Marshall Law #1 Artwork

★ Ash ★ 

★ Terrorvision ★ 

★ Babylon Zoo ★ 

★ Dave Navarro ★ 

★ Slash ★ 

★ Def Leppard ★ 

Marshall Players, Profiles 

& New Products 

Summer 1996 

UK £1.20 / $1.95 / 2.90DM / 195¥ / 9F 

★ Boo Radleys ★ 

★ Biohazard ★ 

★ White Zombie ★

From Jim Marshall 

It gives me great pleasure to welcome you to the latest edition of 

Marshall Law, the first in a new generation of Marshall publications. 

Put together by musicians for musicians, the purpose of this 

magazine is both to inform and entertain. 

The information comes in the form of details of the most recently 

released Marshall products such as the Slash Signature model, the JTM 

60 Series [including the all-valve JTM600 amp head], the new range of 

Valvestate guitar amplifiers and Bass-State bass equipment. All built 

with the traditional Marshall hallmarks of quality, reliability and 

flexibility, these new ranges cover styles and abilities across the whole 

musical spectrum, from the complete beginner to the seasoned 

professional. 

The entertainment is provided by the profiles, interviews and 

1 From Jim Marshall 

2 Slash Profile 

3 - 4 Slash Signature Range 

5 Slash Interview 

6 Slash 2555SL Reviews 

7 - 8 The JTM Range 

9 JTM600 Head 

10 Def Leppard Profile 

11 - 12 UK Marshall News 

13 USA Marshall News 

14 Dave Navarro Profile 

15 - 16 New Valvestate Range 

17 VS230 & VS265 Combos 

18 J. White Zombie Profile 

19 - 20 Steve Grindrod Interview 

21 - 22 New Bass-State Range 

1 

Contents 

photographs of many of today’s leading ‘Marshall Artists’ from the 

widely ranging current musical genre. I know, having been a working 

musician myself for many years, the keen interest with which musicians 

view the lives, techniques and equipment of their fellow musicians. In 

this latest issue of Marshall Law we have tried to cover as broad an area 

of musical styles as possible - so I am sure that you will find something 

or someone to interest you. 

We are always pleased to hear the thoughts and ideas of musicians, 

regardless of age and experience, so please feel free to write to us with 

any comments or suggestions. 

As I have built my company on the interaction between ourselves 

and Marshall users, there can be no greater pleasure for me than to 

introduce a publication dedicated to Marshall players doing what they 

do best . . . that is playing Marshall. Long may it continue! 

Editor 

Steve Yelding 

U.S. Contributing Editor 

Nick Bowcott 

Copywriter 

Simon Alexander 

Graphic Design & Production 

Ivan Waldock 

Product Photography 

Rob Wyatt 

Cover Photograph Credits 

Chris Gill 

Darren Young 

Kristin Callahan 

Eddie Malluk 

Paul Harries 

Justin Thomas 

In addition to being one of the most popular 

and instantly recognisable axemen on the face of 

this planet, Slash is also one of the busiest. In 

this exclusive interview, the man with the top 

hat fills us in on what he’s been doing lately and 

talks a little about his new amp too... 

★ Slash ‘n’ Burn ★ 

“Why me?” That’s the question a somewhat bemused 

Slash asked on more than one occasion as he watched a casual 

backstage conversation about his beloved Jubilee head slowly but 

surely metamorphose into the first ever Marshall signature series amp. 

Such modesty is typical of this highly likable guy. Despite the fact he 

can’t even go for a quick beer without getting mobbed; has won every guitar 

magazine poll known to man; and has even been hailed by Guitar World as 

being ‘the father of the‘back-to basics’ movement in rock guitar, Slash is as 

down-to-earth as they get. “I’m extremely flattered that people think so 

highly of me as a guitarist but there are so many brilliant players out there 

who are so much more significant than me, it’s really hard for me to take 

that kind of compliment,” he states with trademark humility, referring to the 

Guitar World label just mentioned. 

“If I’ve had any influence whatsoever that’s nice to know but I don’t 

think I’ve changed anything. I mean, I like what I do, I know where it comes 

from and I’m proud of the fact it’s for real. But, I’m not even close to being 

the father of any movement. As far as I’m concerned I’m still learning.” 

★ The ‘Guv’nor on Slash ★ 

Anyway, getting back to Slash’s “why me?” question, Jim Marshall 

answers it superbly in his introduction to the manual that accompanies each 

Ltd. Edition Slash Signature amp. Here’s just a small segment of what “the 

Guv’nor” says [buy the amp if you wanna read the rest!]: “In addition to 

being a truly great guitarist, Slash personifies the true spirit of rock ‘n’ roll. 

Whenever he’s not on stage or in the studio with one of his own bands, 

he can be found jamming with someone else - from recording ‘I Don’t Live 

Today’ with Billy Cox and Buddy Miles [Band Of Gypsys] for the Stone 

Free - Tribute to Jimi Hendrix album to performing live with Michael 

Jackson at the 1995 MTV Awards. 

In addition to appearing on Michael’s last two LPs, Slash has also 

recorded with Carole King, Lenny Kravitz, Gilby Clarke, Iggy Pop, Paul 

Rodgers and our old friends Spinal Tap. 

And, if all that’s not enough,on October 27th, 1995, blues legend BB 

King personally invited Slash to jam with him at his 70th birthday concert in 

Memphis, Tennessee, USA.” 

Phew! That’s a pretty impressive resume and it doesn’t take into 

account anything Slash has done this year. So let’s take a quick peek at 

what he’s been up to lately . . . 

Slash Profile 

★ Slash’s Diary Jan - June ★ 

Jan: Slash and Jim officially unveiled the Slash 

Signature Stack and then signed autographs at the NAMM 

show in Anaheim, California. The result was a mob scene 

of epic proportions. 

Before the 

unveiling ceremony, 

the gents gave a 

private press conference 

for journalists from the 

world’s foremost guitar 

magazines. One of the many 

highlights came when one writer 

asked, “Can we expect to see 

another amp in the series?” Quick 

as a flash Slash replied, “I guess we 

could do a practice amp version. It would have three volume settings - 

‘Wake-up the neighbourhood’, ‘Police called’ and ‘Evicted!” 

Feb: By public demand based on a national popularity poll, Slash was 

invited to India to ‘flip the switch’ to kick off MTV’s launch into India and 

Southern China. While there he also jammed with Induscreed, one of the 

country’s leading rock acts. 

Slash then returned to America and appeared for Marshall at 

Thoroughbred Music’s ‘1996 Florida Guitar Show’ in Clearwater, Florida. 

Some 7,000 people turned-up and the line for Slash’s autograph was so 

huge, the local Police and Fire Marshal stopped fans entering the complex 

for over an hour! Then, that evening, Slash jammed with Rick Nielsen 

[guitar] and Robin Zander [vocals] from Cheap Trick plus Billy Sheehan 

from Mr. Big [bass], Rod Morgenstein of Dixie Dregs [drums] - surprise, 

surprise, they brought the house down! 

March: Slash travelled to Germany to attend the Frankfurt Music Fair. 

While there he jammed with his old pal, Paul Rodgers [vocals, ex-Free & 

Bad Co.] and blues legend, Peter Green [ex-Fleetwood Mac]. Slash and 

Jim also signed autographs together at the Marshall stand and, once again, 

absolute bedlam ensued! 

April: Played 3 sold-out arena shows in Japan as a special guest on the 

JT Super Producers Tribute To Nile Rogers tour. Slash performed with 

Chic on Le Freak and with Steve Winwood on several songs including 

Higher Ground and Stone Free. 

May: The Godfather of Soul, James Brown, invites Slash to perform at 

his 63rd birthday concert in Augusta Georgia along with Isaac Hayes and 

Bootsy Collins. He then went to Miami to make a special guest appearance 

at a Brother Cane charity concert for Muscular Dystrophy. 

By Nick Bowcott 

[ Cont. on page 5 ] 

2 

Photo : Sean Vennett

JCM Slash Signature JCM Slash Signature 

“This is the amp that has made six pretty successful albums, done 

countless sessions, survived two riots, three world tours and my inflexible 

approach to a particular sound. It's been flawless the entire time and I 

wouldn't even consider trying anything else - something that consistent 

you just don't **** with. 

“A lot of people are constantly trying to shove different amps down my 

throat and I'm like don't even bother. It’s good exercise for them to carry 

’em around though, I suppose.” 

★ A Piece of History ★ 

The JCM Slash Signature model is an authentic re-issue of the classic 2555 

Jubilee head and our first ever ‘Signature amplifier’. 

Originally released in 1987 the Jubilee amps were built to celebrate 25 years of 

Marshall Amplification and 50 years of Jim Marshall’s personal involvement in the 

music business. To carry the mantle for such an auspicious anniversary these 

Jubilee amps had to offer something really special. The model 2555 100 Watt valve 

head became the flagship of the range and received great acclaim from many 

different types of player throughout the world. 

One of the players who found that the 2555 perfectly suited his style was Slash 

of Guns‘n’Roses. Thus the bond was formed that was inevitably to lead to the reissue 

of this piece of amplification history. 

★ Features ★ 

The JCM Slash Signature model 2555SL is a hand wired, all-valve amplifier 

head driven by the classic Marshall configuration of 3 x ECC83 pre-amp valves and 

4 x EL34 output valves. It has received the instant acclaim enjoyed by the originals 

for successfully marrying the majestic powerful roar of the JCM 800 Series with an 

extremely versatile, high gain pre-amp. 

