MCD Guitarrist Joaquin Refines His Marshall JCM800 2203 Tone at Kitarshokak

Joaquin, guitar player from the legendary Bilbao-based punk-rock band, visited Kitarshokak last Thursday to take an in-depth look at his rig and unlock its full potential.

Last Thursday, Joaquín visited our facilities to take an in-depth look at his rig and unlock its full potential. The setup we worked on consisted of a vintage horizontal-input Marshall JCM800 2203 paired with a Marshall speaker cabinet. For the tests, I used an identical cabinet from the Kitarshokak backline, although mine was the straight-front version rather than the angled one he owns.

From the outset, it was clear that the goal was not to change Joaquín’s sound. His tone has been part of his identity as a guitarist for decades. Instead, the aim was to help him achieve a more complete, dynamic, and rewarding version of that same sound.

An interesting aspect of his journey is that for many years he used a Marshall JMP-1 connected directly to the power amp input available on the amplifier. It is a very practical and versatile solution, especially for players who value ease of use. However, my impression is that for the type of music Joaquín plays and what he truly needs to express, plugging straight into the amplifier is far more inspiring. There is an interaction between the guitar, the amplifier, and the player’s dynamics that happens in a much more natural way.

The reference tone I had in mind while we worked was a rock sound in the vein of AC/DC, but taken one step further: a little more gain, a little more compression, while preserving that open, organic, and richly nuanced character that gives every note its own personality.

His amplifier features an interesting modification: an additional master volume control. By balancing the amp’s original master volume, the added master, and the preamp volume, we managed to get very close to his usual sound, although still slightly below it in terms of compression and overall gain.

Marshall JCM800 2203: Working with Both Master Volumes

One of the first objectives was to see how far the amplifier could go using only the combination of the original master volume, the added master volume, and the preamp volume control. In the following video, you can hear how the JCM800 behaves in this configuration. For this demonstration, we used Kitarshokak’s Gibson Les Paul Standard, as Joaquín’s usual Gibson Les Paul Custom was not available during the session.

We also tested several pedals that Joaquín had brought along to determine which one would fit best into the signal chain. Out of all the options we tried, the Ibanez TS9 proved to be the best match for both the amplifier’s character and the tonal direction we were aiming for. Even so, one of the most interesting conclusions was just how well the amplifier performed on its own, without any external assistance.

Joaquín normally plays a Gibson Les Paul Custom, but on this occasion he accidentally left it behind and brought his Yamaha SG2000 instead. To get a point of comparison closer to his usual guitar, we decided to bring out Kitarshokak’s Gibson Les Paul Standard and see how the rig reacted with both instruments. As is often the case when the rest of the signal chain is working properly, relatively “small” changes in the guitar translated into clearly audible differences in the overall sound.

Pedal Testing and the Search for the Ideal Tone

Throughout the session, we carried out a series of pedal tests to evaluate how each one interacted with the amplifier and what it contributed to the final result. Although the video captures one of the tests performed that day, the broader objective was to explore different approaches and gain a deeper understanding of how the amplifier responded to each setup.

One of Joaquín’s main concerns was the amount of volume required to use the amplifier both in the rehearsal room and on stage. My impression was that the issue might not have been the actual volume level itself, but rather the quality of the sound he had been getting previously. It is quite possible that part of the perception of excessive volume was caused by a tone that was overly aggressive or harsh in certain high-frequency ranges. We also took the opportunity to discuss some practical aspects of amp placement and rehearsal room setup that can help every member of the band hear each other more clearly.

Before coming in, Joaquín had already mentioned that he was interested in trying an attenuator, so we connected a Marshall Powerbrake, also part of the Kitarshokak backline. This is where we began to hear the amplifier respond more like the kind of great Marshall tone we all associate with an amp operating in its ideal range. The playing experience became more organic, more dynamic, and ultimately more inspiring.

The explanation is relatively straightforward. The original master volume on a JCM800 operates before the phase inverter. The additional master volume fitted to Joaquín’s amplifier is almost certainly positioned after the phase inverter, allowing that stage to be driven into saturation as well. By balancing both master controls together with the preamp volume, it is possible to achieve a highly convincing tone at surprisingly manageable volume levels.

However, there is still something missing when working exclusively in this way: the power tubes are not being driven into saturation. It is precisely when you enter that territory that many of the dynamic nuances, the sense of elasticity, and the distinctive crunch we associate with a tube amplifier running at full song begin to emerge. This is where the attenuator truly makes a difference, allowing the amplifier to reach that sweet spot without pushing the overall volume to impractical levels.

Marshall Powerbrake: Getting Closer to the Amplifier’s Sweet Spot

The test that produced the most noticeable difference in feel was the one carried out with the Marshall Powerbrake. By allowing the amplifier to operate in a more favourable range without reaching excessive volume levels, additional dynamic detail and a more authentic response emerged—much closer to what we all associate with a tube amplifier performing at its best.

In addition to all of this, we took the opportunity to compare several high-end cables and try out different guitar picks available at the Kitarshokak recording studio. Although these may seem like minor details, they made a noticeable contribution to the final result.

I often say that when a tone is built around only a few core ingredients, it becomes even more important for every element in the signal chain to be as good as it can be. Great tone rarely depends on a single spectacular factor; more often, it is the result of many small details working together. And when that combination is paired with the effectiveness of simplicity, the outcome is something truly special:

AN INSPIRING TONE

Of course, this is only the first step. We achieved a significant improvement and identified a clear direction for future work, but there is still room to refine the rig further. Areas such as preamp tube selection, a detailed review of specific components, or future experiments with other elements in the signal chain could help take the setup even further. The important thing is that there is now a solid foundation on which to build.

The best part of the day was seeing how much Joaquín enjoyed playing. He looked comfortable, inspired, and genuinely excited by the sound he was getting. I mentioned to him that this kind of tone also demands a more refined touch, greater control of dynamics, and, in a way, a re-learning of certain aspects of one’s playing technique. His response was particularly encouraging: he saw it as an opportunity for growth.

I would also like to thank Jon Aldama for bringing us together and making this session possible. Thanks to him, we were able to share a day of work, learning, and tone chasing that proved to be as productive as it was enjoyable.

In the end, beyond the gear, the tubes, or the settings, what really matters is seeing a musician connect with their instrument and enjoy playing. And that is exactly what happened during this session. It was a genuine exchange between fellow music enthusiasts, driven by the desire to learn, improve, and continue searching for the sound that inspires us to pick up the guitar every day.

For readers unfamiliar with MCD, here is one of the band’s classic live performances, showcasing the raw punk-rock energy and guitar-driven sound that helped define their identity.