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Code 100h

Discussion in 'Introduce Yourself' started by Darryl Breckell, Aug 27, 2021.

  1. Darryl Breckell

    Darryl Breckell New Member

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    G'day all, I'm from Australia.
    I have a 1959rr jmp Marshall.
    And am thinking of buying a code 100h.
    Can anyone tell me about the cons of one before buying?.
    Cheers.
     
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  2. fitz288

    fitz288 Well-Known Yinzer Silver Supporting Member

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    I had a Code100H, still have the 25 modded into a micro stack.
    It's not an amp that you can just fiddle with the knobs and play.
    Have you ever had a modeling amp?
    The Code amps take some set-up to get the presets usable - IMHO.
    The factory presets are mostly garbage.
    The Code Editor for PC program is very handy for programming new presets.
    CODE Editor for PC (marshallcode.tools)
    I'd also recommend using a tablet, and not a phone, to run the Gateway app.
    The app is a way easier interface to use than the knobs on the amp.
    The only knob I usually use is the master volume.
    On the good side, I love having all the amp/cab/effects options, and having them available on a touchscreen.
     
  3. PelliX

    PelliX Well-Known Member

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    Well, let's be brutally honest here. The CODE series are not "true" or maybe "traditional" Marshall amps, really. Let me try some actual pros and cons:

    Pros:
    * Tons of knobs, tweaking, FX - versatile they are.
    * Lightweight. No transformers worth mentioning, lightweight chassis.
    * Well illuminated controls - messing in the dark or flashing lights is easy and reliable.
    * Completely computer/tablet/phone operable.
    * Cheap, compared to many other heads.
    * Solid state - no valve replacements, very laid back about impedance of attached cab or no cab at all.
    * Headphone out with no degradation compared to the speaker output (emulated outputs on Marshall valve amps are a disgrace tone wise).

    Cons:
    * Solid state circuit. Not the MOSFET type. Not the classic transistor type. Digital circuit driving a sort of voltage regulator, actually.
    * Not made by Marshall. DSL's are made in Vietnam, for example, but they're Marshalls. The CODE is a whole different kettle of fish. Chinese boards, VERY cheap construction.
    * Digital FX bought by Marshall to emulate their own products. To me at least quite sterile. It will do a lot, but not much "damn well". [see next con]
    * A swiss army knife of tone. Hey - that sounds good? Yes, but a swiss army knife is not a fully fledged replacement for the actual tools it features.
    * Not serviceable. Well, sure, anything can be repaired, but this is entirely SMD and Marshall themselves don't even fix them, they replace them.
    * The control application is .. well, that's taste. I wouldn't put it on the pros list unless you like fumbling with a tablet or getting pre-fab backing tracks in the mix. There's a bit of a 'pro' there, somewhere

    My personal advice? Don't get one. Get a real amp (valve or solid state) and a separate FX unit. Easy to swap either out if/when you want. Better bang for the buck. Tools that do one thing and do it well tend to work better than tools that attempt to do everything and end up doing it to a degree.

    I'm not plugging products, but I'd get a 'dedicated' amp (or use the 1959 you have, whatever) and put something with modeling in front of it. I use a Roland GP-8 and a BOSS GX-700 for 99% of my "FX and modeling". The GX-700 has great FX and 'decent'-ish modeling/cab sim, for example. BOSS are very good at this game. DigiTech also do a phenomenal job at some of that stuff. Plenty of other brands out there, but those are the ones I can name that I've had 1st hand, 1st rate experiences with.

    @fitz288 Let me be clear, I'm not knocking your CODE, I'm just providing my perspective. :)
     
  4. fitz288

    fitz288 Well-Known Yinzer Silver Supporting Member

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    Completely agree with everything.
    Don't even think of comparing the simulations to the real thing.
    But for me, I like all the techno geek stuff about setting it up as much as everyone else hates it.
    Compared to an equivalently priced and sized MG, I'd take the Code any day.
    Does it come close to a 100w Marshall with 17 knobs and 11 tubes? NFW.
     
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  5. Darryl Breckell

    Darryl Breckell New Member

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    Thanks for that in-depth response, I didn't know they were using Chinese boards, though it was all Vietnam.
     
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  6. Darryl Breckell

    Darryl Breckell New Member

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    I kneed something smaller for small gigs, until I can afford a jvm410c. What would you recomend.
     
