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How are you dialing in your Marshall Origin?

Discussion in 'Amp Central Station' started by Marc Morfei, Mar 10, 2021.

  1. Marc Morfei

    Marc Morfei Friend of Leo's Silver Supporter

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    I have read all the threads here and elsewhere about the Marshall Origin, and watched a few YouTube videos. But I figured I would bring it up again here, to see what settings everyone is using. I just picked up an Origin 20 combo over the weekend, and I'm liking it a lot so far. But it's my first ever Marshall, and after always playing Fenders and Peaveys, it is clearly a different animal. In addition to the standard 3-band EQ, it has Gain, Boost, Presence, and something called "Tilt". So there are a lot of ways to EQ this. Tilt seems to shift the whole curve during the input stage, and Presence seems to shift it at the output stage. Also, the Boost seems to add a lot more bass, but not much more gain. It's too many variables. I prefer the Pro Jr style of one tone knob. Anyway...

    Most online comments I read were about how bright it is, or thin sounding. There is definitely excess brightness to be had, but there seems to be ways to avoid that. Playing around with the Gain and Master, it seems to sound best with the Gain dimed, and Master lower as needed, rather than the reverse which is usually the case on most amps. Also, it sounds best with the Boost always on, as the added bass balances the inherent brightness. Tilt and Presence want to be very low. In fact the Presence adds an unpleasant something. That's the reverse of the experience with my old Peavey Classic 50, where the Presence knob brought the whole thing to life. Not sure how the Tilt is useful, I find it hard to imagine needing that much brightness.

    So how do you guys set yours?
     
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  2. Jakedog

    Jakedog Telefied Ad Free Member

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    First, the tilt is awesome if you understand Marshalls.

    On the old JTM and Plexi amps, you had four inputs. Two per channel. One set gave you the bright channel, the other gave you the normal channel. Many players would “jump” the channels with a patch cable to run them both at once. It boosted the gain, and allowed a fat tone that still had plenty of edge.

    The tilt control on the origin series is basically internally jumped JTM channels, but instead of just being fixed at 50/50, you can blend to taste. It’s about the coolest knob ever put on a Marshall.

    Secondly, Marshalls, especially the vintage style circuits, can be very thin and bright until you really get them cooking. You gotta run em high to get the most out of them.

    I find the presence control much better at adjusting the treble than the treble knob. That treble knob gets spiky real quick. That’s another typical Marshall trait. But you don’t need much of it. I never get mine above 9 o’clock or so.

    Settings adjust room to room, but typically in the rehearsal space I’m running mine like this-

    Gain about 11 o’clock, boost ON.
    Tilt to taste, I typically run it someplace in the vicinity of noon, but will pull it back or boost it a little depending on the room sound. It never goes higher than 2 o’clock, or lower than about 9 o’clock.

    Bass 1 o’clock.
    Mids straight up noon.
    Treble about 11 o’clock.
    Master at anywhere between 1 and 3 o’clock.
    Presence usually between 7 and 9 o’clock.

    I’m mostly using a Les Paul with stock BB61 pickups. These settings give me a loud, punchy, Marshall clean that can go from super clean and pretty, to a nice, gnarly/jangly light breakup all with right hand dynamics.

    Power switch is always set to the full 20 watts. I run a small board in front with a tuner, a four knob comp, a TS, a Mini Spark boost, and a phaser. I put a light reverb in the FX loop. It’s a banging little amp.
     
    Last edited: Mar 11, 2021
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  3. blowtorch

    blowtorch Telefied Ad Free Member

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    Gain full up, boost on, tilt usually about half, presence off, output switch in the middle position, tone controls to taste/depending on guitar

    Master around 7:00

    Mine's the Origin 50, btw :cool:
     
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  4. KC

    KC Friend of Leo's

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    It's complicated! It's versatile! these are the same thing!

    The one tip that I picked up from someplace was not to be afraid to really dump the presence control. If there's an annoying harsh sound in the high end, it may be living in the presence control. You can still get a nice bright sound with it dialed way out.