You can control the input gain level to perfectly match the 

output of your guitar and make the sound either crystal clean or dirtier by turning 

the level up. You can also bring in a more distorted edge for excellent crunch 

rhythm sounds by using the pull out switch feature on the input gain control. 

Pressing the footswitch [or pulling the Output Master control] activates the Lead 

Master section which transports you into high gain heaven, without any loss of 

focus or dynamics. This is ideal for the kind of driving clarity that you need for a 

convincing live performance. 

This ability to switch between the normal and beefed-up pre-amp gain levels 

effectively makes the 2555SL a two channel amp and gives you the facility to switch 

between either clean or crunch rhythm and lead tones with a tap of the foot. 

If the 2555SL’s full-on 100 Watts is too much for the size of venue [or for the 

rest of the band] you can use the output power switch to halve the power down to 50 

Watts. Reconfiguring the valves down from full pentode operation to half or triode 

operation in this way gives you even greater control of the amp’s wide tonal palette. 

Slash Signature 4x12 Cabinet 

Features: Celestion Vintage 

Speakers. Available in Angled (1960 

ASL) and Base (1960 BSL) formats. Slash 

Snakepit Logo on corner plate, with 

printed Slash signature. Stereo Switching. 

Front Panel Features : 

Input Gain (pull for Rhythm Clip) 

control; Lead Master control; Output 

Master (pull for channel change) 

control; Treble, Middle, Bass & 

Presence classic tone configuration; 

Low power (50 Watts) to High Power 

(100 Watts) selection Switch. 

Connections to and from the 2555SL couldn’t be simpler. Twin Speaker 

Outputs with impedance selection allow you to match the amp to whichever 

speaker set-up you choose and the voltage selector will let you tour the 

world without the need for external transformers. 

The Series Effects Loop provides the most convenient method 

for connecting external effects processors [particularly time 

based effects such as Chorus, Reverb or Delay]. 

Finally, the DI jack presents a low level version of the 

amp’s output for direct connection to PA or recording 

equipment. 

As with any guitar set-up the amplifier section is only half 

the story. Equally as important are the speaker cabinets. In 

Slash’s case he uses standard Marshall 4x12s loaded with Vintage 

30 speakers. 

These speakers were specially designed by Marshall to replicate the 

tonal warmth and fatness of the original 

Marshall 12’’ models. Although named Vintage 30 

each speaker is capable of handling up to 70 Watts, 

hence the 280 Watt rating of the cabinet. 

Slash Signature cabinets also feature 

Marshall’s unique Mono/Stereo switching system, 

plus impedance selection on the back plate. 

If not already special enough, the JCM Slash Signature model 2555SL has the 

added attraction of being a limited edition model. It will only be manufactured 

during 1996 and a total quantity of just 3000 amplifiers will be available worldwide. 

Also each head comes with a signed certificate of authenticity. 

In addition, every Slash amp or cabinet comes complete with the coolest 

autographed snakeskin style cover that you are ever likely too see. 

If you want to catch one of these historic amps and classic cabinets you will 

need to move fast. 

3 4 

2555SL Ltd Edition amplifier Head 1960ASl / 1960BSL Cabinets 

Photo : Darren Young 

★ The Rear panel ★ 

★ The Limited Edition ★ 

★ Slash Signature Cabinets ★ 

Rear Panel Features : 

Effects Send & Return; 

D.I.Jack; Twin Speaker 

Outputs; Output & Mains 

Selectors.

Slash Interview 2555SL Reviews 

[ Cont. from page 2 ] Later that month, he travelled to New York where 

he and Nile Rogers wrote and recorded a song called Obsession for an 

upcoming Quentin Tarantino movie, Curdled. The song’s distinctly Latin 

vibe will surprise many folk and Slash’s lengthy playout solo is a blinder! 

While in the Big Apple, the guitarist also found time to jam with living 

legend, Les Paul. “I was scared s**tless!” he admits. 

June: Performed with Alice Cooper at Sammy Hagar’s infamous club, 

Cabo Wabo, in Mexico. The gig was recorded for an upcoming live album 

and Slash appeared on four songs including Only Women Bleed and 

Elected which also featured Rob Zombie, vocalist of White Zombie. 

Add to this an appearance in a skit on Rosanne Barr’s ‘Saturday Night 

Show’ and another as a panelist on the popular Comedy Channel chat 

show, Politically Incorrect with Bill Maher and you realise that Slash truly 

is the busiest rock guitarist around! 

And, of course, while all this is going on he’s also working on new 

material with Guns ‘n’ Roses and, when time allows[!], Slash’s Snakepit 

too. 

★ Just Do IT! ★ 

So, what drives Slash to play with so many different people? “It’s the 

only way I can grow and is probably the only reason I haven’t got 

stagnant,” he reveals. “It’s great experience because there’s no lengthy 

rehearsals or overdubs, you’re just forced to go out and deal with 

performing live, right there, on the spot. That’s the biggest learning 

experience for me. 

Also, when you do this a lot, you find that you meet new people who’re 

really good and you learn from them. And if you hadn’t gone out there, put 

yourself in the open and tried your hardest, you would never have been 

exposed to those great musicians. I’ve gotten to play with some of my 

heroes as a result of throwing myself out there all the time.” 

★ The importance of a Cool Head ★ 

Of course, at all of the above playing dates, Slash used the Marshall 

amp that now bears his signature alongside Jim’s. “When I’ve been in 

different cities and countries, Marshall have been kind enough to loan me 

some 2555SL heads and cabs,” the shaggy-haired axeman states. 

“Working with loaner or rental amps is always the hardest thing for me 

to do but all the 2555SL’s I’ve used - from Germany to Japan to New York - 

have sounded f***in’ great right out of the box. 

As a result, I’m ecstatic because, no matter where I am in the world, 

providing I’ve got my guitar and can get hold of one of these amps, I know 

I’ll never have to worry about getting my sound again.” 

★ Parting Shot! ★ 

Before Slash headed for yet another guest appearance, this time at an 

Alice Cooper show in LA, I asked him if he had any words of wisdom he’d 

like to pass onto up-and-coming guitarists. 

“My advice to a player who really wants to go the whole nine 

yards and isn’t just f***ing around, is this: Get out there and just 

take your chances. Whenever there’s an opportunity to do anything, 

take it. Don’t get nervous about it and, even if you are, go for it 

anyway. 

You might encounter a couple of scary situations which don’t 

work out the way you want but at least you’re always learning and 

growing as a musician. 

Once you know exactly what it is that you wanna hear and how 

you wanna play, keep forcing yourself into situations where you get 

an opportunity to do it. To make a short story long [laughs], that 

would be my advice!” 

Whenever Marshall launches a new amp, we ship one out 

to each of the world’s major Guitar mags and then wait 

patiently for their verdicts to appear in print. Well, the writeups 

of the 2555SL Slash Signature head are in and we’re 

delighted to report that it received rave reviews right across 

the board. Below are some of the highlights . . . 

“ . . . remember the Maxell ad with the guy in the chair listening to his 

stereo with his hair blowing back? Well, imagine the chair empty and the 

guy pinned to the wall! This sucker moves air . . . lots of it!”. 

The Shadow, LIVEWIRE (USA), August / Sept ’96. 

“Despite the rhythm channel’s many strengths, the lead channel is 

where the JCM Slash Signature truly shines. Rich in harmonics and 

attitude, this channel is blessed with a stunning clarity that preserves the 

harmonic integrity of even the geekiest jazz chord. The lows are tight, 

punchy and defined, the highs shimmering and musical. Notes sustain 

effortlessly and are easily coaxed into singing feedback. More important, 

or perhaps all important, is the fact that while this amp has a unique 

character of it’s own, it manages to assert it while preserving the 

integrity of your guitar’s sound.” GUITAR WORLD, April ’96. 

“It’s still very much a Marshall, but think of it as a well trained 

Rottweiler - as happy chasing around a stick in the park as it is savaging 

the postmans’ trousers. When it comes to doing what it does best the 

re-issue is a force to be reckoned and will easily deliver the gamut of 

classic rock and blues tones - including a very convincing ‘Bluesbreaker’ 

type overdrive.” GUITARIST (UK), April ’96. 

“Plug in a humbucker equipped Gibson, select the Lead Channel and 

you’re rewarded with a full, fat and incisive rock sound that’s fun to play 

and easy to control. Power chords block up nicely for classic smooth 

sustain, yet single notes still come across with clarity and bass remains 

punchy at all times, even with the gain cranked up.” THE GUITAR 

MAGAZINE (UK), April ’96. 

“The Slash’s ease of operation makes it an obvious choice for those 

who dig the sound and simplicity of an 800 Series Marshall, but want the 

ability to footswitch between sounds. If you’ve been wishing for a new 

rock amp that can fill the gap between retro and modern, the Slash may 

do the trick. Now if Marshall would just keep making them . . .” GUITAR 

PLAYER, July ’95. 

“Welcome to the jungle boys and girls . . . ’cos the new Marshall 

Slash amp ain’t for the faint at heart!” The Shadow, LIVEWIRE (USA), 

“ . . . I got good results from the clean channel as well : tight, 

responsive, smacking sounds that offered classic Marshall dynamics. 

Play soft, and the amp sounds soft. Play hard, and the amp gets loud 

and aggressive. The tone was full-bodied and slightly emphasised the 

higher frequencies. I got good sustain too. Believe it or not, the clean 

channel can sustain the high harmonic of a low A note on the low E 

string as you like - no problem.” GUITAR SHOP, August ’96. 

5 6 

By Nick Bowcott What the critics say . . . 

Sept ’96.

