This is the MRSH amp that has ended my personal MRSH journey.
It is a 1967 MRSH SB model featuring a dual rectifier setup (a unique feature of some amps from only this year) and relatively low filtering and the same transformers that the late black flag JT100 amps had. The early JM amps differed only in the faceplate.
Combined with an all original 1969 MRSH 1960B 4X12 with G12H 55 Hz speakers featuring original Pulsonic cones in great shape it is a magic combination and the definition of late 60’s rock tones.
I assumed it would sound very similar to the 68 SB, but it is surprisingly different. While the 68 had me floored, the 67 ups the ante even higher. To me it is THE MRSH tone i’ve had in my head for 20 years and never quite got there despite being close quite a few times.
For what ever reason, despite being essentially almost the same circuit as the 68 with a few small changes, this one sounds almost like a cross between the 68 SB and the 69 SL, marrying the best aspects of both in a perfect balance of body and detail.
Due to the Drake Output transformer it has a narrower frequency bandwidth than the later models equipped with Dagnall transformers. In turn it is less strident in the highs and has less low end, which comes in very handy with this circuit, as it has an abundance of low-end as it is.
Instead it has a visceral response in the low mids, an unparalleled punch and beautiful, round and musical mid focus, which never masks detail and clarity at the same time.
What also stands out is that it has a 3d quality to the attack like nothing else i’ve heard: if you would imagine the attack of the note in the time axis, it compresses the onset of the attack and hence has a perceived softness/roundness, but in the next moment the full force of the attack kicks in even through quite strong crunch gain levels that allows a beautiful clarity, string separation and dynamics, especially for a MRSH style amp.
Extremely dynamic, touch sensitive, 3-d sounding, big, bold, warm and all the other juicy adjectives that are thrown around all too often, but i give them all to this amp, it is all there in spades.
It retains clarity and detail even when dialed in for a warm and round tone and it can be played like its own instrument due to this amazing 3d quality of the attack, which lends it so much depth.
It is a mid focussed amp that thrives from and in the mid frequencies, especially the low mids. It is an amp that will easily cut through the mix without it ever being or needing to be overly bright.
It excels at clean tones, edge of breakup, light and medium crunch and it is a phenomenal pedal platform that is up there with the HWTT CUT100 and FNDR BFTWN.
It is an amp without an Achilles Heel, but as all bass spec MRSH amps it has a lot of bass content. If it is overbearing for your needs, there are many ways to keep the fantastic core tone and texture intact, while reducing the bass – EQ pedal in front of the capture, lowering bass knob on the capture, a drive or boost pedal that cuts some of the lows.
To me this amp is the perfect Strat AND Les Paul amp. Jimi tones? All day long. Jimmy tones? You bet.
The black flag style 100W amps were used by the likes of Jimi Hendrix (e.g. Axis Bold as Love), Eric Clapton (Cream), Paul Kossoff (Free), Eric Johnson and many more. Variants of the 100W black flag amps seem to be favored by quite a few MRSH afficianados and not just because of their rarity (made only during 1967).
Thomas Blug (creator of Amp ONE among many other things) has stated that his black flag Super PA is his favorite MRSH amp and he’s played them all.
A recent Chicago Music Exchange demo showcases a large MRSH collection where a dark purple Black Flag 100W amp stunned everyone as a clear standout.
Tom Bukovac (and according to him Mr. Eric Johnson agrees) has stated that in his view the 68 SB is the best MRSH ever and i agreed until very recently. Who am i to disagree with these legends, but i now clearly stand in the 67 Dual Rectifier/Black Flag camp. You are in good company either way when looking at the players behind both models.
If i was allowed to keep one amp, this is it. It has a bite combined with a full bodied and round sound like no other Marshall nor other amp i’ve heard to date. To me it is the ruler of them all, the apex predator and hence its name shall be “REX”.
A huge part of the magic behind the visceral attack and low mid punch you get out of this amp comes from our newly acquired all original 1969 MRSH 1982B straight 4X12 cab with all original G12H30 55Hz speakers (T1281) and Pulsonic cones. This is the cab that was used by Hendrix, Page and all the big rockstars of the 60’s and 70’s as it had the necessary power handling.
The set includes a whopping 36 full Tone Models ranging from clean to lead gain levels and featuring various EQ settings per gain level. Please refer to the full list of Tone Models in the product pictures.
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Absolutelly Killer!
When I played this pack it was the exact moment I finally got the Marshall growl, organic chug, and warm mids tone I always had in my head. The Rex is the Rex, period. Exceptional quality specimen! And with the clarity and liveliness that only Amalgam Audio captures provides! Awesome.
Remarkable!
Definitely recommended!
I have quite a few packs from Amalgam and this one is my favorite so far. I like running the DI captures in to a PS-100 to an Friedman 4x12 and holy smokes what a sound. These capture are incredible for getting that vintage Marshall sound. Love them.
Fantastic!! Spectacular!
This series is spectacular!! Absolutely amazing!
Uncle Larry!
Lordy, what great Marshall Plexi tones! The Edge and Crunch tones are well worth the price of admission....
Disappointed
I was disappointed; I expected better, knowing the original amplifier very well. Only 3 or 4 captures are usable, but they're not great.
Inspiring!
The best Marshall tones I’ve heard for the QC as of 2025. Fun and inspiring sounds!
So good
This one sounds so good and you can just feel it. This is a must have.
These are amazing
I have purchased a ton of captures over the years from a variety of providers. I've had great ones for the Kemper, great ones for the Tonex, and now great ones for the Quad Cortex (and I've pruchased patches for the Helix and Fractal stuff, too). These are my all-time favorite, based on the variety of tones and the tactile realism and responsiveness. If you're a Marshall fan, I just don't think there's anything quite this good out there.
OH MY
OH MY This is the amp ive been dreaming of!! I'm only 6 captures in and I could do a whole gig with the drive bright with Schaffer replica capture. no pedals needed! just my Les Paul and a volume knob AC DC ZZ TOP Mike Campbell Mojo tones Fantastic! Well done guys *****
This is my new favorite amp.
These captures are incredible. Extremely versatile and takes pedals really well. Somehow sounds amazing regardless of the IR that you pair it with. Thanks for putting out so many captures for this one, it definitely deserves the additional attention.
Huge sounds
Just got finished playing the MRSH SB67 "REX" and the Rex for Ed captures. Huge sounds. This is one large sounding amp. Tons of depth and detail. Amazing tones from clean to crunch and it takes pedals really well. The REX for Ed expansion has some of the best high gain tones AA has done IMO. Killer job.
Great for Texture Crunch Tones, Singing Leads, and Barrels of Fun
I usually use vintage tones (small Fenders, maybe a Gibson) captures. But these pedal-enhanced Marshall tones are so much fun! I think my faves might be the Timmy, Zen Drive, and Tone Bender fuzz .... but there's not a bad one in the batch. All have unique characteristics. They all sound good as is, but you create singing cello tones by adding pre-compression, some delay and reverb, and then crank the gain knob up! Highly recommended, and for a good cause. What's not to like??
Phenomenal!
For the longest time, my go-to Amalgam capture was the “ORNG 120 1973.” No matter what new captures I tried, I always came back to the Orange—it just worked. My ears have never been a big fan of Marshall captures, so I was pretty hesitant about grabbing the “MRSH SB67 1967.” But wow, am I glad I did. Like the Orange, this one makes everything sound good, no matter what pedal I throw at it (I’m running a Klon, TS808, and Nobels ODR1). The cleans are rich and full-bodied, and the distortion is pure magic. Honestly, the “MRSH SB67 1967” has bumped the Orange off the top spot—it’s now my #1.
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