Marshall JTM 45
The Marshall JTM 45 is the first guitar amplifier made by Marshall. First produced in 1962, it has been called a "seminal" amplifier, and is praised as the most desirable of all the company's amplifiers.
The JTM 45 was first built in 1962, handmade in an all-aluminum chassis, by Ken Bran and Dudley Craven. Because of its power, Marshall decided early on to build it as a head, with a separate 4x12" cabinet with Celestion speakers. The amplifier itself was based on the Fender Bassman. It uses KT66 vacuum tubes or valves (though early versions had used US 5881, a version of the 6L6), and 12AX7 tubes (known in Britain as ECC83 valves) in the pre-amplification stage.
Significant differences between the Bassman and the JTM include the all-aluminum chassis (it is less susceptible to hum than a steel chassis), a 12AX7 valve as the first in the chain (the Bassman has a 12AY7), the Celestion speakers with a closed cabinet (compared to open-backed Jensen speakers), and a modified feedback circuit which affects the harmonics produced by the amplifier. As Ken Bran later said, "The JTM also had different harmonic content, and this was due to the large amount of feedback I had given it." The amp was also available as a bass (which lacked a "bright" switch) and a PA version.
By the mid 1960s, the JTM 45 had become so popular that it began to supplant the ubiquitous Vox amps, even their AC50, though it was just as powerful.
In late 1965, Marshall introduced its now standard script lettering, in white, and by early 1966 it began calling the amplifiers "JTM 50". Some 100 early models had red lettering; these are especially collectible. Other cosmetic changes included a gradual switch to different knobs. The JTM 45 became the basis for many subsequent Marshalls, most notably the Bluesbreaker. It ceased being produced in 1966, but was reissued in 1989, though with a modern printed circuit board and 6L6 valves.
The first JTM 45s did not have the standard Marshall number that later amps had; not until 1965 did the models that derived from the JTM 45 receive numbers.
|-||45||1962-1964||2 channels, 4 inputs||Also available in bass and PA versions|
|1963||50||1965-1966||4 channels, 8 inputs||PA version; "JTM50 MK III"|
|1985||45||1965-1966||2 channels, 4 inputs||PA version of JTM50 MK II|
|1986||45||1965-1966||High treble and normal channels||Bass version of JTM50 MK II|
|1987||45||1965-1966||High treble and normal channels||Lead version of JTM50 MK II; also with tremolo as Model T1987|
|1989||45||1965-1966||For electronic organs||Also with tremolo as Model T1989|
|JTM 45 (2245)||45||1989 -||2 channels, 4 inputs||Reissue of original JTM45 (1987)|
For all of its differences with the Bassman, the sound of the JTM 45 is still described as "like a tweed Fender"; it has more sag and less crunch than the later Marshalls, and is favored for blues and rock rather than for hard rock and metal. The JTM 45 does not deliver the famous Marshall "crunch" that became so sought after.
- Angus Young (live, Young has a JTM 45 in an isolation box under the stage)
- Gary Moore (reissue)
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