JTM30 Series JTM60 Series 

★ Magical Valve Tone ★ 

The response and ‘feel’ of Marshall valve 

amplifiers has allowed countless guitarists to express 

the full personality of their playing. The beautiful full 

bodied warmth and tone that only a valve can give has 

become a Marshall trademark over the last 34 years. 

The JTM Series is the latest range of amps from 

Marshall to benefit from this unmistakable magical 

valve tone but mixes the heritage of Marshall’s past 

with the latest technological advances to give you the 

flexibility required by playing situations of today. 

The JTM Series is separated into three different 

ranges, the JTM30 combos, JTM60 combos and 

JTM600 amplifier head. The huge variety of speaker 

configurations and extensions available make them 

all suitable for any number of playing styles and 

applications. 

“ . . . don’t let the size fool you. There is a tiger in the tank. The clean side 

sounds like a Deluxe Reverb on steroids. In fact, our favourite setting was the 

clean channel flat out. The boost channel enables the player to dial up lovely gobs 

of distortion, from a tasty edge to full metal buzzola. This amp is a giant killer”. 

20th CENTURY GUITAR (USA), August ’95. 

“ If you want the muscular tone of a large British amp but your playing situation 

doesn’t allow you to turn a big amp up that high, the JTM 312 will do the trick.” 

MUSICIAN (USA), August ’95. 

★ JTM30 Combos ★ 

Ideal for home practice, studio sessions and smaller 

gigs the JTM30 comes in two formats; the JTM312 1x12” 

and JTM310 2x10”. Both have individual switchable 

channels, 3 band EQ and a deep natural spring reverb. 

The Normal Channel will give you shimmering, glassy 

clean tones, perfect for sensitive blues or snappy chord 

work, through to classic ‘Bluesbreaker’ vintage style crunch 

when driven hard. Switching to the Boost Channel gives you 

access to huge sounding vintage drive through to 

contemporary high gain sounds - the JTM30 has it all. 

If you want to hook up external effects the loop on the 

front panel is tailor made. Similarly if you need to add an 

extension cabinet such as the matching JTMC12, there is no 

problem. For those occasions where you want to connect 

directly to a desk either for recording or live work the DI 

features Marshall’s acclaimed Speaker Emulation circuitry 

making mic’ing up a thing of the past. 

★ JTM60 Combos ★ ★ The rear Panel ★ 

The JTM60 range take full advantage of 34 years of 

legendary Marshall valve tradition and presents the ideal 

range of 60 Watt EL34 valve powered combos for the 

amateur, semi-pro or professional club player who really 

cares about tone, flexibility, portability, reliability and 

stunning good looks! 

Separate 3 band EQ on each of the switchable 

channels gives you the fullest control of the plethora of 

vintage to contemporary clean or overdriven tones. 

By adjusting the individual reverb controls available 

for each channel you can add just the right amount of 

colour and ambience to your clean or overdrive sounds. 

Similarly the Effects Mix control lets you dial up the 

exact amount of effect required from external FX 

processors connected through the Effects loop. 

Features such as the Series or Parallel Effects Loops, 

Extension Speaker facilities, dramatic Master Presence 

control and DI output featuring Marshall’s authentic 

Speaker Emulation, make each JTM60 combo the perfect 

workhorse for even the most demanding guitarist. 

★ The Flavours 

JTM60 combos are available in four tempting 

flavours-: The industry standard 1x12” JTM612; the 

bigger and brighter 3x10” JTM610; the heavy duty 1x15” 

JTM615- [you have to hear this one to believe it] and the 

wider spreading 2x12” JTM622. To spread the JTM622 

even further, we also produce the JTMC212 matching 

2x12” extension cabinet. All the JTM combo models are 

loaded with specially designed Heritage speakers, which 

fully accentuate their glorious range of valve tones. 

JTM60’s, the look, sound and feel of a modern classic. 

“ . . . the sheer quality of tone makes the JTM310 sound like a bigger 

amp. And the lead sound with humbuckers is damn gutsy for a 2x10.” 

THE GUITAR MAGAZINE (UK) January, ’96. 

7 8 

JTM310 . JTM312 . JTMC12 JTM610 . JTM612 . JTM615 . JTM622 . JTMC212

JTM600 Head Def Leppard Profile 

★ JTM600 ★ 

The Marshall Stack has become the most widely used and 

recognised icon behind guitarists for over 30 years. Since we began 

producing the first amps and cabinets in 1962 we have built our 

name on quality, tone, reliability and stylish good looks. These 

values remain of paramount importance to both us and our many 

users today. 

The release of the Marshall JTM60 combo range [see previous 

page] was one of the latest testaments to these values, combining 

the build quality and reliability that only a company that has been at the 

forefront of guitar amplification design and manufacture for over 34 

years can produce, with stylish good looks and killer Marshall valve tone. 

With the success of the combos now well established we are now 

proud to release the latest addition to the JTM range. The JTM600 60 Watt 

valve head and matching JTMC410 4x10 cabinet. 

The head shares exactly the same features as the JTM60 combos, such 

as two independent channels allowing you to use different tone settings for 

Clean and Boost sounds; individual Reverb Level controls for each channel; 

Series and Parallel Effects Loops with an Effects Mix control on the front 

panel and Line Out facilities; featuring our acclaimed Speaker Emulation 

circuitry. 

The range of tones will take you from sparkling clean through vintage 

bark, to modern high gain scorch and back again. With a heavy-duty 

transformer drawing on the full might of its EL34 driven, all-valve power 

stage. 

★ JTMC412 ★ 

One of the advantages of owning a head as opposed to a combo is the 

extra flexibility offered by the choice of speaker cabinet. To fully 

complement the JTM600 head we have produced a compact 4x10”, 

120 Watt speaker cabinet, the JTMC410. 

Loaded with 4 specially designed Celestion 30 Watt speakers, the 

JTMC410 will form a neat half stack when used singly or a compact yet 

powerful full stack if you use two. In fact the JTM600 will drive any cabinet 

set up from the highly portable JTMC212 right through to the legendary full 

size Marshall 4x12. 

“ The JTM60 is capable and versatile offering lots of fine rock 

sounds as well as surprisingly good clean sounds and it reflects the 

type of guitar you plug into it too. So, Hendrixy Strat sounds, fattoned 

Bluesbreaker excursions, high-gain metal or thrash are all 

possible.” THE GUITAR MAGAZINE (UK), August ’95. 

“ The Spunky JTM615 produces sparkling clean tones and rich rock grind 

with humbuckers . . . Mated with a groovacious two-pickup ax (a PRS sounded 

excellent), this Marshall’s mean-sounding lead tones and round bottom end are 

utterly happening for rock or blues. We suspect a lot of country pickers will 

groove on its twang too.” GUITAR PLAYER, December ’95. 

They’re one of the biggest rock bands ever; they boast one of the 

finest guitar pairings in the business; they’ve sold in excess of 40 

million LPs; they misspell their name and, furthermore, 

they’re British and are damned proud of it. They’re DEF 

LEPPARD and they’ve just been..... 

★ Marshallized! ★ 

If one rock band had to be singled out as ruling the ‘80s, it would 

probably be Def Leppard. After all, their third and fourth LPs, 

Pyromania [1983] and Hysteria [1987], topped charts all over the 

globe and sold a combined total of more than 20 million units in 

America alone. Furthermore, their super slick, MTV-perfect, 

larger-than-life production set a new standard for how commercial 

rock should sound in that now bygone era of hair rock. “Because we 

were so successful, all of a sudden everyone wanted to sound like us,” 

reflects guitarist Phil Collen who joined the band midway through the 

making of Pyromania. “And, although imitation is the sincerest form of 

flattery, we were so mimicked our sound started to get burnt out.” 

★ Survival of the Fittest ★ 

Anyway, the ’80s are now long gone and the face [and hair] of rock 

has changed considerably. So, how have Def Leppard fared? Pretty well 

actually. Despite the fact that a trio from Seattle called Nirvana literally 

rewrote the rules overnight with their 1991 LP, Nevermind , the Def Lep 

legacy has continued to grow. In 1992 Collen & Co. released Adrenalize 

- yet another album boasting their trademark BIG production. 

Unfortunately, the LP was made without co-founding guitarist and 

riff writer, Steve Clark, who sadly died from substance abuse in 1991. 

Adrenalize entered the American charts at no.1 and went on to sell a very 

respectable 4 million copies in the U.S. alone. 

Then, in 1994, came their Retro-Active LP [essentially a collection of 

B-sides with a few new and unreleased goodies thrown in for good 

measure] which spawned the global smash, Two Steps Behind, followed 

by their highly successful greatest hits package Vault in 1995. 

Incidentally, while promoting Vault, Def Lep set a world record by 

playing three gigs in three continents in just one day [they performed in 

Morocco, London and Vancouver] - nice one boys! 

★ Talking Slang! ★ 

Now, in mid ’96, the band has just released its eighth 

album Slang. On their last few LPs, the band has relied on 

refrigerator-sized racks full of so-called ‘state-of-the art,’ 

digital devices to create their radio-friendly guitar sound. 

For Slang however, they went back to the analogue basics of 

rock...namely, all-tube Marshalls! 

Why the sudden change? “The day before we started recording 

Slang, myself and Joe Elliott [vocals] did a Mick Ronson tribute gig at 

Hammersmith Odeon in London,” Phil recalls. “And, I needed an amp 

but I didn’t really want to rent one. So, I went up in my Mum’s attic and 

there was the 50 Watt Marshall head I used throughout all the Girl 

[Phil’s pre-Lep band] stuff. 

