![Marshall 2554 Silver Jubilee [1987]](https://img.audiofanzine.com/img/product/normal/3/7/37641.jpg?fm=pjpg&w=300&h=218&fit=max&s=a421f2dcaaf4d72fb258b8c515d182d9)
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Le Taz
Published on 01/28/13 at 05:55
On the technical side, everything has been said: 50w splittable into 25, with 3 12AX7 and 2 EL34, full connectivity (effects loop, line out, footswitch, 2 HP impedance selector, etc.).. Mine has the distinction of being 1989. The Silver Jubilee celebrates 25 years of Marshall (1962-1987) and the Jubilee of the Queen. Silver Jubilee Series, the latest Marshall 800 series, more or less well ... rather "less" than "more" in fact. Production was still continued for 1 year and a half (one year officially, but with Marshall in the 80s ...), without the Silver Jubilee name, but still the product number (2550, 2554, 2555, 2558 and 2553), and a "delivered" more traditional vinyl black and gilt panel. Aside from the finish, it is exactly the same amp with the same parts and same patterns. In 1989, the amp is completely stopped, this is one of the shorter productions at Marshall from 1987 to 1989 (SJ included).
The amp could have fallen into oblivion given its lack of success, but some influential guitarists were enamored with this amp: Slash, of course (who managed to get a limited production of 2555 (100w) under his name), John Frusciante, The Black Crowes and more recently Joe Bonamassa you do not come across in concert without a 2550. And when you know this amp is the mark immediately.
UTILIZATION
Use of this amp starts with good musculature. The amp is small (a little smaller than a Classic 30) but weighs his weight. Between the celestion vintage original transformers and Drake, cushy will not move if you put it back! Its small size soften a bit the whole, transformers are closer than a 2550 head who appear heavier equal weight.
Well, talking about sounds and settings. It has 3 knobs gain / volume management, but it will make concessions! It was actually a common clear channel gain and channel saturated, a general volume and volume lead (for channel saturated). To keep a relatively clear channel, we should avoid to exceed 6 input gain. If we play without his clear, there may be many hairy overdrive. The volume will lead to balance the level of saturated and clean, also it will also affect the nature of the drive, since the section attack power output level. We can sculpt beautiful overdrives, soft and dry, this course also dependent power setting 25 or 50w. In any case, it refers us directly to the management of a plexi to channels bridged taken from elsewhere on the Vintage Modern, a result still down ...
Plug'n'play way by AC / DC or a more modern with a boost pedal, the amp is very usable, especially by pushing the volume a bit!
SOUNDS
The 2550 series could be considered a reset of the JCM800 series, handed to the taste of the day. Found a diode bridge to saturation, as in models 2210 or 2205, but with a very different result, closer to a 2203 with the general tone was adapted to more modern sounds (more serious) and non-grain not smooth, but balanced. A JCM800 2203 according to the frequencies played, alternate between the grainy side and gniaqueux that made his legend, and fuzzy frequencies less accurate. Here, the 2554 (and 2550) is grainy, biting, but accurate.
Start with the clean channel. As I said above, it will make concessions. The clean channel is not exactly a dream scratch, do not look here for the Hiwatt or Fender. It is in Marshall. Until 3/4 gain, there is a great platform for pedals. The sound is not too strong, but the print will be printed on the Marshall overdrive pedals you have chosen, and it's pretty good! on the other hand, it's light if you go on the channel saturated gain issue. Beyond 6, we begin to crunch, a crunch that will not please everyone. 6 But you clearly hear John Frusciante. It responds, it lives, it was the rebound. This is again very Marshall, but this leg of vintage amps sound a bit forced.
Saturated channel ... I do not know where to start. We have read 10,000 times "is the sound AC / DC" ... except that here it's damn good "emulated"! We are dealing with a drive gniaqueux, who begins to live at noon gain. When pushed we get a lot of drive, a nice even number, but could become inaccurate if you push the volume lead. Push the lead volume brings a lot of psychics, mediums low, fat. It must be measured, while thinking about the balance between the two channels (unless you have banished clean).
However, this amp is proved that group, 50w mode. 25w mode can not be bad for small meetings, but will not quite open when we pass a group play or repetition. The top is really 50w volume group, this is where the grain is the best, it is simply beautiful. This is for me the quintessence of Marshall.
I forgot the rhythm clip. This little gadget is supposed to boost both channels. The result on the clean channel crunch is not really attractive, and lead rather surprising result: you lose the bass guitar, gniaque, the sound becomes less dynamic ... short, I do not use it! And I think not the only one. Too bad the idea would not have been bad if the sound and the possibility of the footswitch engaged was there. But ...
Finally, the amp, even with the gain fully remains in philosophy 800. If you play on a 2203, you will not feel the difference, and you may even not hear this heretic diode bridge! A small boost (TS9 example) is invaluable. Here, the emphasis grain gain, saturation precise office will not cover poverty, he will not forgive approximations and not replace hand muscles for Legatos furious. But the sound is so rewarding in the end we are willing to take the risk!
OVERALL OPINION
It is not always practical. While designed as a hi-gain amp, it works like a 800, and requires a bit of volume to reach the sublime. I read a notice about a best-of Marshall ... That's exactly it! I understand that guitarists, Slash Bonamassa, though accustomed to having the gear changed or rare, have a crush on this amp. It is for me a great JCM800. He achieved what would normally do in 2210, produce a reasonable volume of 800. For use in apartments, it is doable but not very rewarding, but in a group setting, even reasonable volume, it is great! Marshall was the universe without inaccuracies or sounds a little harshy some models (I use even lead with a Telecaster!).
