User manual MARSHALL JCM 2000 TSL100

[. . . ] TSL100 & TSL122 TRIPLE SUPER LEAD Valve Amplifiers JCM 2000 ENGLISH From Jim Marshall I would like to personally thank you for selecting one of our JCM 2000 Triple Super Lead valve amplifiers. Since I started Marshall Amplification in 1962 I have witnessed some incredible breakthroughs and advances in amplifier design technology, such as master volume amps, switchable channels, reverb, MIDI technology, speaker emulation and digital effects processing, to name just a few. These may seem like every day features nowadays but this certainly wasn't always the case. However, the same values that were present in the first Marshalls are still here today. [. . . ] Set at the top end of the control's range (depending on the type of guitar and pickups, etc) a very warm sustaining breakup will start to occur, depending on the EQ settings, as described below. Master Section Controls At the other end of the panel you will find the `Clean' master section with the following controls : 6. Reverb Control This will vary the inbuilt Accutronics spring reverb from a faint shimmer to deep and luxurious, this will affect the `Clean' channel only. 3. Volume Control This sets the amount of signal generated by the preamp out into the power amp section. When using very clean `Gain' settings, you may want to turn this up higher than when using higher `Gain' settings to achieve a suitable stage sound level. The FX loop comes after this control, which will help you balance the FX level with the other channels. NOTE : Many different `clean' amp textures can be created by balancing the `Gain' and `Volume' controls. 7. FX Mix Control When using the extensive FX looping facility on the rear panel, this control will adjust the FX mix for the clean channel only, from totally dry (0) through varying degrees of parallel mix (1-9) to a full series connected loop (10). Presence Control and Deep Switch The presence control will boost the upper mid / lower treble part of the tone giving it more up-front brilliance, great for cutting through overactive cymbals. It is suggested that initially you set the controls midway and experiment from there, rather than the `everything on 10' method favoured for the earlier non-master Marshall amps. Remember, increasing the treble is going to make the distortion more `fizzy' and `cutting', whereas increasing the mid will make the distortion more fluent and sustaining but probably not as dynamic (in the modern sense). Try what you will, there are many textures to discover. FUNCTIONS 2. Gain Control Again this controls the input sensitivity of the channel but with the effect of being capable of much more gain and hence more dramatic distortion. At low settings, the channel is relatively clean (although darker in tone than the clean channel) and makes a good alternative for gentler, bluesy style solos. With a bit more gain the tone becomes more aggressively traditional Marshall rock with the emphasis on chunky power chords. Take the gain control to the limit and we enter modern high gain crunch territory, with probably more gain and dynamics than other manufacturers would put on their lead channels! 6. Master Section Controls As with the Clean channel the Reverb, FX mix, Presence, and Deep functions can be adjusted independently of the Clean channel but remember these controls are also used in conjunction with the Lead channel. 3. Volume Control Again this controls the balance and level of the crunch channel against the rest of the TSL. 3 LEAD CHANNEL 1. Mode Select (please refer to diagram C, Page 28) Output Mute By the nature of the `V. P. R. ' circuit, we can now turn off the signal to the output valves. As the speaker emulating DI output is connected to the same place, this enables the TSL to be DI'd for silent recording, yet maintain the compression and harmonics of a push-pull valve stage. ENGLISH To access the Lead channel - both front panel `mode select' pushswitches must be pushed in (with or without the foot controller connected). The Lead LED (red) on the front panel and on the foot controller will now be illuminated. Power and Standby Switches FUNCTIONS As you can see the control line up in the `Lead' mode is identical to the `Crunch' mode, except now you are using the other row of controls. Operation of the `Lead' channel is exactly the same as the `Crunch' channel, but with a lot more gain and compression to play with. This channel will still clean up with low gain settings or from the guitar's volume control. [. . . ] 120V to 230V etc), please contact your country's Marshall distributor or main service centre. ) 375 watts. T4A - 117V or T2A - 230V T1A 4 x ECC83 (12AX7) - preamp and phase splitter (inverter). Marshall - Svetlana fitted as standard. Mains power input Mains fuse HT fuse Valve (Tube) complement WARNING! ! WARNING : RISK OF HAZARDOUS ENERGY!AVIS : ENERGIE ELECTRIQUE DANGEREUSE! If the loudspeaker is disconnected a high voltage can be present at these output terminals. [. . . ]