Actually, that was also the amp I used to record all my solos on 

Pyromania too. Anyway, I used it at Hammersmith and I honestly think 

it was the best tone I’d ever had in my life. It just felt so natural. Then, 

we checked out a 50 Watt SL-X head and I was completely sold! I did 

pretty much the whole album using that amp.” 

★ Better late than Never! ★ 

Slang is the first Def Lep LP to feature Mr.Clark’s replacement, the 

excellent Vivian Campbell [ex-guitar hero for Dio and then Whitesnake]. 

“Thank God a Def Leppard record has finally come out with me on it 

all the way through,” jokes the amiable Irishman. “When I joined this 

band I was in my 20’s and now I’m nearly 34!” It was worth the wait 

though it seems: “The guitar sounds on Slang are very natural and pure 

by Def Leppard standards,” Viv enthuses. “As Phil’s already said, for the 

most part, it was guitar plugged straight into a Marshall SL-X. And, I 

must say, I’m well-chuffed with my sound.” 

As pleased as he is with the LP, the guitarist realises that Slang may 

not be an easy sell. “We’ve got a big hurdle to overcome because a lot 

of people still see Def Leppard as this big, slick ’80s hair band,” he 

openly admits. Worry not Mr.Campbell, Slang proves that this Leppard 

has successfully changed its spots! 

★ None more Black! ★ 

In keeping with their huge global status, Def Leppard just 

commenced a mammoth world tour in exotic Bangkok, Thailand. And, 

thanks to their self-effacing humour, said tour has been named None 

More Black [© Nigel Tufnel]!! Viv’s and Phil’s backlines on this trek are 

a visual testament to their newly pledged allegiance to Marshall - a 

bunch of 5881 loaded SL-X heads and 9200 power amps driving a 

veritable Hadrian’s wall of 1960BV cabinets. 

One of Def Leppard’s biggest strengths has always been their 

spirited live performance. So, if you wanna get rocked, we strongly 

recommend that you check ‘em out when they play an enormo-dome 

near you. If you don’t, you’ll miss out. 

9 10 

JTM600 Head . JTMC410 Cabinet By Nick Bowcott 

Photo : Darren Young 

Photo : Darren Young

Photo : Chris Gill 

U.K. Artist News U.K. Artist News 

Welcome to the first U.K. Artist news pages in this the re-born 

Marshall Law. Here we aim to give you a brief overview of the 

Marshall wielding bands / guitarists currently in the news in dear ol’ 

Blighty, both established and, just as importantly up and coming. 

Since Marshall Amplification began in 1962, we have always 

had a great relationship with guitar players. In the sixties it 

was quite usual to find the likes of the then relatively unknown 

Jimmy Page, Eric Clapton, Ritchie Blackmore, Jeff Beck, Pete 

Townshend etc. hanging out in the Marshall shop on a Saturday. 

It was this relationship which was fundamental in leading such 

guitarists to continue using Marshall later in their careers. 

To this day we still pay a great deal of attention to the up and 

coming guitarist as it is with such artists that our future lies. So, 

although you may be unfamiliar with some of the following artists, 

you can rest assured that they are all proud members of the 

Marshall army and are destined to become household names. 

★ The Brit Scene ★ 

The music scene in England has undertaken a number of interesting 

turns since the mid 1980s. It is no longer the norm to find guitar heroes 

stalking stages of 4x12 cabs stacked to the rafters, playing never ending 

guitar solos. The guitarist of 1996 is an altogether different animal, where 

the song is more important than the solo. One thing that has remained 

constant though, is the familiar Marshall logo behind the guitarist. 

With the advent of Brit Pop and Brit Rock, a host of new bands are now 

being powered by the mighty Marshall. Here are just a few of the bands 

flying the Brit Pop banner that we have supplied with gear - Pulp with 

6100s and a JTM60 combo, Blur with 1959SLPs, PB100, cabs and MS-2s, 

The Boo Radleys with 4100s and DBS gear, Marion with 8280s, Echobelly 

with 1959SLP’s, a 1962 Bluesbreaker combo, an 8100 and various cabs, 

The Bluetones with a 6100LM and 4x12 cabs and Ash with 6100s and a 

JTM60 combo. 

Under the Brit Rock banner things are also looking rosy. We 

have supplied Terrorvision with 4100s and cabs, Skin with 

4100s, 6100s and cabs and also Paradise Lost with numerous 

pieces of rack equipment and cabs. We have also keenly 

watched the progress of The Wildhearts another great 

Marshall band. 

Last, but by no means least, England’s finest, the 

almighty Oasis are very vocal regarding their use of and 

admiration for Marshall Amplification in the music press. In 

fact, the bands bass player, Paul Guigsy McGuigan recently 

visited the Marshall factory to check out our DBS range. He 

was so impressed that he promptly placed an order for a DBS 

rig, consisting of a 7400 head, 7412 4x12 cab and a 7215 2x15 

cab to be sent straight to the Oasis rehearsal rooms. 

With the aforementioned groups sounding like a list of Britain’s 

most popular guitar orientated bands, Marshall’s health is ruder than 

ever. 

★ There and Beck ★ 

British guitar ace Jeff Beck recently completed his 

U.S. tour sharing the bill with another guitar great, 

Carlos Santana. 

Jeff had been auditioning a number of 

different amps for use in his backline which 

resulted in him becoming more firmly 

attached to his own original 1970s 50 Watt 

Marshall Super Lead head. After an urgent 

phone call from Andy Roberts, Jeff’s tech, we 

shipped a brand new 1987x Super Lead head 

to Beck’s rehearsal studio. 

The result, Beck’s guitar backline is now exclusively powered by 

two Marshall 50 Watt Super Lead heads, one original and one 

re-issue. Plus, of course, Marshall 4x12s. 

★ Babylon Zoo ★ 

The first single from Babylon Zoo’s debut album, The 

Boy With The X-Ray Eyes, became an instant no.1 in the 

charts both in England and in 12 other countries at the 

last count. The single, titled Spaceman, which was also 

used for a recent Levis 501 advert, featured Bowie-esque 

vocals, dance beats and a super charged driving guitar. 

To reproduce the killer guitar tone live, Babylon Zoo rely on 

Valvestate 8100s and Marshall 4x12 cabs. 

★ Tim Renwick ★ 

Long time second guitar player for Pink Floyd, Tim Renwick, has 

recently joined the Marshall ranks. Tim, also widely known for a string of 

other sessions such as Mike and The Mechanics and various T.V. shows 

has become the proud owner of a JMP-1, JFX-1, 9200 and two 1936 

cabinets. 

Tim finds that this rig easily supplies the wide array of sounds and tones 

required by the modern day session player. What’s more, this set-up is 

incredibly easy to use. 

★ The Boo Radleys ★ 

Fresh from the success of 1995’s Wake Up, the Boo Radleys have just 

completed recording their fifth album. As with each of their previous 

albums, the latest promises to follow a different direction. 

One thing that will remain constant though is the bands 

use of Marshall equipment. The Boo’s used a selection 

of different Marshalls while in the studio, including 

various Dual Reverb models, DRP-1s and DBS 

bass gear. 

★ Apes, Pigs & Spacemen ★ 

One of England’s finest and most promising new rock 

bands, Apes, Pigs and Spacemen, have recently returned 

home from a triumphant support tour with American rock 

giants, Skid Row. This trek definitely enhanced the 

success of their debut album, Transfusion, which was 

produced by Simon Efemy [fresh from working with such 

luminaries as Pantera and Helmet]. 

Apes, Pigs and Spacemen’s guitarist Kettle is currently 

in the process of re-organising his guitar rig and has been 

using a Marshall JMP-1 and 9200 power amp for the 

band’s recent live outings. Kettle is looking to move 

permanently to this Marshall rack set-up in the near future. 

Godfathers Of Grunge? 

Killing Joke have enjoyed a resurgence 

of interest over the past few years for two 

reasons. 1. The similarity between Killing 

Joke’s track Eighties and the later released 

Nirvana song Come As You Are, along with 

the resulting public battle between the two 

bands. 2. A stripping down of the bands 

sound resulting in an unbelievably slamming 

guitar fest courtesy of macho fret mangler 

Geordie Walker [Right]. 

Geordie’s JMP-1 and 9200 

powered killer guitar sound can 

be heard to great effect 

throughout Killing Joke’s latest 

album Democracy. The recording of which 

blew all of Geordie’s non-Marshall guitar cabs 

soon to be replaced by, yes you guessed it, 

the only cabs man enough for the job, trusty Marshall 4x12s. 

★ Ash ★ 

Formed in late ’92, the story 

behind pop-punk sensation Ash 

reads like every school boys 

dream. Three lads form a band 

playing music reminiscent of 

the Undertones and the 

Buzzcocks through to Husker 

Du and the Pixies; go on tour 

with the likes of Elastica, 

supporting Ride and Babes in 

Toyland and get no less than four 

NME Brat Award nominations. All while 

still at school! 

The lads finally left school in June ’95 and their 

infuriatingly catchy single, Girl From Mars, entered the national charts in 

England just over a month later at no.11. 1996 looks set to carry on in just 

the same way with the single Goldfinger recently going into the English 

charts at an astounding no.5. Throughout this time Ash have relied on 

Marshall Amplification for their guitar backline, currently consisting of 

6100LM heads and a JTM60 combo. 

★ Ocean Colour Scene ★ 

★ Killing Joke ★ 

Currently taking the British charts by storm are the Birmingham based 

band Ocean Colour Scene. At the forefront of the happening Mod scene in 

England, OCS produce a sound that is fresh and exciting whilst being 

classic and timeless. 

