Softube Marshall Plexi
A faithful emulation of Marshall’s own reference Plexi Super Lead 1959 amplifier from their museum, built in 1967
About Softube Marshall Plexi
There is perhaps no other amplifier more vital to the history of rock & roll than the Marshall Plexi Super Lead 1959. We took Marshall’s own museum-piece Plexi (a pristine model from 1967) under extremely careful security and supervision, and modeled each and every component to produce the most textured, detailed software version imaginable. At any setting it responds exactly like the hardware, and it’s sensitive to your playing style like you wouldn’t believe.
How Does Softube Marshall Plexi Work?
The Plexi’s design was essentially commissioned by Pete Townshend of The Who, looking for more power, volume, and grunt as true high-voltage rock began to explode in the mid ’60s. Eric Clapton traded in his ‘Bluesbreaker’ combo for a Super Lead when he founded Cream in 1966. Jimi Hendrix, for goodness sake, played a Super Lead at Woodstock. Need we say more?
The first Marshall full stack was created for the Plexi. Initially the super-powerful, 100 watt amp was paired with a huge 8×12 speaker cabinet, but soon the preference shifted to two 4x12s, one straight and one angled. It’s hard to overstate how much of a cornerstone this amp is. Rock simply wouldn’t look or sound the same without it.
I love this thing! This thing gets down and dirty! It can be your full on Rock filth!
Why Softube Marshall Plexi Is Such A Big Deal
- A faithful emulation of Marshall’s own reference Plexi Super Lead 1959 amplifier from their museum, built in 1967, combined with an era-correct 1960BHW speaker cabinet recorded by famous engineer/producer Tony Platt
- Microphone selections and placements by Tony Platt, captured in famous Kore Studios, London
- Over 50 finely tuned presets designed by AC/DC engineer Tony Platt
- Three different microphone combination setups available — FET, Valve, and Dynamic
- Three separate mics per setting, two close and one room
- ‘Channel Strip’ includes pans, volume faders, and solo for each mic, plus a two band ‘Main Out’ EQ