Marshall JCM Slash Signature 2555SL

Über Marshall JCM Slash Signature 2555SL

The 2555SL of 1996 was Marshall's first signature amplifier: the 100 W Silver Jubilee 2555 run again in black with the Snakepit faceplate. About 3,000 heads were made, with 3,000 matching angled A cabinets (1960ASL) and 1,500 straight B cabinets (1960BSL), sold as half and full stacks with snakeskin covers and a certificate, and it was never reissued. The B cabinet is the hard part to find today.

Inside it is the Jubilee's later v2 board, the one fitted from about serial 3000 in late 1987 through the black 1988 to 1989 heads, built with the component brands of a decade later and, some say, a different output transformer; owners who have compared the insides found the same values throughout, and the 1987 originals carry a Drake transformer. EL34 power tubes (Groove Tubes from the factory, JJ E34L the usual replacement). The footswitch is a single button for rhythm and lead; the effects loop cannot be switched from the floor. The matching cabinets carry the Marshall-spec UK-made Vintage 30, the 70 W Marshall G12 Vintage that is not sold new on its own.

The artist played it on the road from 1996 through the second Snakepit tour of 1999 and into Velvet Revolver, and still runs it beside the 1987 Jubilees.

In einem Absatz

Die Zahlen dieser Seite als ein Absatz, zum Zitieren zusammengestellt; nicht von Hand geschrieben.

Marshall JCM Slash Signature 2555SL wurde im Median für 2.500 € verkauft (letzte 24 Monate, 14 erfasste Verkäufe; die meisten zwischen 2.400 € und 2.950 €). Aktuell gibt es 2 Inserate auf Reverb, ab 2.138 €. Zahlen berechnet am 20. Oktober 2026 von Doirado aus Inseratsdaten mehrerer Marktplätze.

Was Besitzer anderswo gesagt haben

Sinngemäß wiedergegeben aus 273 Diskussionen unter 49 Besitzern, 2019 bis 2024. Keine Namen, keine Zitate. Der Text ist auf Englisch.

For its owners this is the best Marshall they have had and the one they would keep: an instant, huge sound straight in, good at any volume but truly alive only when it is turned up on a stage. Against a 1987 Silver Jubilee the room splits: some hear the SL as a touch more aggressive, with more bite, gain and mids and a clearer dirty channel, the 1987 warmer with a fizzier top and the better clean; others who own both cannot tell them apart. Against the 2555X reissue and the 2525 mini the verdict is firmer: most owners of both find the SL and the 1987 originals more open, warmer and spongier with more low end and a better loop, the reissues fizzy, cold and thinner, and the 20 W mini convenient but small-sounding, though a minority hears the SL and the X as the same amp.

The settings owners share for the artist's sound sit around 6 to 7 on everything with the presence to taste, the output master high and the lead master low on a stage (or the reverse at home), a GE-7 with a mid hump in front for saturation or in the loop for level, and a JHS Little Black Amp Box in the loop to tame it at bedroom volume.