    I'm not really looking for a typical 80's rock / metal sound -- I'm just a broke down old blues player -- so I tend to leave the volume at 1 or 2 o'clock and adjust the master to suit the volume situation. Tone controls start at noon and adjust to taste but usually not much either way. I use the tilt to go from Fender to Gibson and adjust the amp to the room & the mix. The brightness that sounds harsh in your practice room may be just what you need in a bar. Have fun! Play great!
     
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  5. Glen W

    Glen W Tele-Afflicted Silver Supporter

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    I find myself using the tilt control at about 9 o'clock for Tele/Strat, and around 12-1 o'clock for my one HB guitar.
     
  6. Jakedog

    Jakedog Telefied Ad Free Member

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    I also forgot to mention-

    I replaced the power tubes in mine. In any EL34 amps, I always run GT E34LS power tubes. I get #7’s if I can. These really tighten things up, and increase both output and clean headroom. Some people don’t like them. They think they’re too tight/hard sounding. But I don’t like spongy amps. They’re my secret weapon for getting *my* Marshall sound.

    I also stuck a new production Tung-Sol in V1, and some leftover GT 12AX7R3 tubes that I had laying around in the other two spots.
     
  7. MilwMark

    MilwMark Doctor of Teleocity Ad Free Member

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    Presence 0. Use Tilt instead.

    I don't think Marshalls come alive until the Gain, Master and Mids are all at least at 2-3 o'clock. So that's how I would run mine and then I'd use the attenuator to bring it back to the right level.

    You've kinda cracked the code in that volume and/or gain being up tame the brightness.

    They are the best Marshalls I've ever used really, in terms of reliably getting a really good tone and feel without having to peel the paint off the walls.

    When I used a studio's early JCM800 212 combo it was "better". I guess. But it was also in an ISO room. And in the room and not in the mix it was ear-piercingly bright. But it was a joy to play and it sounds great mixed. But I digress.
     
  8. gimmeatele

    gimmeatele Tele-Afflicted

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    IMG20210311080958.jpg

    This is normal setting and mainly for humbucker guitars, through a Laney 2x12" with HH speakers. The gain is altered to taste but this gives a nice break up. Oh and it's the 20 head.
     
  9. El Marin

    El Marin Friend of Leo's

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    I don't find it bright

    Settings?... depends on what do you want to get... cleans, dirt? crunch? high gain?

    I use two. In one band I tamed the bright of the 50C with some preamp valve tweaking and WAITING until the speaker was broken in. I set it clean but add two Tubescreamers

    In other band I play more crunch style but I use a 50H and a 1922 2x12" with old speakers and no bright there whatsoever.

    Strangely, I went one day with a bunch of preamp valves with both and in the combo I like more some old valves I had but in the head I liked brand new TAD valves.

    I cannot remember the settings, but I have them in a painters tape just to set the amp the same in the rehearsal studio after a gig. I will post them anyday
     
  10. Marc Morfei

    Marc Morfei Friend of Leo's Silver Supporter

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    Great info so far. Thanks guys. I came from a mostly Peavey background of "just put everything at 12:00." So having so many options is a fun challenge. I have not used it with the band yet so that will be the real test. Everything sounds different at home. And even though it is only 20 watts, and has attenuation, I'm not really thinking of this as a home amp. At the half-power setting maybe. 1/4 power doesn't sound like anything. But I have my Vox Pathfinder for home.
     
