The 100-watt Marshall Super Lead Model 1959, AKA “the Plexi," was really the first guitar amplifier purpose-built for rock and roll. Up to that point, amplifiers by Fender and other companies were built with more general usage in mind. The turning point was when Pete Townshend of The Who, a man legendary for his unflagging pursuit of maximum stage volume, requested that Marshall build him a 100-watt amplifier with which to annihilate audiences the world over. In 1965 Marshall ably fulfilled his request, mating a massive new KT66-powered head to eight 12-inch speakers (a necessity, since speakers of the day were only capable of handling around 15 watts), and eventually creating the "stack" arrangement that rockers of today know and love.
As most know, the original, hand-wired Plexis are relatively rare, unequivocally expensive, and far out of reach for most players, even to those who might have a little extra money to throw around. They are generally rather unreliable for day-to-day rocking as well, and as with any half-century-old electronic device, keeping one maintained and in working order can be quite an undertaking. This situation has given rise to the popularity of the Plexi clone, a hand-built reproduction amp constructed to original Plexi specs, but with more reliable and predictable components, as well as a much lower price tag. Given the varying quality of vintage Marshalls, a modern clone can certainly sound as good or better, be much more dependable, and cost less than a good used car. Here is a handful of the best Plexi clones available in the modern day.
Metropoulos Amplification
Any discussion of modern Plexi clones would be incomplete without mention of Metropoulos Amplification. Specializing in exacting reproductions of specific Plexi models, Metro advertises itself as "The most accurate Plexi replicas in the world." The company's 10,000 and 12,000 series amps (the names of which refer to serial number ranges) reproduce tones from '67- and '68-era Plexis, respectively, delivering tones that range from Led Zeppelin and Cream, to the more aggressive tones of early Van Halen. Each type is based on meticulous examinations and so-called "DNA samples" from a handful of actual vintage Plexis, precisely documenting component values, as well as things like the grade of steel used in the transformers. It's this kind of obsessive attention to detail that has made Metropoulos the reigning king of no-compromise Plexi reproductions. Of course, this kind of quality is not inexpensive, but at $3000, a Metro 10,000 or 12,000 is still significantly less than a working vintage piece, and about the same as Marshall's less-impressive reissue.
Germino Amplification
Greg Germino's Plexi recreations are regarded as among the best available, and have been for over a decade now. Players like Early Slick, Brad Whitford, and Audley Freed are counted among Germino amp users, and those are dudes that definitely know a proper Plexi when they plug into one. The company recreates several different types and eras of this classic rock amp, but its '66, '67, and '68 100-watters are its crowning achievements. Dubbed the Monterey 100, Fillmore 100, and Headroom 100, respectively, these heads are built to precisely recreate the many idiosyncrasies exhibited by actual vintage amps from each era, both in look and construction, with even period correct bolts and hardware being sourced. The tones and feel are spot-on, ranging from Hendrix and Cream, to ZZ Top and AC/DC crunch. One of Germino's heavy-hitting 100-watters will set you back $2800, which is less than Marshall's hand-wired 1959 reissue, and Germino even offers a transferable lifetime warranty.
Ceriatone Amplification
For players who are afflicted by the Plexi bug, but have less dough and are somewhat less concerned with painstaking recreation of every single detail of a vintage amp, Kuala Lumpur's Ceriatone has an excellent reputation for quality and customer service, and offers both kits and fully-built Super Lead and Super Bass reproductions in '67, '68, '69, '70, and '73 variants. A complete Ceriatone Plexi costs $1,150 plus shipping, which is an astonishingly good deal for such a ballsy, reliable, high quality amplifier. Should you choose to build your own Plexi using Ceriatone's kit, even more substantial savings can be had. The company also offers a wide variety of parts and components, for builders and players that like options.
Rockitt Retro
Hailing from my hometown of St. Louis, Missouri is Rockitt Retro, a newcomer to the Plexi clone scene that has cultivated a reputation for lovingly built (and very affordable) amplifiers that nail authentic vintage Plexi tones. Rockitt's Kevin Heidbreder recreates the 1969-spec Marshall 1959 Super Lead with his Rockitt Retro 100 "Plexica," using period correct Heyboer transformers, carbon composition resistors, SoZo capacitors, and housing it all in a sturdy large-box Baltic birch cabinet. The look and tone is as authentic as it gets, the workmanship is meticulous, and for this Rockitt Retro charges an absolutely ludicrous 1,399 dollars. The company also offers the 1987 50-watt Plexi variant, or a combo version in a 2x12 or 4x10 cab. Options include PPIMV master volume, custom tolex colors, an effects loop, or, at no extra charge, a Super Bass circuit instead of the Super Lead circuit, for those that want a rounder, cleaner tone than the Super Lead provides.
Mojotone
For Plexi nuts that like to build stuff, Mojotone's British 100-watt Lead/Bass Style Amplifier Kit is an excellent way to go. For about 1,100 bucks, you get everything you need to build your own vintage Marshall-style 100-watt monster, including Mojo's sweet Baltic birch cab, custom reproduction transformers, carbon composition resistors, period correct capacitors, and a full complement of JJ tubes. For less dough, you can also get the kit without the cab and/ tubes. The build time is about seven hours, and Mojotone rates it a "4 out of 5" difficulty, but the reward is great for players that are also handy with a soldering iron and high voltages.
Fine Plexi reproductions are all the rage, and for good reason. They typically cost much less than a fully operational, and relatively unmolested, example of a genuine vintage Marshall 1959, while nailing the tone, feel, and look. Going the high quality reproduction route also takes the luck, guesswork, and inevitable maintenance issues out of the equation, which is important if, like most of us, you'd rather be a guitar player than vintage amp museum operator.
