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Super Tremolo 100W Amplifiers

1969 Marshall Super Tremolo 100W

Color: Black, Rating: 8.75, Sold (ID# 01937)
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Iain Ashley Hersey's Marshall 100 Watt Plexi Head

 

1969 Marshall Super Tremolo 100W

 

A 1968 100 watt Marshall Super Tremolo-100 Plexi Head (Model 1959 Super Tremolo).

Dimensions:
Width: 29 inches
Height: 11 1/2 inches (including rubber feet)
Depth: 8 1/4 inches
Weight: 43 lbs.
Specifications:
Tubes: Preamp - 4 x 12AX7A/7025; Output - 4 x GT-EL34Ls
Output transformer: "DE T4145B"
Power transformer: ""
Inputs: Four (wired so only the lower two are connected)
Controls: Polarity switch; On/Off switch; Standby switch; Indicator Light; Speed (now the Master Volume); Intensity; Presence; Bass; Middle; Treble; Volume I; Volume II.
Cabinet covering: Black Levant Vinyl with Plexiglass control panel

This 100 watt Marshall Plexi Head was owned and used by the late Iain Ashley Hersey who grew up in New England and cut his teeth on the heavier British Rock Bands such as Led Zeppelin, Deep Purple, Bad Company and guitar players like Jeff Beck, Ritchie Blackmore, Eric Clapton and Jimi Hendrix. He was certainly influenced by the voices from the past and he always strived to grow musically and to develop his own style - which he most certainly did with his own unique voice and signature licks. Later seeking to expand his musical vocabulary he studied at Berklee College of Music in Boston where he expanded his realm into that of Jazz improvisation, eventually though he returned to the fold of Rock ’n’ Roll. Iain's albums include: Fallen Angel (1999), Holy Grail (2005), Nomad (2008) and Vintage Love - The Best (2011).

It has now been fully restored and tested by our 'wizard' amplifier technician, Doug  Anderson of Tone Zone, and is a really great and powerful head. The following modifications have been noted: The loop has been disconnected; The two top inputs (one on each channel) have been disconnected; The push-pull switches have been disconnected; the Tremolo Intensity control has been disconnected and the Tremolo 'Speed' control is now the 'Master Volume' control. We also note that one of the potentiometers is dated "137 7834" (CTS August 1978).

"Growing up in New England, Iain Ashley Hersey cut his teeth on the heavier British Rock Bands such as Led Zeppelin, Deep Purple, Bad Company and guitar players like Jeff Beck, Ritchie Blackmore, Eric Clapton and Jimi Hendrix. Certainly influenced by the voices from the past he's always strived to grow musically and develop his own style of which he has now most certainly carved out his own unique voice and signature. Later seeking to expand his musical vocabulary he studied at Berklee College of Music in Boston where he expanded his realm into that of Jazz improvisation, eventually though he returned to the fold of Rock and Roll. “Vintage Love” is the name of his newest release, a compilation which sums up the best of Iain’s previous work.

Iain Ashley Hersey’s first album was entitled “Fallen Angel” and released on Avex in Japan in 1999 and on Frontiers Records in Europe one year later. For this record, he was joined by singers Dante Marchi (“Goin’ Down And Dirty”, “Distant Memories”), Paul Shortino (“Hold On”) and Mike Stone on the previously Japanese only bonus track “The Outcaste”. The latter two tracks were produced and mixed by Pat Regan (Rainbow, Gotthard, Deep Purple, Kiss, Doro etc.), while Joe Seta handled the production duties on “Goin’ Down And Dirty” and “Distant Memories”.
Iain’s sophomore record “The Holy Grail” was released in 2005 on Lion Music, the first album featuring Carsten Schulz (Evidence One) on vocals. Graham Bonnet (Rainbow, Alcatrazz, MSG), David Montgomery and Randy Williams completed the line-up of vocalists. According to Iain, this is the release which shows him finding his own voice, signature and style. Five tracks on “Vintage Love” originated from this CD: “Blood Of Kings” (Montgomery), “Walking The Talk” & “The Holy Grail” (Bonnet), “Calling For The Moon” (Schulz) and “Blink Of An Eye” (Williams). This time, the whole record was produced by Pat Regan and Iain and mixed by Pat Regan.
Released in 2008 on Perris Records, “Nomad” is Iain Ashley Hersey’s most recent studio album. This time singer Carsten Schulz can be heard on the majority of songs (featured on “Vintage Love” are: “Voodoo Spirits”, “Sacrifice The Sun”, “Vintage Love” and “When Will My Love Fade”). Former Rainbow singer Doogie White took over the lead vocals on the Rainbow cover song “L.A. Connection”.

“Vintage Love” is completed by an unreleased song called “Red Head Rampage” which once again features Schulz on vocals. This release will without a doubt appeal to fans of the aforementioned bands but also to lovers of newer artists from the bluesy influenced Classic Rock genre such as Black Country Communion, Philip Sayce, Richie Kotzen and Joe Bonamassa." https://www.facebook.com/iainashleyhersey/info/?tab=page_info

"… a second prototype was built, using two transformers, four 6L6 valves =, and two GZ34 rectifiers. The results from this were encouraging and prompted Marshall to build a third prototype, fitted with four KT66 valves and two JTM 45 output transformers, giving a total power output in excess of 100 watts… The sound character produced was quite different from that of the 50-watt, and it became even more pronounced when Marshall started to use single 100-watt transformers for the first production models, made in late 1965. Tremolo was available as an option from the beginning… it was certainly Pete Townshend's preference… Marshall were fortunate with the release date of the 100-watt, as it coincided with the advent of the new breed of supergroups that were forming at the time -- notably the Jimi Hendrix Experience, Cream, and of course The Who, for whom it was originally designed. Undoubtedly as a consequence of the support of these groups, the amps met with unprecedented exposure, and it was a year or two before production could satisfy the subsequent demand. This popularity was aided by the fact that PA systems were still very much in their infancy, so guitarists had to rely on massive on-stage powere in order to fill the auditoriums that were rapidly becoming the normal venues for established groups of the day. And of course there is the natural assumption that more is always better!" (Michael Doyle. The History of Marshall, pp. 34-35).

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