![]() The clean has a remarkable sparkle, capable of making even a Gibson twang (tested with both a Les Paul and an SG). The sound of the Marshall Lclean, at chamber levels (trust me: gain at 3 and volume at 1 is enough, volume has to sell) with an SG Standard is stuff to fall in love with. Clean? Spectacular…īut let’s talk about the clean: yes, because although I believe anyone who gets their hands on a Marshall turns up the gain first, it also has a beautiful clean. Personally I use it clean, both because in front of the chain I put pedals that I love, and because I don’t like the dry sound that comes out without reverb and I prefer to insert a delay set low in the chain, to give more airiness to the sound. The problem, if we want to find a fault, is that it does not have a soft sound and the reverb is not present, so the sound that comes out is nice dry. Unfortunately, not having a send and return it is not even possible to put a reverb before the distorted section. So if you want a reverb it should be put on the input, so either avoid distorting it, or… well, you know what sound comes out if you put a reverb or a delay in the signal chain before the overdrives. The dynamics are all there, along with the punch and natural compression. Turn the volume down from your guitar and the little Lead 12 reacts like a textbook, giving you a really nice, slightly crisp clean sound. The distortion therefore has a nice texture, but it must be said that, although it is not a tube, it remembers it well in this too: the volume must be raised at the same time as the gain, otherwise if you want a nice roar from gain at 8/10 at bedroom volumes, you might be disappointed. not that it’s not nice, let’s understand, but keep the gain at 8 and open the volume well and you’ll understand what I mean. Wow! If you turn up the volume along with the gain you get a true Marshall roar, with a natural compression that truly resembles tubes. The timbre, when pushed with the gain, is pure crunch, even well pushed, albeit not reaching the distortions of modern metal (however, you get there to 80s metal). In the end, however, the basic circuit should be the same, the outputs change and the presence or absence of reverb. Ah, obviously the fact that it is a combo with only one cone or as with two separate speakers. In this article we will just talk about the 3005. They have made different models, both combo and stack, and you want to learn more in this article on Accordo they are described in an exhaustive way. The inputs are the purest Marshall ones: two inputs, high and low and adjustments for gain, volume, treble, mid and bass, plus a headphone output on the front and lineout behind. Stop. Here there are no reverbs, sends and returns, or even various digital effects. The Marshall Lis a small 12W mosfet amplifier manufactured in the 1980s. There are several models of Lead 12, but mainly they are divided into stack (3005) or combo (5005). This is the 3005 version, consisting of a head and two speakers, both with a 10-inch Celestion G10D-25 cone. Yet with just a few euros (actually not too few, the prices are going up) you could take home a truly extraordinary amp … The Marshall Lstack The result was excellent, in my opinion: the Marshall Lead 12, perhaps one of the most underrated amps in history. You want for the price, you want the mosfets instead of the tubes, you want the cones (cheap), it has never been appreciated enough. The idea was to recreate the circuit of the legendary JCM 800 (with practically the same inputs, high and low, and controls, except for the presence) by simulating the tubes with mosfet-type transistors. ![]() The little Marshall Lead 12 was born with Jim Marshall’s intention to recreate the sound of his legendary tube heads (beautiful but very expensive and practically impossible to manage at home) in an affordable and small size amp.
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