Drawing on influences such as The Small Faces and The 

Beatles, Ocean Colour Scene’s guitar sound is powered by a 

mixture of different Marshall amps through 1960AX and 1960BX 

cabinets. The resulting tone is a publicly cited favourite of the 

likes of Noel Gallagher of Oasis fame and also Paul Weller. 

In fact, Paul Weller is such a fan that around the time of the 

Wild Wood sessions, Steve Craddock, guitarist extraordinaire 

with OCS was invited to fill the position of guitarist with Paul 

Weller. A position that he has filled admirably for the last two 

years in addition to his role as guitarist in OCS. 

★ Pulp ★ 

After 16 years of trying to make 

it, Pulp are definitely there. Their 

last album, Different Class, included 

the massive hit singles Common 

People and, complete with raucous 

power chords, the stunning Disco 

2000. 

The amps that Pulp choose to 

record and gig with? Marshall 

6100LM heads and a JTM60 combo. 

★ Skin ★ 

In just under two years Skin have become the British standard bearers 

of traditional good time hard rock. During a time when bands playing this 

type of music are definitely not the media darlings 

they once were, Skin have been incredibly 

successful. 

Having already played Donnington, 

supported Bon Jovi and had a debut 

album go straight into the British charts 

at No. 9, Skin look set to continue onto 

great things. 

Myke Gray, the guitar wunderkind 

with Skin used to rely on a 9001/9005 

set-up and a 4100. He now chooses 

6100LMs to deliver his Marshall powered 

guitar sound. 

Photo : Guido Karp 

Photo : Kevin Westenburg 

★ Terrorvision ★ 

1994 saw the release of Terrorvision’s second 

album, How To Make Friends And Influence 

People. This instant ‘must have’ addition to any 

record collection spawned no less than five hit 

singles in the U.K. Their recently released third 

LP, Regular Urban Survivors, looks set to carry 

on the same way having already produced two top 

10 singles, Perseverance at no.5 and Celebrity 

Hit List at no.10. With the band already booked 

to play England’s infamous Phoenix and Reading 

festivals this summer, the future couldn’t look 

brighter for them. 

At the heart of Terrorvision’s loveable fusing of rock and pop is Mark 

Yates’s guitar. For both live and studio work, Mark opts for a classic, backto-basics 

guitar rig consisting of a Les Paul, a wah-wah and two mighty 

Marshall 4100s to deliver his crunching guitar sound. 

★ Echobelly ★ 

Echobelly’s lead guitarist Glen was recently 

speaking to Paul Weller, a long time user of Marshall 

Bluesbreaker combos, who suggested to Glen that he 

really ought to check them out. 

Glen, himself a staunch Marshall devotee who 

usually plays through a 1959SLP, 1960AX, 1960BX 

and a Bluesbreaker pedal, has ordered a Bluesbreaker 

combo for his current recording session and for 

Echobelly’s support with David Bowie. 

11 12 

By Simon Alexander The Best of British

Tales from the Darkside Natural Born Killer 

Heavy metal [in its many guises] may not by considered ‘cool’ 

right now but the genre’s alive, well and kicking butt. Just ask Ozzy 

Osbourne, Pantera, Fear Factory, Sepultura, Machinehead or 

Metallica if you don’t believe me! So, let’s take a quick look at 

what four of America’s hardest cases - Anthrax, Ministry, Biohazard 

and White Zombie [see page 18] have been doing with themselves 

lately. And, while we’re at it, let’s also scope out what Marshalls 

they’re using to help them deliver the goods... 

★ Anthrax ★ 

Stomp On This! 

“If we stood on top of Mount Everest waving a big flag with the word 

‘metal’ written on it, we couldn’t wave that flag any harder,” jokes Anthrax’s 

rhythm guitar ace Scott Ian. “We’re a ****in’ metal band and we’re proud 

of the fact.” 

Currently on the final leg of a 170 date headlining world tour in support 

of their critically acclaimed tenth LP, Stomp 442, Anthrax need no 

introduction to the moshing masses. After all, along with Metallica, Slayer 

and Megadeth, they were one of the “big four” that gave birth to the thrash 

metal genre in the mid ‘80s. Anthrax was also one of the first bands to 

explore the exciting potential of merging metal and rap. 

Their first trip into this relatively unexplored territory spawned the 1987 

hit EP, I’m The Man. Then, in the early 90s, they collaborated with the 

notorious rap group, Public Enemy - a venture 

which resulted in the hit single, Bring The 

Noise and a groundbreaking, co-headline 

tour with the rappers too. 

From Anthrax’s humble beginnings back 

in 1983, Scott’s always been a Marshall 

man. In fact, he now owns enough of our 

amps and cabs to open his very own music 

store! For the Stomp 442 tour he’s been 

using one of his ‘all-time favourite’ Marshall 

heads, the Jubilee. 

“It just has that really ballsy 

sound and all the edge I need,” 

the shaved headed six stringer 

states. To be exact, Scott’s using 

an original head from 1987 along 

with a recently purchased Slash 

Signature reissue and four 1960BV 

cabinets. “A lot of people are surprised 

that I’m not using a higher gain amp,” Scott laughs. “The thing is, the 2555 

has the right kind of gain - it’s not too distorted, it just has that real clean, 

punchy, tight, edgy sound I like.” 

★ Ministry ★ 

Wallowing In Filth! 

“No Marshall, no Ministry” the band’s mastermind, Al Jourgensen 

informed us recently. Cheers Al. Coming from this man that’s quite a 

compliment ’cos, in the minds of many, without Al and his longtime partnerin-crime, 

Paul Baker, there’d be no hard-hitting industrial acts like Nine 

Inch Nails and Filter around. 

Yep, thanks to this pair it became ‘OK’ to mingle metallic 

guitar riffs with drum machines, dance rhythms, ‘outthere’ 

samples, synths and distorted vocals. 

Consequently, Al and Paul are quite rightly hailed as 

the Godfathers of Industrial Metal. 

The fact that Al recently appeared on the 

cover of Guitar Player magazine ’s ‘The future of 

Heavy Guitar issue [March ’96] is proof positive 

of his deserved high standing in his [Killing!] 

field. 


Photo : Eddie Mulluk 

Currently midway through their charmingly named Sphinctour, world 

tour in support of their equally charmingly titled new LP, Filth Pig, Al and 

Ministry’s other two guitarists, Louis Svitek and Zlatko ‘Bob’ Hukic, are 

backed by a veritable stack of JMP-1/9200 pairings. “The first time we 

played through the JMP-1/9200 combo, we vowed never to use our Shure 

Vocalmaster again!” Mr.Baker joked, spurring Bob to get in on the fun by 

stating, “Marshall. Marshall. Marshall. That’s all I have to say!” 

Louis, a guy who’s been around the block a few times, was a tad more 

serious when explaining his allegiance to the sound of rock: “Simply put, 

Marshall has been my sound for 15 years.” 

Aside from Al’s wonderful opening compliment though, our favourite 

Ministry / Marshall quote came from the most unlikely of sources, band’s 

drummer Rey Washam. “Marshall? I don’t use Marshall,” was his comical 

contribution. No kidding Rey! 

★ Biohazard ★ 

No Sleep ’til Brooklyn! 

Hailing from Brooklyn, New York, Biohazard are anything but your 

average, run-of-the mill band. Their aggressive, metallic riffing paints a 

brutal sonic backdrop for their two lead vocalists, Billy Graziadei [guitar] 

and Evan Seinfeld [bass], to rage over. This unusual, rap group-like 

approach coupled with the fact that both singers possess distinctively 

different voices, makes Biohazard unique. All this helps explain why inexcess 

of 300,000 fans bought their 1994 album, State Of The World 

Address. 

Unfortunately, just prior to starting work on their eagerly awaited fourth 

LP, Brooklyn’s finest suffered a blow which would’ve knocked the spirit out 

of a less committed outfit - the departure of co-founding guitarist, Bobby 

Hambel. The reason? That good old ‘musical differences’ clause. “We just 

started growing in different directions,” Billy confirms. “Three of us were 

travelling one path, Bobby was taking another. We decided that it was best 

the paths went as they were going.” 

Undeterred by this setback, Biohazard 

commenced writing and recording as a 

three-piece, recruiting ex-Helmet 

guitarist, Rob ‘Das’ Echeverria, 

towards the end of their time in the 

studio. 

The resulting LP, Mata Leao, 

is the aural equivalent of a savage 

beating with a baseball bat, a fact 

that will delight their multitude of 

fans. 

Yep, it looks like the band’s 

unique blend of hardcore, hip-hop 

and metal will triumph once again! The 

primeval force behind both Billy’s and 

Rob’s crushing tones is the tried-and-tested 

JMP-1 / 9200 combination driving 1960A and 

1960AC cabinets. 

“The thing I’ve always liked about Marshall is that 

there’s no bullshit,” Billy asserts. “I can just plug in, 

forget about all the extra outboard crap and get a warm, 

ball-crunching sound.” 

STOP PRESS : It has just been confirmed that Biohazard have been 

added to this year’s Monsters of Rock festival in Donnington, England. 

Let’s just hope that they get to play their whole set. The last time they 

appeared at this legendary event was in 1994 and they got the crowd 

so fired-up that a vast legion of fans joined them on stage! 

As a result, the organisers pulled-the-plug [wimps!] 

and Biohazard’s set was cut prematurely short. This is 

the first and only time this has happened at Donnington! 

Photo : Kirstin Callahan 

Alternative Guitar God, Dave Navarro, reveals his current feelings 

on playing lead, admits his longtime love affair with 4100s and 

discusses his unbridled loathing of light bulb costumes! 

What do the Red Hot Chili Peppers and Spinal Tap have in common? 

