A finely tuned replica of the JTM-45 using a custom wound version of the Radio Spares output transformer which has 6.6K, 8K, 9K and ultra-linear taps on the primary. The 6.6k primary is used as on early JTM-45's. This relatively high primary impedance works well with KT-66 and 6L6GC/5881 tube types. The Classic 45 with these tube types is rated at 40 watts.
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The Club 40 is the defining early sound of the JTM-50 and JMP-50 Bass 50 watt heads. The amp uses an JTM/Bass circuit voiced for a flat frequency response. GZ-34 rectifier and ss rectifier are selectable by a switch allowing for the softer rounder feel of a JTM-50 or in ss mode the quicker pick attack and response of a JMP-50 Bass head.
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The Lead 55LV model uses a dual EL-34 output section and "lead" circuit values. This is the Lead circuit used in original 68-69 JMP-50 1987 models. Great crunch and upper midrange are there to cut through the mix in a sweet way that only a plexi can. Single notes are warm with great harmonics. The Lead 55LV model is delivered stock with optional tube/ss rectifier switching. Filtering is period correct for 68/69 JMP-50 specs.
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Based on the original "Super Amplifier" from the 1966 time period also known as the JTM-45/100. Original examples of these early amps are getting harder and harder to find, and prices keep escalating. The Monterey 100 "Super Amplifier" is a faithful re-creation of the JTM-45/100 in every way with extreme attention to detail in build quality and components. The sound is unmistakably vintage with it's huge full sound evoking memories of Fresh Cream, early Hendix and early AC/DC.
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Lets roll back in time to 1967. It's early in that year that Marshall made the switch from KT-66 tubes to EL-34's with new transformers for this tube type. These are the second series Drake transformers made. 1203-80 power, 1202-119 output with no 4 ohm tap and 1202-132 with a tap for 4 ohms. Unique to these new models was a reverse typeset JTM lettering on the front panel which is affectionately know today as “Black Flag”. Later models would simply say JTM-100. Unique was a dual bridge rectifier being fed from two individual high voltage AC secondary windings of the power transformer. All of these early amps used a Bass circuit derived from the JTM-45. Steel chassis made their debut in early in 67 as well.
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The Headroom 100 specifically emulates the sound and construction of the very early 68 100 watt plexi panel Super Lead and Super Bass amplifiers to exact detail! From the very first glance of the zinc plated steel chassis and plexi panels to the perforated tag board assembly the workmanship and attention to detail is simply stunning. The early Super Lead's from 68 were the first to use a circuit specifically voiced for “lead” guitar with split cathode pre-amp, specific values in the tone section and output stage as well as a brite cap for an “automatic brightening” of the amp at low volume. The Headroom 100 is available with either a “Super Lead” circuit for the ultimate in singing sustain or, Super Bass circuit values for those wanting a cleaner amp with a more rounded tone.
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