I found my favorite Marshall sound in a Fender

ebenezer

Silver Supporting Member
Messages
2,090
I recently saw a quote by someone on this forum who said something like, “I found my Marshall sound in a Tweed”. And it got me thinking. Lately I’ve been on a Fender Tweed/Brownface kick. And I’ll be damned if the above quote isn’t manifesting in my tone life.

I have a Magic 5e3 and a Cuththroat Audio Down Brownie (stock Brownface deluxe 6g3 on one channel) and they have totally satisfied my “Marshall” needs. All be it, they are a bit tonally different, but not so much that it makes a huge difference.

The Down Brownie has the sweetest crunch I’ve ever heard and the 5e3 has the best distortion I’ve heard.

Is this true for you? Have you found your “Marshall” sound in a fender?
 

ROKY

Member
Messages
7,183
I never think of it that way, really but I think I understand what you're saying.

The blackface and then SF era is how most people ID "Fender" when they think
of the brand. The simple and not really secret reality is:

Pre Blackface-era, the Fenders could get down and dirty with a tone that
could be perceived as "Marshally" … but the thing is .. they had that sound
first .
 
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TheMindful

Member
Messages
336
When I can't bring my Marshall to a gig I use a DRRI, stacking my WF rat into an old block letter MXR dist + and it rips. Surprisingly/convincingly Marshall-like, certainly gets the job done on the gig.
 

ROKY

Member
Messages
7,183
Jim Marshall came in right after Leo Fender had already came up w/ the AB763 circuitry
and then Leo exited the stage altogether in '65 just as Marshall amps were starting
to be seen/heard on recordings and in pubs and larger venues in the UK.
 

Rumble5

Member
Messages
1,668
Recently I had a jam session in my basement studio and had both my '76 JMP lead and '66 Pro Reverb on. But I was playing through just the Pro while the JMP was on standby.

Afterwards the other guitar player was surprised to find out that I had been playing through the Pro because he was sure the sounds he was hearing were coming from the Marshall.

So, yeah, my Pro with Greenbacks gets me to Marshall grind territory. A BF Bassman will do the same thing. And a tweed Bassman was the original Marshall of course.
 
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3,678
Is this true for you? Have you found your “Marshall” sound in a fender?
in a way, yes. These days I’m pretty much planted firmly in the fender camp mostly because the BF/SF drive tones aren’t like a Marshall and I like the cleans much more but sometimes I think about how much I’d like to get a 2204 in my hands. Then I kick on my Clay Jones style od and it kills my GAS for all things Marshall.
 

redchapterjubilee

Supporting Member
Messages
1,248
Yes! My bandmate says the best Marshall for the job is a Fender and I have found that to be right for my ears. I found it in a 59 Bassman reissue run through British style 12’s. I bought an LTD chassis on EBay, put it in a headshell, and run it into an Eminence 2x12 with a Wizard and a Cannabis Rex.


Turn it up to 5 and i have instant killer rock rhythm guitar. Hit it with a Rat and I get the sound of ‘80s hard rock but with a fuller low end. On tape I like to use a 5E3.
 

IR79

Member
Messages
283
I was playing my Two Rock Burnside this after and with the volume at half way, through a PS2 I was amazed at the Marshally crunch I was getting using just a katana burst.

I had quite a nice hour or so just riding the volume knob on my tele to adjust the amount of dirt.

Only had the Burnside a few weeks so I am still learning what it can do, but I was amazed that it could go from almost clean to pretty dirty just using a clean boost, without too much of a rise in volume.
 

jjjp

Member
Messages
385
Couple of points, and let the historians please correct me if I'm wrong. Leo's "designs" are for the most part right out of the RCA manuals of the time. Jim Marshall (or his employees) took that and modified it slightly- maybe a couple of cap or resistor values and the Marshall was born. I feel like guitar players have an OD sound in their heads that isn't exactly Marshall but they equate it with Marshall. I haven't found anything that sounds like a Marshall other than a Marshall, and it's not for lack of trying. That being said all the tones mentioned above sound great I'm sure, but they don't sound like a Marshall. You can get very, very close if you experiment with different amps, pedals and swap speakers and cabinets, or just buy a Marshall and make it easy on yourself. I think the same thing goes with Fender, Vox, Mesa etc. There's a reason why these amps are iconic.
 

SteveO

Member
Messages
16,333
Couple of points, and let the historians please correct me if I'm wrong. Leo's "designs" are for the most part right out of the RCA manuals of the time. Jim Marshall (or his employees) took that and modified it slightly- maybe a couple of cap or resistor values and the Marshall was born. I feel like guitar players have an OD sound in their heads that isn't exactly Marshall but they equate it with Marshall. I haven't found anything that sounds like a Marshall other than a Marshall, and it's not for lack of trying. That being said all the tones mentioned above sound great I'm sure, but they don't sound like a Marshall. You can get very, very close if you experiment with different amps, pedals and swap speakers and cabinets, or just buy a Marshall and make it easy on yourself. I think the same thing goes with Fender, Vox, Mesa etc. There's a reason why these amps are iconic.
Pete Townshend brought his tweed Bassman into Marshall’s music store and commissioned them to build him an amp that sounded like the Fender did (Fenders were hard to come by in England in the early 1960s). Parts availability in England was the main reason for the component changes, but as history has shown us it was the start of something big.

Side note: Townshend is also responsible for the Marshall stack. He drew an 8x12 cabinet on a paper napkin and asked Marshall to build him a few of these cabs. The result was The Who’s roadies threatening a mutiny over hauling the beasts around, so Marshall cut them in half-into dual 4x12s-and the stack was born.
 




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