No Marshall Major...so, let's build our own...

xarkon

Experienced
Not seen any response from Cliff re modeling the Major, but there are now some great tools in the firmware to come close.

So:

1. Create a new patch with a Plexi 100. You can use either high, low, or jumped to taste; the Major has both normal and bright inputs.

2. Set power tube type to KT88.

3. The Major has no choke in the power supply. I dialed down Sag slightly to 1.5, but there might be other more appropriate adjustments.

4. The tone stack on the Major, while similar to a Plexi, is in between the second and third triode stage on a Major, rather than being after the third stage as on a Plexi. So, set the tone stack location to MID; leave the tone stack type at default.

For the Blackmore sound, I chose a 1960A cabinet; removed everything but Reverb from the patch; and set the Drive type to TAPE. Bass to 3, Mid all the way up, Treble at 5. Sounds great.

It isn't going to be a perfect model because this doesn't get at the ultralinear output stage. But it's better than nothing.

And, it has several advantages over a real Major:

1. you don't have to find/buy/fix a real one
2. you don't need to train in the gym to move it
3. no blown speakers!
4. no blown eardrums! (well...)
5. no blown amp! (putting an overdrive in front of a real Major was almost guaranteed to initiate the self-destruct sequence)

Add your ideas to this thread.

Dave
 
Interesting idea.

Not sure what was special about the Major...outside of it being a bass amp, and a REALLY loud pedal platform. Sure, it was 'thick', but damn...200 watts of guitar amp is going to do that to you.

And as an intellectual exercise, couldn't you put 2 amps in parallel? One 100 watt Normal, one Treble, (yes, both KT88..), tweak to taste (sag, etc) , and it might replicate that 'ultralinear' feel you're looking for?
 
why was drive pedals w/the major so detrimental?

A flyback effect in which the output stage was driven to the max and then arced back. Usually resulted at least in burning components and often in destroying the output transformer.

Interesting idea.

Not sure what was special about the Major...outside of it being a bass amp, and a REALLY loud pedal platform. Sure, it was 'thick', but damn...200 watts of guitar amp is going to do that to you.

And as an intellectual exercise, couldn't you put 2 amps in parallel? One 100 watt Normal, one Treble, (yes, both KT88..), tweak to taste (sag, etc) , and it might replicate that 'ultralinear' feel you're looking for?

Both Lead and Bass models of the Major were available. Blackmore's was supposedly a bass but apparently he asked for so many tone tweaks that it is hard to know exactly what was in there.

Difference in the location of the tone stack, use of KT88s, ultra linear output stage, and no choke in the power supply are the starting point for the changes. I don't think running parallel amps in the Axe will necessarily do what is needed to simulate the output stage; it's really a different animal. However, I can understand why it might not appear in the Axe; it involves multiple taps on the drive side of the output transformer and is probably a whole new exercise in math.
 
Okey....first Marshall Major, then comes Vintage Modern:

Marshall Major:
The biggest (dis-)advantage of a ultra linear power amp is that there is no influence from the impedance curve - the power amp acts mostly linear. Turn down the LF and HF gain in the speaker page.
The Major also lacks of a DC coupled cathode follower - non such thing in there -> turn the Comp-Knob down to zero . The position of the NFB-Loop goes before the tone stack and so the presence control - this is very rare and difficult to set into the basic axefx parameter concept - just for one amp! :)

Marshall Vintage Modern

Use a Jumped SuperLead amp type and put the MV into POST-PI position - done! So simple......:mrgreen
 
Okey....first Marshall Major, then comes Vintage Modern:

Marshall Major:
The biggest (dis-)advantage of a ultra linear power amp is that there is no influence from the impedance curve - the power amp acts mostly linear. Turn down the LF and HF gain in the speaker page.
The Major also lacks of a DC coupled cathode follower - non such thing in there -> turn the Comp-Knob down to zero . The position of the NFB-Loop goes before the tone stack and so the presence control - this is very rare and difficult to set into the basic axefx parameter concept - just for one amp! :)

Thanks for these tips. Going to go try these changes later.

Dave
 
Okey....first Marshall Major, then comes Vintage Modern:

Marshall Major:
The biggest (dis-)advantage of a ultra linear power amp is that there is no influence from the impedance curve - the power amp acts mostly linear. Turn down the LF and HF gain in the speaker page.
The Major also lacks of a DC coupled cathode follower - non such thing in there -> turn the Comp-Knob down to zero . The position of the NFB-Loop goes before the tone stack and so the presence control - this is very rare and difficult to set into the basic axefx parameter concept - just for one amp! :)

Marshall Vintage Modern

Use a Jumped SuperLead amp type and put the MV into POST-PI position - done! So simple......:mrgreen


Thank you! There is something about the Vintage Modern that I really dug when I played through one but I cant quite put my finger on it, its been so long now that its hard for me to recall. May have to make a trip to GC to play one again.
 
Not seen any response from Cliff re modeling the Major, but there are now some great tools in the firmware to come close.

