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With soon-to-be-famous musicians like Mitch Mitchell, Pete Townshend, Eric Clapton and John Entwistle frequently stopping in, a community was forming at the store where locals in the midst of a burgeoning rock scene could get away from the big band crowd and talk shop.
In addition to drums, Jim and Terry carried Vox and Selmer amps, but the bands stopping by convinced them to import Fender and Gibson guitars and amps as well.
For the first time, people could see a band live with hundreds of thousands of fellow fans and actually The legacy of Marshall amps doesn’t rest solely upon the 100-watt Super Lead, though.
From the early JTM 45 prototypes to the Bluesbreaker combos and later innovations, Marshall stood for a particular sonic response, a brand of British rock quite separate from the jangly tones of Vox amps.
It had two independent channels (Channel 1 had 6 d B more gain than the Channel 2), but it would be fifteen years before Marshall built in channel switching. Artists began to explore this threshold territory – long before rows of 100 watt stacks – with the humble blues-rock voicing of the JTM 45.
Both channels used the same GZ34 rectifier tube on their way to dual 5881 power tubes, leading some tinkering guitarists to use a short jumper cable to engage both input channels simultaneously. By 1965 the Marshall JTM 45 Mark II was well known in London.
With the demand for a new sound and the cost of importing amps from elsewhere, Ken was convinced they could and should produce their own.
Originally named “Jim Marshall & Son,” Jim and his son Terry Marshall opened their doors in July 1960 at 76 Uxbridge Road in Hanwell, England.