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FROM “THE GUV’NOR” JIM MARSHALL We’re Still Listening . . . Welcome to ’s 2012 catalogue. As you probably already know, 2012 is a special year for my company as it marks our 50th Anniversary. As you can see from the front cover of this catalogue, in keeping with the tongue-in-cheek title of the 2004 biography, “The Father of Loud,” we’ve decided to label our special anniversary “50 Years of Loud.”

To be honest, when I teamed-up with Ken Bran and Dudley Craven (RIP) with the idea of building the world’s first rock and roll in the autumn of 1962, we had no idea what the future held in store.To be honest, I would have been delighted if we could have built and sold 50 amps. I didn’t dare dream that our little endeavour would last 50 days, let alone grow into a globally respected company that’s still going strong and growing some 50 years later.

The reason we made the very first Marshall amp came from me chatting with all the up-and-coming young guitarists who came to my drum shop in the early ‘60s. They told me what they were looking for from a and that there was nothing available at the time that did exactly what they wanted. Because of that I decided to put together a team that could build an amp that produced the sound I could hear in my head based on what the lads had described to me.

Ever since then, that’s how my company has operated and grown. We’ve listened carefully to what guitarists want in terms of sound and features, made sure we completely understand those needs and then we strive to exceed their expectations. We also work tirelessly to ensure that we offer the best possible value without compromising reliability, components, build-quality, finish, flexibility and, of course, that all-important commodity – Tone! I’m also proud to state that while a lot of companies who claim to be British actually build nothing in the UK anymore, Marshall still makes all of our high-end products in our factory in , , England.

Although our Golden Anniversary isn’t until September of this year, we’ve already announced some 50th Anniversary products – a series of five 1-Watt amp pairings (in this catalogue) plus a Limited Edition handwired 1962 Bluesbreaker combo which will be released later this year. These UK made amps are only the start of our celebration – more Anniversary products and events will be announced as September draws closer.

In the pages that follow you’ll also learn of our latest signature products, the British built, signature head and cabs, plus the affordable new 2012 DSL Series which comprises of two heads and two combos.

Everybody at Marshall amps is very well aware that ultimately the real reason for our longevity and success is our legion of loyal customers. Thank you for all your continued support over the past five decades as without it we wouldn’t be celebrating 50 Years of Loud! Enjoy this catalogue and rest assured, we’re still listening very carefully to what you want from an amp and will continue to do our utmost to not only satisfy but exceed your expectations. Here’s to the next 50 years!

Sincerely,

Jim Marshall 4 5

Demeaning jokes that make drummers out to be drooling dolts are ten-a-penny – especially in guitar playing circles. This said, there is one skin-beater that no self-respecting six-stringer would ever dare poke fun at. Why? Because, without this drummer, rock as we know and love it today, might not exist. His name… JIM MARSHALL – THE FATHER OF LOUD

The Jim Marshall story is a fascinating, sound they just couldn’t find. “Listening to rest is history. Marshall quickly became the true-life, rags-to-riches tale. Born in , what they were saying gave me a very good world’s pre-eminent rock amplifier maker – a England, on July 29th, 1923, his childhood idea of what they wanted,” Jim states. “So, I status the company still proudly holds today, was anything but easy. “I never really got decided to put together a small team to build a winning countless honours along the way, an education because I was in hospital all valve amplifier with the specific sound the lads including the Queen’s Award for Export in the time with tubercular bones,” Jim reveals. were after.” 1984 and 1992. How does Jim ensure that As a result of this unfortunate affliction, he his latest products remain every bit as cutting spent most of his school years quite literally edge as they were when they first appeared cocooned in a plaster cast. some 50 years ago? “By listening to guitarists Without the benefit of a formal education, Jim and finding out what they really want,” is began working at age 13. He also learned his instant reply. “In my opinion, the most to tap dance and, before long, music had important thing in what we do is the person become the focus of his life. “A band leader who’s actually going to play through the amp heard me sing and asked me to try out,” once we’ve made it. If you don’t bother to Jim recalls. He passed his audition with listen to the end-user, you’ll miss the mark flying colours and, by 14, he was performing on certain things because no-one knows 6 nights a week as the lead vocalist for a everything.” 16-piece, big band. In 1942 the band’s drummer was enlisted and Throughout his career, Jim has devoted Jim stepped in. His natural talents behind the countless hours and a huge amount of money kit were quickly obvious and, before long, he After several attempts, the first Marshall to charities for disabled and underprivileged was a much in demand performer & teacher. head was built in September 1962. It was an children. “It all goes back to spending so In fact, Jim’s weekly roster of 65 pupils instant hit. Jim tried it with a 2x12″ cabinet but much of my young life in that wretched plaster included several who went on to find fame and didn’t like the sound. “Plus we kept blowing cast,” he explains. “I decided at the age of fortune, including Mitch Mitchell () up speakers like there was no tomorrow!” 14 that if I ever became rich enough, I would and Micky Waller (Little Richard, the He laughs. “So, I decided to put four 12″ look after young people who need help and Group). speakers in the smallest enclosure we could encouragement. I’ve done well from nothing build, so it’d be easy to transport.” And so the so I’m just putting something back in.” Not Marshall 4x12″ cabinet was born – a product surprisingly, Jim was made an honorary that’s still deemed the “industry standard.” Doctor of Music in 2002 and awarded the OBE (Order of the British Empire) in 2004. In 1965, another important Marshall milestone was reached. “ asked if I could build him a 100 Watt head and an 8x12″ cabinet,” Jim states. “I agreed but warned him that his roadies wouldn’t like handling such a big cabinet and suggested stacking an angled 4x12″ on top of a straight one instead. Pete was having none of it though, so we built him what he wanted and off he went.”

