Did you find this review helpful? It’s a decent amp for anyone who wants to play rock or metal on a budget for sure. One criticism is that the amp does suffer some background noise, even set clean. While digital modelling amps offer many more presets than this, hands up who actually uses more than four core amp tones at a single gig anyway! He had to apologise for getting into it so much – no moans here Doug! There’s also a tap tempo function for use with the delay and each can be turned off completely with one of three switches.
The key to the system is the Stompware footswitch that’s included with all MG amps down to the MG50FX and is available as an optional extra for use with the smaller amps too. The onboard amp models and effects obviously don’t sound stellar but who am I kidding if I said I expected this to sound like the tube amps I love. When Damping is Off the power amp response resembles the feel of a classic power amp with emphasized middle and limited bass and treble. The footswitch’s LED and status panel show you which effects and features you have for each of the four patches. Tap Tempo Use tap tempo to set your delay times as easily as tapping your foot. The programmable channel layout is a welcome change from the dual channel layout of the old MG amps, which was clumsy and hard to balance. Question is, do you really need it? A portable and versatile head that’d be ideal for first-time giggers who can’t quite stretch to a DSL or VM model.
Perhaps, but given that there’s a Marshall simulation in every modelling amp ever made, you can see where the big M is coming from.
While digital modelling amps offer many more presets than this, hands up who actually uses more than four core amp tones at a single gig anyway! Did you find this review helpful? The Seriea and OD2 modes are good for what they are. Elsewhere the configuration is familiar from the more contemporary Marshall amps.
Tap Tempo Use tap tempo to set your delay times as easily as tapping your foot. The FX loop is series and set at instrument level so both guitar FX or professional units can be connected.
He had to apologise for getting into it so much – no moans here Doug! Image 2 of 2 That iconic livery. Marshall’s MG series is fundamentally important to the company.
Marshall MGHFX review | MusicRadar
When we first reviewed the MGs back in September we were very impressed, and since then, despite the growth in digital modelling technology, the series has usually punched above its weight due to some innovative features such as Frequency Dependent Damping FDD and a contour control, not to mention the onboard effects. It really does alter the feel of the amp, and with the damping engaged, a higher gain setting and the middle reduced, there’s a tone that’d be cool for modern metal styles.
They’re not the cheapest options out there when compared to their relevant peers, nor do they groan under the weight of amp, cab, and effects models.
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Marshall MG100HFX review
Cons Perhaps not as much gain as some modern amps. FX Loop The FX Return socket on the rear panel is used to connect the your favorite external effects pedals or processor. I find that crunch tones like that rely on subtle tube breakup to sound good Flicking the overdrive channel offers two further gain stages rwview it’s here that the damping feature, mg100hfx subtle one at the best of times, comes into its own.
Played clean, the tones are pleasing, though do have an element of squareness that no solid-state amp seems to be able to shake, compared with a quality valve amp at least. Using a Strat’s fourth position the reverb is deep and the delay, although not offering quite as lengthy a feedback as we’d have liked, is simple to control.
Chorus, phaser and flanger are chosen via a rotary control, while the delay and reverb have their own level pots. This watt head is kept company at the top of the range by 1 x 12 and 2 x12 combo versions the MGFX and MGFX and they all offer the same selection of features. Do the sounds stack up Perhaps the most important, that’s mqrshall across the board, is Marshall’s Stompware technology, which enables you to program and store up to four sounds that can be composed marehall contrasting effects and different amp settings – including gain and EQ levels: Msrshall to have a look at the class ofthen….
MG4, a totally new, completely redesigned range that sticks vehemently to an analogue design for the amp tones, meaning no digital recreations of amps of yore whatsoever.
It’s a watt solid state head that features four programmable channels think Hughes and Kettner Switchblade and has a few built in effects as well. We’ll elaborate in the sounds section, and you can use the same button to switch between the aforementioned preset and manual modes.
In that respect, each new MG of 50 watts rview more is genuinely gig-ready in a band context from mg100ufx practicality standpoint at the very least. Subscribe to our free newsletter Subscribe. Cookies help us improve performance, enhance user experience and deliver our services. The onboard amp models and effects obviously don’t sound stellar but who am I kidding if I said I expected this to sound like the tube amps I love.
One omission is that of the once lauded contour control, a feature that enabled you to effortlessly scoop a high-gain tone without it losing any punch or drive.
It truly is just a case of getting a sound you like and storing it.
Damping Make it sound like your using 2 completely different amplifiers. The ability to store presets and not have to worry about balancing things like gain levels or EQ settings is something marsball is good for younger players who just want to jam. As a solid-state, two-channel affair the three-way EQ is shared by the clean green and crunch red channels, with the latter also possessing an additional overdrive function that adds gain.
The sparkly high-end is transferred to both drive settings of the red channel which on the face of it may come across as too bright, but it’s these frequencies that really help you get heard in a band mix: As recompense, a switchable damping option is provided that subtly alters the way in which the power section reacts to your playing. Setting and storing a sound is simple thanks to the provision of a store button and Stompware can also recall other specific settings: In this mode we’re in classic rock territory: