Επετειακός ενισχυτής Marshall 2525C Mini Jubille Combo, 20W all valve, δύο καναλιών, λυχνίες προενίσχυσης 3X ECC83, λυχνίες τελικού 2X EL34, μεγάφωνο Celestion G12M-25, ρυθμιστικά input gain (pull rhythm clip), lead master, output master, treble, middle, bass, presence, διακόπτης High/Low output, περιλαμβάνεται ποδοδιακόπτης. Διαστάσεις: 490 x 475 x 280 mm, Βάρος: 19 kg.
Forever famous for their association with Slash, the original Silver Jubilee amps became coveted in the wake of their single year (1987) of production. But the model’s reputation has as much to do with sound as rarity. For instance, Joe Bonamassa, who can afford just about any amp he wants, uses a Silver Jubilee alongside a Dumble Overdrive Special. As an arena amp, you’d be hard pressed to find a more capable piece of machinery. But what if you don’t need a 4×12 cab or have roadies at the ready? Marshall’s new Mini Jubilee is an excellent possible solution.
The Marshall 2525C Mini Jubilee is a 20W rendition of the Silver Jubilee and is available as a compact 1×12 combo (reviewed here) or head (the 2525H). It’s powered by three ECC83 preamp tubes and two EL34 power tubes, and—decked out in signature silver and grey vinyl and chrome—it exudes all the coolness of its big brother.
Brit Brute
While the Mini Jubilee is not the cheapest 20-watt combo out there, the price is not out of line within its category—on the high side, perhaps, for a production amp, but on the low-mid side for a boutique offering. Like most things in life though, you get what you pay for, and the Mini Jubilee, crafted at the Marshall factory in England, is very well built indeed. For one thing, it’s dead quiet. I didn’t encounter any humming, tube rattles, or extraneous noises throughout my test period. The pots, meanwhile, have a smooth, gradual taper that allows for balanced and organic transitions across all volume ranges. A 12″ Celestion G12M-25 Greenback speaker lurks in the closed-back cab.
The Mini Jubilee’s controls are familiar and straightforward. From left to right, they are input gain (with a pull switch for rhythm gain), lead master, output master, treble, bass, middle, and presence. A footswitch is included for going from clean to dirty. The rear panel has five speaker-out options (1×16 ohm, 1×8 ohm, 1×4 ohm, 2×16 ohm, and 2×8 ohm) as well as a DI out—a nice feature that would be even nicer if there was a mute option for silent recording, as on Marshall’s TSL122.
Diminutive Demon
I tested the Mini Jubilee with an Ernie Ball Music Man Axis Sport, Fender Stratocaster, and Gibson Les Paul, along with a Line 6 M9 patched into the effects loop for some delay and reverb. The Mini Jubilee offers two power modes: high and low, which are 20 watts and 5 watts. I started my test at my apartment using the lead channel and the 5-watt setting. Because the Mini’s preamp section is similar in most respects to the bigger 2555X Jubilee head, it was no surprise that I could tap into the heavy tones that are the bigger amp’s calling card. With the output master between 0 and 2, I was able to get meaty tones at bedroom volumes that could stand in for much louder sounds in a recording situation. And where many low-to-mid-power amps—even at minimum volume—are still too loud for bedroom use, the low-wattage setting in the Mini Jubilee and the gentle taper of its volume controls generate big-but-quiet tones that never sound neutered.
It’s not just power that’s preserved at lower volumes. The Mini Jubilee also stays dynamic. And when I reached for uncommon chord structures, like consecutive stacked fifths on a detuned guitar with a considerable amount of gain lathered on, I heard clarity and felt picking sensitivity that I really didn’t expect.
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