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Mark III The smaller, lighter Limited Editions sold out immediately, but being completely out of organ hardware at this point, I had to develop a new smaller aluminum chassis from scratch, as the Marshall 18-style was too large to fit into the 5E3 box. Available only as a 112 combo, it was more than 10 pounds lighter than it’s predecessor, and featured reverb, tremolo, and the 5/17 switch as standard equipment.
For the first 3 years, the Mark III had a solid-state rectifier in order to make the same plate voltage with a small- er power transformer to save space and reduce heat, but later ones were wired for a tube rectifier, and eventually the GZ34 became standard.
It would be another 60 or 70 amps before the Mark 2 showed up, which was the solution to the erratic and inconsistent supply of organ parts.
It was an off- the-shelf aluminum Marshall 18-watt kit chassis with all of the holes drilled in the right places, and I continued to build the ex- act same 3-knob Super 17 on this platform, which would soon find its way into the Marshall 18-watt style birch-ply combo cabinet that many other small builders have embraced over the years.
The Mark II soldiers on as the basis for every model above 20 watts, including the 33 series, Black Dog, and any build that needs to be a 2x10 or a 2x12, as well as all heads across the board.
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These cabs are becoming more rare to find, especially in this condition.
This is a similar cab that David Gilmour used on his iconic albums.
Despite a major change in packaging and the addition of several new features, the touch sensitivity, responsiveness, the heart, and the soul of the Super 17 remained fundamentally unadulterated.
And so it was for nearly five years the Super 17 Mark III was the bread and butter amp of the entire product line, and to date is the most prolific of all Goodsell amps with more than 500 copies built.