so subjective, and there may be multiple solutions for different situations. Make sure you know what speaker sounds best in your cab, and make sure you know where an SM57 sounds best, too, since that’s what the average sound tech is going to throw on there.

Most of us know that placing mics in various positions around a speaker cabinet will yield different sounds. Part of this has to do with each speaker sounding a little different even if they’re the same make and model , mic height from the ground producing various colorations due to differences in reflection time, and what kind of room you are in. In particular, though, there are three 3 main placement factors that will affect the sound consistently: An SM57 placed on-axis at the upper-left speaker’s cap edge.

However, the “proximity effect” may occur and bass frequencies may overload the mic. Conversely, moving the mic too far away will add more room sound, which may or may not be desirable. As you move farther away towards the edges, it gets progressively darker. On-axis perpendicular to the speaker will be a little brighter and more present, whereas Off-axis tends to roll off the high end and reduce bass frequency build up due to the proximity effect.

Diagram courtesy of www. I recently came across this very useful video on YouTube, which demonstrates the different sounds that can be obtained by varying the mic position SM57 across one Marshall A cab.

Marshall 1960A Cab

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Links to other Marshall sites. In these early years the amps, their features and especially the cosmetics varied a lot. Early saw the introduction of models and These were the first Marshall combos. It was built from up to It didn’t actually have a model number at first, but later it was called a JTM It is said that the first prototype and early production amps were fitted with two beam power tetrodes, three ECC83’s and a GZ34 rectifier tube, but soon KT66 tubes were used instead of the ‘s.

These amps had 2 channels with each a volume control and two inputs making a total of four inputs. There was also a power switch and a standby switch with a power indicator. The first JTM45 amps had no model number printed on them. In these cabinets were given the model number

Question on Marshall Stereo Cabinet 1960A/B?

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1968 Marshall 4×12 Model: 1982 Hi-Power – For Sale (1/12/17)