In this full-frequency mode, we can tap into the SV20H’s potential. Now, when the loudness 1 control is turned up, a crunchy upper midrange enhances the normal channel’s smooth and weighty overdrive character and makes up for any shortcomings.
Marshall jcm 800 combo Patch#
The solution is to plug your guitar into the normal channel’s high input and connect a patch cable between its low input and either input of the high treble channel. There’s much to like about the normal channel’s scale and fullness of tone, but even with single coils there’s a lack of cut in the upper mids. That’s certainly not the case when using input two on the SV20H’s high treble channel, but both normal channel inputs sound rather dark unless the treble and presence controls are set near the top of their ranges.
There are various reasons why players began linking the channels on classic Marshalls, but we’ve often found it necessary when neither channel quite cuts it individually.
Marshall jcm 800 combo full#
Now we discover the full throated and crystalline cleans, and thick classic-rock overdrive, that are so uniquely Marshall in sound and spirit. Moving to the ‘low sensitivity’ input two allows us to push the treble and presence controls beyond 9 o’clock and everything begins to make sense. Two channels and four inputs provide a lot of tonal options on the SV20H Unpotted vintage-style P-90s and PAFs begin squealing before you can even play a note and our vintage Strat – which is by no means a bright-sounding example – induces more aural pain than pleasure. Plugging into the high treble channel’s input one alone, the SV20H proves to be probably the brightest-sounding amp we have ever encountered.
And linking or ‘jumping’ the channels is the key to unleashing its full potential, but more on that later. It’s only after a considerable amount of time spent struggling with the SV20H’s tone and presence controls that we even consider plugging into the low input, but the relief is considerable, because it reveals that there is a pedigree Marshall lurking inside. Never before have we found using an amplifier’s ‘low’ inputs preferable to using its ‘high’ inputs, but there’s a first time for everything. Traditionally on an amplifier such as this, input one is high-sensitivity and input two is low-sensitivity. Both units are extremely well finished, with immaculate Tolex coverings and very neat piping. The centre position puts the circuit in standby mode, while switching upwards sets power at five watts, and switching downwards selects the 20-watt mode. Although they look different, the standby switches on both of these amplifiers work in the same way.
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