MusicRadar Verdict
A piece of history that all self-respecting guitar players should own.
Pros
- +
Fabulous Marshall tone at conversation levels.
Cons
- -
Pricey, but this is a limited edition and you may never get a second chance to own one.
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We've previously looked at Marshall's JTM1 amps, inspired by the amp that started it all way back in the '60s - the JTM45. Now it's the turn of the JMP1, which takes inspiration from one of the most revered designs in rock history: the '70s Super Lead.
The JMP amps feature the later non-plexi gold anodised aluminium control panel used from the beginning of 1970, with gold-topped script logos, dark grey levant vinyl covering, gold stringing and a checkerboard grille cloth on the combo, all evoking the mighty 1959 Super Lead and its 50-watt equivalent, the 1987.
The amps use tough, open-ended steel trays for the chassis, with most of the electronics on a large and very high-quality printed circuit board. JMPs use four valves - at the output stage a pair of ECC81s. The valves are recessed into the steel chassis, making replacement a bit fiddly, although it's not likely to be a frequent occurrence.
The JMPs have a single input jack, feeding volume, treble and bass controls. On the rear panel, there's a gain boost switch and a power reduction switch that reduces power down to just 0.1 watts.
The combo is loaded with a single 10-inch Celestion driver, and the unique 50th Anniversary plaque is mounted on the rear. Like all modern Marshall products, the build quality is superb.
Ultra-clean soldering and wiring connect top-quality components, including many custom parts. They may not end up going on tour and being worked 24/7, but if you wanted to use them for mission-critical purposes they're as reliable as anything the firm produces.
Sounds
The JMP1 accurately captures an ideal 'jumpered' mix tone that's surprisingly accurate, given the difference in circuitry and speakers. The tone controls are smooth and interact nicely, making it quick and easy to dial the amp in.
The boost switch adds a big dollop of gain, making stompboxes pretty much redundant, while the power reduction feature reduces output levels down to just 0.1 watts - quiet enough to be neighbour-friendly but still loud enough for rewarding practice and quality recording.
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