Well aside from the Chili’s penchant for wearing totally ridiculous costumes 

[do you have any idea how much it would cost to dress the band up as 

lightbulbs!? Remember Woodstock II in ’94?], Flea & Co. go through axemen 

at a rate rivalled only by Tap’s rapid turnover rate of drummers. Count ’em 

man, since forming in 1983 they’re already on their sixth six-stringer [actually 

the seventh, if you take into account the fact that co-founder member, Hillel 

Slovak, left and then rejoined again before tragically dying of substance abuse 

in 1988]. For your information, the RHCP list of ex-axemen goes: Hillel, Jack 

Sherman, DeWayne ‘Blackbird’ McKnight, John Frusiante and Arik Marshall. 

Oh, in case you’re wondering what the hell any of this abbreviated history 

lesson has to do with the subject of the piece, Dave Navarro, all will become 

clear... 

As I’m sure you are well aware, the band’s latest, and arguably greatest 

addition to their six-string spotlight is one Dave Navarro, a guy who’s already 

written his own chapter in rock guitar history thanks to his groundbreaking 

and vastly influential work with Jane’s Addiction. Now, unless you were in 

cryogenic suspension during the late ’80s / early ’90s, you’ll be well aware of 

the fact that Jane’s Addiction were largely responsible for the birth of the socalled 

‘90s alternative’ movement. Indeed, Jane’s main man, Perry Farrell was 

also the brainchild behind the immensely successful Lollapolooza movement. 

★ Darkman? ★ 

Although he has a reputation for being somewhat dark and moody [“I am 

prone to being pessimistic” Dave admits], Mr.Navarro certainly can’t be 

accused of being devoid of a [black?] sense of humour. 

A truth, born out by the back of one of his Red Hot Chili Peppers guitar 

picks that reads “Hillel, Jack, B.Bird, John, Arik, Dave,?”. Funny, self-effacing 

stuff. Furthermore, when Dave took the time out of his busy touring schedule 

to speak with Marshall Law recently, he was nothing like the darkman image 

that certain media have painted of him. Instead, he was friendly, amusing and 

informative. 

★ Voodoo Chili ★ 

“When I first picked up the guitar I was about 10 or 11,” Dave recalls. “My 

parents gave me piano lessons when I was younger but all the music I liked 

was played on guitar so I rebelled and swopped instruments. I was also heavily 

into skateboarding at that time and I used to be a member of a skatepark 

[essentially an empty swimming pool] where they used to play music over the 

PA while we were skating. Anyway, one day Purple Haze and Voodoo Chile 

came on. I immediately stopped what I was doing and did 

that thing where you actually stare at the speaker. 

You don’t actually hear the music any better but 

that’s what I did. And, while I was staring at the 

speaker, I went, “That’s what I want to do.” From that 

moment on there was never a doubt in my mind that I 

would do anything else.” 

★ The Dave ‘Thing’ ★ 

Many critics have described Dave’s debut LP with 

the RHCPs, One Hot Minute, as a Chilis/Jane’s hybrid - 

a depiction the guitarist isn’t exactly 100% sure of: “I 

really don’t think I brought a Jane’s Addiction thing to 

the table as much as I brought my thing,” he muses. 


“I definitely come from 

a slightly different place 

than the rest of the band, 

musically speaking. As 

Flea once said, they’re 

percussive and sharp-edged 

whereas I’m more into melody 

and ethereal sounds. 

It’s a combination that’s 

worked really well and has given 

birth to something very new. 

Having said all this, on the 

surface I’d have to say that One 

Hot Minute does kinda sound 

like the guy from Jane’s 

Addiction playing with the Chili 

Peppers!” [laughs]. Thanks for 

clearing that one up Dave! 

★ Less is More ★ 

Although Dave played a fair amount of lead during his celebrated time with 

Jane’s Addiction [winning several magazine’s ‘Best Guitarist’ as a direct result), 

he’s kept such fretboard excursions to a bare minimum on One Hot Minute. “I 

totally wanted to get out of that lead guitar thing - I’ve already done more than 

my fair share of it,” explains Dave. “Nowadays I’m much more interested in 

creating a mood than cramming myself down people’s throats.” 

★ The Amp Remains the Same ★ 

Ever since his early days with Jane’s in the late ’80s and right up to the 

present day, Dave has remained loyal to one amp the Marshall 4100, 100 

Watt, High Gain Dual Reverb head. 

“I’m a fairly simple guy and I have a total lack of knowledge when it comes 

to musical equipment,” the axeman reveals. “I’m not one to speak intelligently 

about my gear which is, I suppose, why I go with the 4100. 

You basically don’t need to have intelligence to use this amp (laughs) 

which is a good thing! What I look for in my gear is simplicity and range at the 

same time. I can get an amazing high-gain sound and a very clean sound at 

the flick of a switch. And, for what I do, that completely serves my purpose.” 

★ First Time - Last Time ★ 

Mr. Navarro’s first ever major live show with the Peppers 

couldn’t have taken place at a bigger gig - the already legendary 

Woodstock II festival of 1994. Mind you, when he first walked 

out on that enormous stage, the vast throng of people stretching 

out as far as the eye could see, didn’t freak him out in the 

slightest - Dave had something else on his mind. “There wasn’t 

really room for me to worry about anything ’cos I was wearing 

this stupid lightbulb helmet!” the guitarist recalls with a wry grin. 

“It was awful - I couldn’t see and I couldn’t hear. It was one of 

the worst ever experiences of my life.” 

So, it’s fairly safe to assume that this unique piece of 

headgear has made its first and last public appearance then? 

“Never again, trust me on this one!” our subject exclaims. “There 

are no words in the English language that can adequately express 

the joy I felt when the thing finally came off!” 

13 14 

By Nick Bowcott Dave Navarro Profile 

Chili! Chili! 

Photo : Chris Gill

Valvestate TM The Next Generation 

★ The Next Generation ★ 

In the early 1990s Marshall released Valvestate. The concept 

behind Valvestate was to produce high quality amps that possessed 

all of the warmth, tone and feel of valve amplification but without 

using any valves in the power amp. 

After many hours of intensive research, we succeeded beyond our wildest 

dreams and produced a range of amps that became so popular that we still 

can’t keep up with demand, several years down the line. Valvestate went onto 

become our most successful and popular amp range ever. 

What was so special? Our Research and Design engineers closely 

examined what makes a valve power amp sound the way it does. They 

discovered, amongst other things, that a valve power amp actually drives the 

speakers in a different way to a solid state power amp and managed to 

emulate this unique interaction without the use of power valves. Add to that a 

single pre-amp valve in higher powered models, to guarantee that authentic 

Marshall tone and you have the recipe for something very special indeed. 

Time has marched on since the first generation of Valvestate and so have 

the needs and wants of the modern guitarist. Now, in 1996, we give you the 

next generation of Valvestate. 

★ VS15, VS15R & VS30R ★ 

For practice at home or warming up backstage, the VS15 and VS15R are 

ideal. Both are 15 Watt combos which share exactly the same facilities but for 

the inclusion of reverb on the VS15R. Sounds range from crisp and clean to 

low down and dirty with headphone facilities which mute the internal speaker. 

Increase the power to 30 Watts, add footswitchable Clean and Overdrive 

Channels and you have the VS30R - an amp that’s great for practicing and for 

taking out for jamming with friends. 

★ VS65R ★ 

The Marshall name is synonymous with valve amplification. The all new 

VS65R features the classic ECC83 pre-amp valve to guarantee greater warmth, 

harmonic drive and the famous distortion tones that only a Marshall can 

muster. Combine this with a twin channel layout, complete with Tone Shift on 

the Clean Channel, Marshall’s killer Contour control on the Overdrive Channel 

plus Headphone facilities and you have a superb sounding amp that is perfect 

for warm-ups, rehearsals and recording sessions. 

★ VS100R ★ 

The 100 Watt VS100R 1x12” combo and VS100H amp head are the first 

amps ever in their price category to feature three footswitchable channels and 

an ECC83 valve in the pre-amp to ensure a full helping of classic Marshall 

valve tone. 

This is where you will find incredible flexibility with a front panel giving 

you a clean channel with its own dedicated EQ and reverb controls, plus a 

choice of two footswitchable Overdrive modes, again with EQ and Reverb 

controls. The clean channel comes complete with Tone Shift option while the 

Overdrive channel features the revolutionary Power Dimension switch. This 

gives you the feel and response of a valve power amp running flat out when 

you haven’t got the luxury of actually being able to play at full volume. 

In addition these amps feature the legendary Marshall Contour control on 

Overdrive 2 to give maximum focus to the distortion tones, an Effects loop 

with Mix control, Headphone Output and an extension speaker output on the 

VS100R combo. This allows you to complement the built in Gold Back 

speaker by driving the matching VS112 80 Watt 1x12” extension cabinet. 

★ VS100H ★ 

The VS100H provides all the three channel benefits of the combo but gives 

you the added flexibility of choosing the cabinet set up which best suits your 

playing situation. Ideally a single VS412 160 Watt 4x12” will form the perfect 

half stack. Or, even better, 2 x VS412s will make an impressive full Marshall 

Valvestate stack. 

15 

15 Watt 1x8” Valvestate 

Combos. 

Features: Twin Gain controls 

for fine tuning Clean to Crush 

tone. Treble, Contour & Bass 

EQ controls. Spring Reverb 

(VS15R only). Headphone jack 

(mutes internal speaker). 8” 

‘Gold Back’ speaker. 

VS15/15R 

Dual Channel 65 Watt 1x12” Valvestate Combo. 

Features: Footswitchable Clean and Overdrive channels. ECC83 valve in the preamp. 