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  7. PelliX

    PelliX Well-Known Member

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    I'm the kind of guy who will, literally, build network control and monitoring into coffeemakers and can operate his entire house from a control panel or a command line. For some reason, when it comes to playing music (not mastering/mixing, but certainly making/playing) I love 'nuts n bolts', analog. Well, how analog is GX-700 with MIDI control? Analog enough, I guess.

    Damn, that would be a tough choice for me. I don't care for either, but if I were forced to chose, I think I'd still go with the MG for the ease of modifying and servicing it. I don't care for the MG's, honestly (not a metal guy, and I know that statement is going to catch some heat). That said, I'd see about dumping and re-flashing the CODE ... maybe I would get it to do something... exciting. :shrug:
     
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  8. fitz288

    fitz288 Well-Known Yinzer Silver Supporting Member

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    The Code that should have been...
    20210616_054813 (002)-s.jpg
     
  9. PelliX

    PelliX Well-Known Member

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    Nope. Do yourself a favor and just google for some pics (or search on the forum) of the innards of those CODEs. It's literally not a guitar amplifier in the traditional sense, but a DSP based FX control station with in- and outputs. Then compare that with even some VOX or Marshall solid states (Pathfinders, MGs) or a hybrid (Valvestate, etc).

    What about a DSL? Fine selection of 'budget' all valve circuits that really do the business. The old Valvestates (8xxx and so on) are/were pretty cool amps, to be honest. You find the combos more often than the heads, but they're out there if you search.

    To answer your question literally, I'd probably end up with a DSL20 or DSL40, maybe a DSL100, or another one from that line. Why?

    * Cheap enough not to hurt too badly. (You said it's a temporary thing until you have the JVM).
    * Resale value if in good state without big loss.
    * All valve circuit.
    * Not too heavy when talking about the smaller ones, even the 100W head isn't too bad.
    * Serviceable, quite versatile.

    EDIT: If you throw a few tenners on top, you could get a DigiTech RP-something modeling pedal and have your amp/cab sim and a bunch of FX on top. Run that baby into the FX return and you've got some serious options and a valve output stage.
     
    Last edited: Aug 27, 2021
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  10. fitz288

    fitz288 Well-Known Yinzer Silver Supporting Member

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    If you want something smaller than the 1959RR, have you looked at the Studio 20w heads?
    And as @PelliX said DSL's are relatively low cost and have good resale value.
    The DSL40CR is very popular here - versatile, portable, and plenty of power.
    I don't gig, so I have no first hand knowledge of a 20 watter in a live setting.
     
  11. PelliX

    PelliX Well-Known Member

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    Twice the price, too. Slightly better re-sale value than a DSL, too, though... The SC20H is coming my way soon.

    They'll generally keep up just fine with your average drummer and whatnot. Maybe the 40W to be on the safe side, just for some more 'balls' when pushing it hard. Then again, as a rule of thumb either you're fine with a 20W or you had better be mic'ing anyway in which case 20W is enough. Obviously, drummers, acoustics and settings vary wildly.
     
    Last edited: Aug 30, 2021
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  12. Darryl Breckell

    Darryl Breckell New Member

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    Thanks to all for your replies.
     
  13. Dogs of Doom

    Dogs of Doom >>> Moderator <<< Staff Member

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    :welcome:to the forum...

    I think of the CODE as a multi-effects box w/ a lightweight class D amplifier. For around $300, it's a good bargain, since, getting almost any decent stompbox pedal will cost almost as much.

    IDK about using it for gigging, even small gigs though. I'd think of it as more of having something small around the house, that you can just grab to get you by, until you get to jam on your regular gear.

    That's just me though, YMMV...

    :cheers:
     
  14. fitz288

    fitz288 Well-Known Yinzer Silver Supporting Member

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    Extremely valid point.
    It's a fun amp to screw around with, but easy to screw up your presets at the same time.
    I would not want to depend switching presets in a set list for a gig, or try to make adjustments in the middle of a set.
    For a gig amp, get something you know how to use in the dark.
     
  15. Mitchell Pearrow

    Mitchell Pearrow Well-Known Member VIP Member

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    Welcome to the forum
    Love your 1959 RR.
    Cheers
    Mitch
     
  16. Darryl Breckell

    Darryl Breckell New Member

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    Thanks for that pillex
     
  17. Darryl Breckell

    Darryl Breckell New Member

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    Thanks Mitch.
     
  18. PelliX

    PelliX Well-Known Member

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    You're welcome. :thumb: I have this nickname as people find my real name hard to spell/pronounce/remember - never thought that would get messed up, too - ah well, we live and learn! :D

    I know how to use my sound guy in the dark. Oh wait, that's me ... sigh.
     
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