So:

1. Create a new patch with a Plexi 100. You can use either high, low, or jumped to taste; the Major has both normal and bright inputs.

2. Set power tube type to KT88.

3. The Major has no choke in the power supply. I dialed down Sag slightly to 1.5, but there might be other more appropriate adjustments.

4. The tone stack on the Major, while similar to a Plexi, is in between the second and third triode stage on a Major, rather than being after the third stage as on a Plexi. So, set the tone stack location to MID; leave the tone stack type at default.

For the Blackmore sound, I chose a 1960A cabinet; removed everything but Reverb from the patch; and set the Drive type to TAPE. Bass to 3, Mid all the way up, Treble at 5. Sounds great.

It isn't going to be a perfect model because this doesn't get at the ultralinear output stage. But it's better than nothing.

And, it has several advantages over a real Major:

1. you don't have to find/buy/fix a real one
2. you don't need to train in the gym to move it
3. no blown speakers!
4. no blown eardrums! (well...)
5. no blown amp! (putting an overdrive in front of a real Major was almost guaranteed to initiate the self-destruct sequence)

Add your ideas to this thread.

Dave

Hey Dave, thanks for posting this!!!!! I went and set up a patch as you said and it sounds fantastic. Blackmore's tone isn't fizzy and never sounds overly distorted even though it has a lot of sustain. I played the start of Strange kind of woman ie the Made in Japan version and it's right in the zone, the cabinet really works for this as well. My efforts to date to recreate his tone has been feeble. Great job.Cheers Martyn
 
Hey Dave, thanks for posting this!!!!! I went and set up a patch as you said and it sounds fantastic. Blackmore's tone isn't fizzy and never sounds overly distorted even though it has a lot of sustain. I played the start of Strange kind of woman ie the Made in Japan version and it's right in the zone, the cabinet really works for this as well. My efforts to date to recreate his tone has been feeble. Great job.Cheers Martyn

You're welcome!

In my original message I forgot to mention other settings. With a Strat, I had the input drive at about 7-8. This was great for the rhythm tones; I would then kick in the tape drive for the lead tone.

I also tried it with an LP reissue with Custombuckers. Backed off input drive to 5, took the mids down to 5; also a great sound.

Master volume was maxed in all cases.
 
I went to Marshall at the Musik Messe, and suggested that they consider releasing the Major again. So fingers crossed...

But was checking into the forum to see if this had arrived in the Axe FX yet.
 
Don't have to train in the gym at all, ever, but not least to move an amp. Just employ 'odd-object lifting' techniques. Anyways, no clip?

Ah, you missed the humor in that. ;-) I don't recall the exact weight on a Major, though it is considerably heavier than a 100w plexi. I've only ever played through one.

No clip because I don't consider myself a good enough player to demonstrate it. I'm sure someone will post one.
 
I went to Marshall at the Musik Messe, and suggested that they consider releasing the Major again. So fingers crossed...

But was checking into the forum to see if this had arrived in the Axe FX yet.

Probably wouldn't be the same animal. The KT88s made now are less robust than those made back in the day, and most techs suggest using other tubes now in original Majors (after all the repairs have been made!). But it's a tantalizing thought.
 
Probably wouldn't be the same animal. The KT88s made now are less robust than those made back in the day, and most techs suggest using other tubes now in original Majors (after all the repairs have been made!). But it's a tantalizing thought.

Yes, I was told the suggestion would be put forward but it's a long shot. I did inform them that there are actually a number of folks that would probably snap up a limited edition Major, and if they put power scaling in and that sort of thing like they did with the YJM100 it might be an idea.

The point on the KT88s or other tubes/valves for that matter whatever amp they are in is a good one. Because decent tubes for now and the future are key for the results out of the amp, which is a bit of an obvious thing really and where modelling is a positive consistent alternative.
 
Marshall Vintage Modern

Use a Jumped SuperLead amp type and put the MV into POST-PI position - done! So simple......:mrgreen

I don't remember the noise floor being that high on the Vintage Modern head itself.

How can I lower the noise floor on that amp in terms of amp settings themselves without gating?

I tried reducing Triode @ Plate Freq to 2280 Hz.

That solved some of the noise on that amp, but kind of dulled it too.

Any advice?
 
i've been checking this thread with interest! i'll put up a patch based on what's been said - tape drive > plexi 100w high with post pi mv, tone stack to mid, sag low, 1960a cab etc. sounds great. i don't have a strat, so i can't get that single coil bridge sound, but the other positions sound really spot on
 
Ah, you missed the humor in that. ;-)
No clip because I don't consider myself a good enough player to demonstrate it. I'm sure someone will post one.

Oh, I caught the humour. I was posting a slight in contrast to it, kind of a public service announcement, at least in so far as a nod to alternative thinking in every day life affairs.

I can't play that way at all, so you'd be a might better than me I'd guess. Waiting for simeon's clip....though all things considered he may've forgotten about this thread.
 
"all things considered"? what might they be?

anyway, i haven't forgotten. i've just been busy. i'll put something up later today.
 
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