If you have the opportunity to try this amp, do not hesitate to push the overall volume rather than gain, you will understand why it has become collector! I fell into the "trap" against my 2550. I tried years ago the 2555SL (slash signature) then a 2550 NOS (not looking for a unique case of SJ found in a shed at the former distributor!). Until me to do a scene with this amp on loan. And what is presented as an alternative to my 2210 got a little too cheap has really turned into passion.
The amp could have fallen into oblivion given its lack of success, but some influential guitarists were enamored with this amp: Slash, of course (who managed to get a limited production of 2555 (100w) under his name), John Frusciante, The Black Crowes and more recently Joe Bonamassa you do not come across in concert without a 2550. And when you know this amp is the mark immediately.
UTILIZATION
Use of this amp starts with good musculature. The amp is small (a little smaller than a Classic 30) but weighs his weight. Between the celestion vintage original transformers and Drake, cushy will not move if you put it back! Its small size soften a bit the whole, transformers are closer than a 2550 head who appear heavier equal weight.
Well, talking about sounds and settings. It has 3 knobs gain / volume management, but it will make concessions! It was actually a common clear channel gain and channel saturated, a general volume and volume lead (for channel saturated). To keep a relatively clear channel, we should avoid to exceed 6 input gain. If we play without his clear, there may be many hairy overdrive. The volume will lead to balance the level of saturated and clean, also it will also affect the nature of the drive, since the section attack power output level. We can sculpt beautiful overdrives, soft and dry, this course also dependent power setting 25 or 50w. In any case, it refers us directly to the management of a plexi to channels bridged taken from elsewhere on the Vintage Modern, a result still down ...
Plug'n'play way by AC / DC or a more modern with a boost pedal, the amp is very usable, especially by pushing the volume a bit!
SOUNDS
The 2550 series could be considered a reset of the JCM800 series, handed to the taste of the day. Found a diode bridge to saturation, as in models 2210 or 2205, but with a very different result, closer to a 2203 with the general tone was adapted to more modern sounds (more serious) and non-grain not smooth, but balanced. A JCM800 2203 according to the frequencies played, alternate between the grainy side and gniaqueux that made his legend, and fuzzy frequencies less accurate. Here, the 2554 (and 2550) is grainy, biting, but accurate.
Start with the clean channel. As I said above, it will make concessions. The clean channel is not exactly a dream scratch, do not look here for the Hiwatt or Fender. It is in Marshall. Until 3/4 gain, there is a great platform for pedals. The sound is not too strong, but the print will be printed on the Marshall overdrive pedals you have chosen, and it's pretty good! on the other hand, it's light if you go on the channel saturated gain issue. Beyond 6, we begin to crunch, a crunch that will not please everyone. 6 But you clearly hear John Frusciante. It responds, it lives, it was the rebound. This is again very Marshall, but this leg of vintage amps sound a bit forced.
Saturated channel ... I do not know where to start. We have read 10,000 times "is the sound AC / DC" ... except that here it's damn good "emulated"! We are dealing with a drive gniaqueux, who begins to live at noon gain. When pushed we get a lot of drive, a nice even number, but could become inaccurate if you push the volume lead. Push the lead volume brings a lot of psychics, mediums low, fat. It must be measured, while thinking about the balance between the two channels (unless you have banished clean).
However, this amp is proved that group, 50w mode. 25w mode can not be bad for small meetings, but will not quite open when we pass a group play or repetition. The top is really 50w volume group, this is where the grain is the best, it is simply beautiful. This is for me the quintessence of Marshall.
I forgot the rhythm clip. This little gadget is supposed to boost both channels. The result on the clean channel crunch is not really attractive, and lead rather surprising result: you lose the bass guitar, gniaque, the sound becomes less dynamic ... short, I do not use it! And I think not the only one. Too bad the idea would not have been bad if the sound and the possibility of the footswitch engaged was there. But ...
Finally, the amp, even with the gain fully remains in philosophy 800. If you play on a 2203, you will not feel the difference, and you may even not hear this heretic diode bridge! A small boost (TS9 example) is invaluable. Here, the emphasis grain gain, saturation precise office will not cover poverty, he will not forgive approximations and not replace hand muscles for Legatos furious. But the sound is so rewarding in the end we are willing to take the risk!
OVERALL OPINION
It is not always practical. While designed as a hi-gain amp, it works like a 800, and requires a bit of volume to reach the sublime. I read a notice about a best-of Marshall ... That's exactly it! I understand that guitarists, Slash Bonamassa, though accustomed to having the gear changed or rare, have a crush on this amp. It is for me a great JCM800. He achieved what would normally do in 2210, produce a reasonable volume of 800. For use in apartments, it is doable but not very rewarding, but in a group setting, even reasonable volume, it is great! Marshall was the universe without inaccuracies or sounds a little harshy some models (I use even lead with a Telecaster!).
If you have the opportunity to try this amp, do not hesitate to push the overall volume rather than gain, you will understand why it has become collector! I fell into the "trap" against my 2550. I tried years ago the 2555SL (slash signature) then a 2550 NOS (not looking for a unique case of SJ found in a shed at the former distributor!). Until me to do a scene with this amp on loan. And what is presented as an alternative to my 2210 got a little too cheap has really turned into passion.