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  11. blowtorch

    blowtorch Telefied Ad Free Member

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    yeah I've not used my Origin with a band yet at all.
    This weekend I've got a drummer coming over and we'll knock the rust off some of my originals- we'll see how the Origin does. I have a feeling I'm going to be smiling a lot
     
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  12. Chiogtr4x

    Chiogtr4x Doctor of Teleocity

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    On the Origin 20 ( this sounds like a fun amp, I wanna get one someday!)
    what are the Power ( watt) options on the attenuator switch?
    Thanks

    ( maybe it's mystique or fantasy, but the concept of the Origin seems like a real portal (affordable) into the, duh, original Marshalls. I've only ever played a Marshall a few times)
     
    Last edited: Mar 11, 2021
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  13. mkdaws32

    mkdaws32 Friend of Leo's Gold Supporter

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    Don't own one, but played an Origin 20 combo many, many times at the local store - I really like that amp and will probably end up with it sooner or later, although I don't need another amp. I like it edge of breakup (cranked with attenuator on - no boost) with the tilt dialed a little to the left. Then boost it with a GE-7 - great overdriven blues and classic rock tones with a Strat or Tele. The 10" V-type speaker surprises me on this one, as I'm more of a greenback/creamback guy. I have a bit of a love/hate thing going on with the 12" V-type in my Bassbreaker cab, although it's starting to break in nicely recently. The V-type in the Origin 20 combo seems to be a perfect match for the amp, though.
     
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  14. Axis29

    Axis29 Poster Extraordinaire Ad Free Member

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    1/2, 3 and 20 watt settings. I've been super happy with my Or20C. It does give me that edge of breakup, early Marshall thing in spades. Takes all kinds of dirt pedals well, too!

    The Direct Out is the real sleeper when it comes to playing live! Great for sound reinforcement and limiting stage volume.

    I am all over the place with the controls, usually. I twiddle knobs on the regular. I play everything from a Tele to a couple of Les Pauls, and a few Gretsches through mine. So, I am not afraid to give 'em all a twist. So, giving you a setting would only be a very temporary situation. LOL
     
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  15. Chiogtr4x

    Chiogtr4x Doctor of Teleocity

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    Thanks!
    I want a 20 Combo maybe up the road, sounds perfect for my gigs, ( but I'd need to unload one or 2 amps to do that)

    Edit: it would be great ( as mainly a Fender amp user) to introduce a 'vintage toned', yet volume-manageable Marshall into the mix!
     
    Last edited: Mar 12, 2021
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  16. El Marin

    El Marin Friend of Leo's

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    Here is my Origin 50C setting at the rehearsal studio. (written on the tape) When Gigging I change whatever I have to (as you can see). When coming back to the Studio I set it up again that way. I use two tubescreamers too. One always ON, low drive high volume and the second for leads

    I use it with a Gretsch 6120 Filtertron TV Classics and a Tele Custom 72. When changing from the Gretsch to the Tele y raise the master one point.

    [​IMG]
     
  17. cyclopean

    cyclopean Poster Extraordinaire

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    At three am, under a full moon, in a circle of salt.
     
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  18. ce24

    ce24 Poster Extraordinaire

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    32A9E2C0-FBB2-44AA-9E60-CA962A37C017.jpeg Here is what i have. origin 20
     
  19. blowtorch

    blowtorch Telefied Ad Free Member

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    Yesterday I tried these in conjunction with my Origin 50 combo
    [​IMG]
    [​IMG]
    [​IMG]

    That Tomahawk came out heads and shoulders the winner, which surprised me some
     
    Last edited: Apr 19, 2021
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  20. redchapterjubilee

    redchapterjubilee TDPRI Member

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    I'm still learning mine but I seem to have settled on
    Presence at 9 o'clock
    Master at 2 to 3 o'clock
    Bass at noon, Mids at noon, Treble at noon
    Tilt at 9 - 10 o'clock
    Full 20w setting

    Like the OP, I come to Marshall from Fender/Mesa land and the zingy upper mid/high thing versus the fuller low mid or scooped mid/full low & high thing sounds "right" and Marshall sounds hard and brittle. It's a sound I'm coming to appreciate for what it is. I've not had a chance to try it at practice/gig volume into a cabinet yet (I'm running it with an SLIR at home) but I think I'll take it out to practice next. I don't have any closed-back cabinets (my amps are mostly Fender/Mesa) and haven't figured out what to run it into yet.
     
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