Clean channel with 3 band EQ plus Tone Shift option. Overdrive channel 

with 3 band EQ including ‘Contour control’. Spring Reverb. FX Mix control. Line 

Out. Headphone jack (mutes internal speaker). 12” ‘Gold Back’ speaker. 

VS15 . VS15R . VS30R . VS65R VS100R . VS100H . VS112 . VS412 

VS100H 

VS100R 

3 Channel, 100 Watt Valvestate Combo or Head. 

Features: Footswitchable Clean, Overdrive 1 & Overdrive 2 channels. ECC83 pre-amp 

valve. Clean channel with 3 band EQ plus Tone Shift option. OD1 with Gain and Volume 

control. OD2 with Gain, ‘Contour’ and Volume control. 3 Band Overdrive EQ. Power 

Dimension Switch. FX Loop with Mix control and Level selection. Spring Reverb with 

separate Reverb controls for Clean and Overdrive. Line Out. Headphone jack. Extension 

Speaker Output. 12” ‘Gold Back’ speaker (VS100R only). 

Dual Channel 30 Watt 1x10” Valvestate Combo. 

Features: Footswitchable Clean and Overdrive channels. Volume, Bass & 

Treble controls on the Clean channel. Gain, Bass, Contour & Volume controls 

on the Overdrive channel. Spring Reverb. FX Mix control. Line Out Jack. 

Headphone jack (mutes internal speaker). 10” ‘Gold Back’ speaker. 

VS30R 

VS65R 

16

Valvestate TM Stereo Chorus J. From White Zombie Profile 

★ Stereo Chorus Models ★ 

At Marshall we have always prided ourselves on the close 

relationships that we have built up with guitar players of all 

levels [see Marshall Artist News] and our ability to listen to their 

needs and wants. 

The undying popularity and glowing reports from the owners 

of the first generation of Valvestate Stereo Chorus combos led 

to the decision to further extend the new generation. The 

opportunity to add panoramic stereo chorus to amps which 

already feature 3 footswitchable channels, spring reverb, tone 

shift and power dimension facilities and effects loops, not to 

mention valve loaded pre-amps was just too good to miss. 

In line with the rest of the new Valvestate range we made 

significant improvements to the original Marshall stereo chorus 

to give you colossal spread and supreme sound quality. 

★ VS230 ★ 

The stereo VS230 2x30 Watt combo features the same front panel 

facilities as the VS30R and is therefore ideal for practice at home, 

warming up backstage or for taking out and jamming with friends. The 

inclusion of our new stereo chorus through the two specially designed 

Gold Back speakers makes this 

amp the pinnacle of practice 

amps in terms of quality, 

features and price . 

★ VS265 ★ 

The stereo VS265 2x65 Watt is the flagship of this all new 

Valvestate range. The VS265 shares the same versatile front panel as 

the VS100R and VS100H giving a multi purpose amp eminently suitable 

for any playing situation. Thanks to its three channel format, the VS265 

particularly suits live work, where the 3 way footswitch allows complete 

control over Clean to Overdrive, Overdrive 1 to Overdrive 2 and Chorus 

on/off functions. The chorus is also assignable to either or both 

channels. 

If you want to increase the depth and spread even further the 

purpose built VS212 2x12 160 watt extension cabinet is the perfect 

answer. T his is where you will find the ultimate in Valvestate flexibility. 

The future is here now, let Marshall make your playing burn as 

hot as you want it to. 

17 

VS265 

Three Channel, 2 x 65 Watt Stereo Chorus Valvestate Combo. 

Features: Footswitchable Clean, Overdrive 1 & Overdrive 2 channels. ECC83 pre-amp valve. Clean channel 

with 3 band EQ plus Tone Shift option. OD1 with Gain and Volume control. OD2 with Gain, ‘Contour’ and 

Volume control. 3 Band Overdrive EQ. Power Dimension Switch. FX Loop with Mix control and Level 

selection. Spring Reverb with separate Reverb controls for Clean and Overdrive. Stereo Chorus with Speed 

and Depth controls. Chorus Assign Switches for each channel. Line Out jacks. Headphone jack. Extension 

Speaker Outputs. 2 X 12” ‘Gold Back’ speakers. 

VS230 . VS265 . VS212 

VS230 

Dual Channel, 2x10” Stereo Chorus Valvestate Combo. 

Features: Footswitchable channels - Clean & Overdrive. Volume, 

Bass &Treble controls on Clean channel. Gain, Bass, Contour, Treble & 

Volume controls on the Boost channel. Spring Reverb. Stereo Chorus 

with Speed and Depth controls. Headphone Jack (mutes internal 

speakers). Line Out jacks. 2 x 10” ‘Gold Back’ Speakers. 

White Zombie’s axe-wielding maniac, J., reveals the deep, dark 

secrets that lurk behind his sinister sound . . . 

★ Slammer House of Horror ★ 

The Heavier-than-hell crunch tone of White Zombie’s enigmatically named 

six-stringer, J., is the turbo-charger that pushes his band’s ghoulish metal 

motor into overdrive. Like a great deal of modern players, J. relies on more 

than one type of amp to create his backline wall of doom but at it’s very heart 

beats a Valvestate VS100RH. 

“Marshall tube amps are the sound of rock,” the amiable and articulate 

Zombie states. “Marshall Valvestate amps are the sound of the future - it’s a 

completely different thing and it’s what I’m looking for.” 

★ Bigger is Better ★ 

Judging from the fact that the band’s most recent LP [which will probably 

gain entry in to the Guinness book of World Records for having the longest 

title ever!], Astro Creep 2000: songs of love, destruction and other synthetic 

delusions of the electric head, has already sold in excess of 2 million copies 

in America alone, it seems that quite a lot of rock fans are looking for ‘a 

completely different thing’ too. “We just got sick of bands releasing records 

with single word titles like ‘Spork’,” jests J. when asked about his group’s 

lengthy LP title. “So, we decided to go to the other extreme.” 

★ Spreading the Disease ★ 

Zombie’s success, isn’t limited to the shores of their American homeland 

either. Critically acclaimed appearances at the 1995 Donnington and Reading 

festivals in England [Note: WZ made the history books by becoming the first 

act to ever appear at both events in the same year], did the band’s standing in 

the UK a world of good. 

In fact, J. & Co. just received a handsome pay-off from said feat - their 

recent 5 date English tour was a complete sellout. “It’s a Rock(y) horror show 

in the fine tradition of Kiss before they dispensed with the face-paint,” is how 

Kerrang! reviewed enthusiastically described Zombie’s sensational live act 

recently. “It’s impossible not to enjoy this show. If you don’t, you’re just a 

miserable git. You must be.” 

★ J.’s Pandora’s Box ★ 

Talking of live performance, another Marshall piece that has become a 

fixture in J.’s backline from hell is the good ol’ JMP-1 Valve MIDI pre-amp. 

“The JMP-1 is something I use all the time because, not only is it like having a 

hundred amps in one box, the speaker simulator really does sound like a real 

amp,” the dreadlocked one informs us. “Onstage our soundman effectively 

uses it as a direct box for a fat, high-gain sound through the PA. And, in the 

studio I often put it direct to tape to add another dimension to my tone.” 

★ Label This! ★ 

Like a great many ‘90s bands, White Zombie’s music is pretty darned 

hard to tag with an easy reference label. “People are always trying to 

categorise our music with totally ridiculous and meaningless terms like 

industrial, psychedelic, punk rock, thrash fusion!” J. once told me a couple of 

years back. “Of all the descriptions I’ve heard, my favourite, in terms of 

accuracy and humour, is funky death metal.” 

So, pray tell, what are the musical ingredients that make-up White 

Zombies unique ‘funky death metal’ recipe? “Well, a lot of our stuff is 

rhythmic rather than melodic - we tend to write around drum patterns and 

that naturally lends itself towards very percussive riffs,” J. explains. 

“To make my parts more interesting I try to throw in 

weird chords with ringing open notes whenever I can. And the great thing 

about the guitar is the fact that you can take any chord shape that uses open 

string notes and slide it around the neck to see how it sounds in different 

positions. You never know, you might just get lucky. 

Another thing you can do is close your eyes, put your fingers anywhere on 

the neck and see what happens. I’ve found a lot of cool sounding chords by 

using this approach.” 

★ Less is More ★ 


Like a lot of modern guitarists on the cutting edge of rock, J. enjoys 

taking the occasional lead break as much as the next guy. Having said this, 

he won’t solo purely for the sake of it if he feels it doesn’t enhance the song. 

“There’s no point,” he states succinctly. “If a sample or a weird noise sounds 

better and adds to the song then I don’t mind taking a back seat on the lead 

playing front. I never set out to be a guitar hero anyway. Basically I just 

wanted to be in a band and the guitar was the obvious instrument of choice.” 

To bring our cozy little chat to a close, J. was good enough to throw some 

ideas our way for a new Marshall product or five. “I’ve always thought it’d be 

really cool if Marshall made everyday appliances,” he says with a grin. “Like 

you could have the Marshall refrigerator - a big black one with the logo on the 

door and an ice box that looked like a 

head. And obviously, you’ve got to have 

the Marshall stereo where the speakers 

were little half-stacks. 

A Marshall toilet would be a 

happening thing too. People would be 

totally into buying this stuff...hell, I 

would.” Hmmm, a Marshall toilet huh? 

Sounds like a plan to me, how on earth 

do I order one? 

Tales from the Darkside 

18

Steve Grindrod Marshall Tone Generator 

Steve Grindrod, Technical Director at Marshall 

Amplification, has been with the company now for 21 

years. Though recent years have seen Steve backed up 

by a first class R&D team, in his time Steve has been 

virtually solely responsible for all design and 

development of new Marshall products. Favourites 

such as the JCM800 Split Channels, the Jubilee range, 

the JCM 900 range and of course the incredibly popular 

Valvestate range are just a few examples of the amps 

brought to us by Marshalls very own Tone Generator, Steve 

Grindrod. 

We thought that this would be an ideal opportunity to talk 

to Steve about the new world beating generation of Valvestate. 

M.L. - Steve, what was originally the concept behind Valvestate? 

S.G. - Originally Valvestate was developed to bring our expertise in 

designing and building high quality guitar amps to a cost level that could be 

afforded by anyone, from beginner up to weekend warrior and at the same 

time raising the quality of tone, feel and functions up from what was 

available at that time. 

M.L. - How does Valvestate work? 

S.G. - It’s very difficult to quantify one area of Valvestate as being ‘the 

working part’ and describing how it works. Every Valvestate amp has a 

different circuit and yet each is definitely Valvestate. I think that the 

important bit is that it was conceived and designed to fit together and 

interact in the same way that a good valve amp is designed. 

M.L. - How does the new generation of Valvestate differ from the 

original Valvestate range? 

S.G. - When designing Valvestate 2, I had the platform of Valvestate 1 to 

work from, whereas with Valvestate 1 all I had was a blank piece of paper. 

Also music tastes and buyer expectations have evolved in the five years 

since Valvestate 1. I have therefore tried to evolve Valvestate 2 in a similar 

way by; 

A. Expanding the functions over Valvestate 1 by including such features 

as Tone Shift and Power Dimension. 

B. Expanding the tonal options, i.e. the clean is far more dynamic and 

variable and the overdrive can be much smoother in the way that a full 

blown valve Marshall is. 

Also, we looked closely at the engineering of how we build the amps 

and ended up with a product range that I think is even more value for 

money than the original range. With Valvestate 2 as you get more Wattage , 

more features and better tone for only a very small increase in cost than the 

original. 

M.L. - Can you explain what the Tone Shift and Power Dimension 

switches do and how? 

S.G. -Tone Shift works by re-voicing the clean pre-amp from being 

sweet and subtle to being more upfront. To do this you would normally 

have to have two separate amps. Although you often get ‘bright’ switches 

on amps, which at best is a subtle tonal variation,Tone Shift switching is 

more akin to what you would find on a few mega-bucks ‘boutique’ amps. 

Power Dimension on the other hand is a totally unique 

Marshall circuit. It works in a similar way to plugging into a low 

power, no feedback, squashy valve amp and then mic’ing up the 

speaker. 

The result is a very, very satisfying feel and tone at reduced 

output level, ideal for recording or playing gigs where you need to 

turn down. Normally you would lose the qualities of pushing the 

power-amp in these circumstances, with Power Dimension you 

don’t. 

M.L.- How is the 

stereo chorus facility on 

the VS230 & 265 different 

to previous Marshall 

stereo chorus models? 

S.G. - Again, the chorus 

circuits in the VS230 and 

VS265 have the benefit of 

being developed from my earlier 

Valvestate chorus circuits. the 

other chorus amps that I’ve designed 

have helped too, particularly the AS80R, 

Acoustic Soloist, which has often been 

praised for its chorus. 

Putting it very simply, I played around with the delay time and the 

mixing. 

M.L. - Which model suits which playing situation best? 

S.G. - To say which amp suits which situation is a very difficult question 

to answer as any situation is an indeterminate thing. Needless to say, I 

think that the VS230, VS65, VS100R & H and VS265 are all eminently 

giggable, whereas the VS15, 15R and 30R are ideal practice and rehearsal 

amps. 

M.L. - What does the pre-amp valve on models VS65R and above do? 

S.G. - The pre-amp valve on VS65R, VS100R and VS265R plays a very 

important role as it is used to impart valve compression and is also used to 

drive the final tone [EQ] of the circuit. 

Although it would have been possible to have made the circuit without a 

valve, to my mind, nothing else does this job anywhere near as good as a 

valve which is why it’s there. 

M.L. - How often will the pre-amp valve need changing and when do 

you know it’s time to change it? 

S.G. - It’s difficult to say how long the valve will last without being 

changed. Theoretically it’s many years, as the main reason for the valve to 

fail prematurely is excessive physical abuse of the amp. Like throwing the 

thing around, dropping it out of the back of the van etc. You know, the wise 

things not to do if you want your gear to be loyal and reliable to you. 

I think that it’s fair to say that you’ll know when the valve’s life is nearly 

over because you’ll hear a change. If in doubt, have your amp and all your 

other equipment regularly checked over by a good service tech. It may cost 

money, but is a wise precaution and will save on heartache. 

How often really depends on how hard and often you gig, as opposed to 

playing in the corner of your bedroom. As an example of the benefits of 

having your gear regularly checked [or not in this case], at a gig I played 

recently, I decided to take out one of my amps that has been stored in the 

garage through the winter [not a wise thing to do] without checking it and 

guess what ? first time in 35 years I blew an output valve - and also first 

time in 35 years, no spare! 

★ One of Marshall’s design labs. ★ Designer and engineer busy at work. 

19 20 

Marshall’s Technical Director Talks New Valvestate

Bass-State Combos Bass-State Combos 

Using specially designed circuitry to accurately emulate the 

performance and dynamics of all-valve amplification, Marshall 

proudly introduce a revolutionary new concept in bass 

amplification - Bass-State. 

Bass-State technology actually delivers the fat, smoother more 

rounded bottom end and strong vibrant treble normally only 

associated with valve amplification, yet provides all the 

advantages in size and weight of non-valve equipment. 

Also by providing sensitive pre-amp sections with the right 

features to drive the Bass-State power stage, you can instantly 

achieve all the punch and dynamics you could require from this 

highly portable and compact range of bass combos. 

★ B30 ✍ 

The Bass-State B30 is the ideal starting point for any budding bassist, 

regardless of playing style. The wide sweep of the 3 band EQ is tailored 

specially to enhance the frequencies specific to bass guitar and the Effects 

Loop allows you to add any further processing to your sound. 

If you want to practice privately the Headphones jack automatically 

mutes the internal speaker, also the Line Out provides a connection to 

external PA or recording equipment. Its 30 Watts of musical Bass-State 

power, custom built 10” speaker and easily accessible range of sounds 

make the B30 the perfect bass practice amplifier. 

★ B65 ★ 

The Bass-State B65 takes over where the B30 leaves off and boasts 

some unique features as well as greater power. 

After you have selected the Active or Passive input to suit the type of 

bass that you use, there are fundamental Treble and Bass controls to let 

you shape your sound plus a 5 band Graphic Equaliser to provide you with 

more detailed tone shaping. It also has a control for the built in soft knee 

compressor with an active LED to let you know when the compression is 

kicking in. 

In addition the B65 features our brand new unique SLS circuitry. This 

lets you select whether the built in Limiter Circuitry is switched in, for 

cleaner performance at high volume levels or switched out to allow the 

natural warmth of Bass-State’s power amp distortion to enhance your tone. 

Effects Loop and Line Out facilities complete the B65’s line up. 

With its custom designed heavy duty 12” loudspeaker, designed 

specially to handle the 65 Watts of deep Bass-State power with ease, the 

B65 offers outstanding projection and performance to any bass player. 

★ B150 ★ 

The Bass-State B150 offers some of the features of the acclaimed and 

highly professional Marshall Dynamic Bass System, such as 

valve to solid state blendable input pre-amp, strong primary EQ 

and 7 band Graphic for detailed fine tuning. 

The input Blend control allows you to select totally solid 

state performance, for sharper more percussive bass styles or 

introduces a single ECC83 pre-amp valve to add warmth and a 

softer feel to the bass. 

The primary EQ is enhanced by extra Deep and Bright 

switches which when combined with the 7 band Graphic give 

you incredible tonal flexibility. 

The B150 additionally boasts Soft Knee compression, SLS Limiter 

technology unique to Marshall. Line Out facilities and Effects Loop. Finally 

an XLR DI output with Earth [ground] Lift switch completes the 

specification of this impressive combo. 

The B150’s 150 Watt Bass-State power stage drives through a custom 

designed heavy duty 15” speaker and presents a serious combo for the 

serious minded bass player. It will readily fulfil the needs of any bassist 

requiring a portable, flexible high powered rig capable of providing punch 

and depth for rehearsal, recording or playing live at any size of venue. 

“The B30 shows merit in its own right. It 

has a warm, rounded sound that’s not harsh 

on the ears, providing a broad tonal picture 

that represents the instrument admirably.” 

The Guitar Magazine, July ’96. 

“ As far as practice combos go, the B30 is 

simply one of the finest I’ve tested. 

In terms of value for money, you’d have to 

go a long way to beat what’s on offer here.” 

The Guitar Magazine, July ’96. 

21 22 

Features & Reviews B30 . B65 . B150 . Models

M 0236 / 6 / 96 

★ Echobelly ★ 

★ Jeff Beck ★ ★ Anthrax ★ 

★ Ministry ★ 

★ Pulp ★ ★ Slash ★ ★ Skin ★ ★ Killing Joke ★ 

For further information regarding Marshall products contact: 

UK Marshall Amplification plc, Denbigh Road, Bletchley, Milton Keynes, MK1 1DQ. England. 

USA Marshall USA, 316 South Service Road, Melville, New York, NY11747 - 3201. USA 

Whilst information herein is correct at the time of publication; due to our constant improvement and development, 

Marshall Amplification plc reserve the right to alter specifications without prior notice.

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