In 1960 Jim opened a drum shop. “All the Jim’s prediction proved correct and drummers used to bring their groups in with Townshend returned to have the 8x12″ cab them, which is how I got to meet guitarists like “cut in half.” The result of this logical solution Pete (Townshend) and Ritchie (Blackmore).” was the creation of what is now one of the Jim recalls. “They kept pestering me to stock rock world’s most instantly recognisable icons guitars and amps so I decided to give it a go.” – the 100-Watt Marshall stack! He quickly became aware of the fact his guitar playing customers were all searching for a From that point on, as the saying goes, the

1965 JIM’S MARSHALL TIMELINE 100 Watt 1959 head & 30 Watt 1987 2004 2012 Bluesbreaker Combo Silver Jubilee Jim receives OBE 50 Years of Loud! 1947 1962 1992 1923 Studies drumming First Marshall amp 1973 1981 Queen’s Award 1998 2007 Jim Marshall born with Max Abrams JTM45 Jim’s 50th Birthday JCM800 Series for Export MG Series JVM Series 6 0 9 0 3 0 0 4 0 1 0 7 0 5 0 8 0 2 0

1936 Early 50s 1964 1975 1984 1991 1997 2008 Starts work at age 13 Professional Drummer First Marshall Stack Master Volume Queen’s Award Valvestate Series DSL Series Jim’s 85th Birthday for Export 1942 Jim opens music 1968 1992 1999 Starts drumming store in London 200 Watt Marshall Major 30th Anniversary Acoustic Soloist JMP-1 6 7

NOT A COVER BRAND Over the past five decades, we’ve produced a veritable arsenal of amps. While each and every model is unique in character, they’ve all had two vitally important things in common: 1) They’re 100% pure Marshall & 2) They allow you to sound like yourself! We don’t need to copy others and neither do you. Life’s too short for that. We are not a cover brand, we’re original and so are you. Be original, be yourself is our motto…

100% Original

100% 8 9

MADE IN ENGLAND WITH PRIDE In September, 1962, Jim Marshall and his team placed the first ever Marshall guitar amp in the window of his tiny music shop on the outskirts of London, England. This history-changing head was the direct result of Jim listening to players needs and reacting accordingly. 23 orders were taken that very first day and a legend was born.

Ever since this humble beginning, certain covering; component and speaker insertion key characteristics have been permanently and wiring; plus, of course, affixing the intertwined within the double helix of the legendary Marshall script logo; highly skilled company’s DNA. These fundamental yet human hands are involved. Don’t merely pivotal genetic traits include: take our word for it though. Look at the photographs that accompany this piece. As • Listening carefully to guitarists needs so the saying goes: a picture paints a thousand we can design amplifier products they words… really want, rather than products we think they want. The attention to detail and passion poured into each and every product that leaves our • Ensuring that all Marshall amps can and Bletchley factory is something we’re extremely will withstand the often gruelling rigours proud of. It’s no wonder that so many rock of gigging and touring. There’s simply icons won’t consider any other brand – no point in making a product that sounds Marshall is their first and only choice…. amazing but isn’t roadworthy. These products include Vintage Reissues, the Hand Wired family, our “industry standard” “There can only be one amp…and it’s a • Last but definitely not least, continuing 4x12″ 1960 cabinets, Class5, the Vintage Marshall.” – the tradition that Jim and his team started Modern range and, of course, our current 50 years ago….building amps and flagship line – the JVM2 and JVM4 series. “I love my Marshall amps: I am nothing cabinets in England!! Another exciting product that’s being made without them” – Jimi Hendrix (RIP) in our UK factory is the brand new and much heralded 50th Anniversary, Limited Edition “For me to sound like ‘me’ I have to have Series of all-valve, 1-Watt heads and combos a Marshall – that’s just the way it is.” – (see page 12 for more details). “When I stand in-front of my rig, if my Hand Crafted… nuts ain’t shaking then I ain’t satisfied… In today’s computer-operated, highly- and the only stuff that can do that is my automated manufacturing world, many people Marshalls.” – might understandably think that to make an amp all you do is throw some wood, electrical That’s the “Made In England With Pride” components, knobs, valves and a sheet of difference. metal into a massive machine, press a button, LANDFILL FREE Of course, like the majority of modern and out pops a JVM410H. Not so at Marshall. Marshall is proud to be a “Landfill Free” factory, as one amplifier manufacturers, the Marshall line The amount of “human touch” that goes of our Core Values is to be respectful to our precious includes affordable amps that are made in into every amp and cabinet made in our UK planet. To this end we send all sawdust for composting, our overseas factories – such as the recently factory is staggering, even though we say it all wood off-cuts are reprocessed as laminate flooring; all released MG Carbon Fibre Series (page 20) ourselves. cardboard and clear and the brand new DSL line (page 18). That plastic is recycled; all said, our premium products are made in the Yes, we do use machines to do certain general waste goes to Marshall factory in Bletchley, England, with things for speed and precision but human a Materials Recycling immense pride…they always have and always involvement is always significant at Marshall Facility; and anything will be. from cabinet construction, sanding and remaining is sent to an Energy for Waste Plant. 10 11

For more information visit www.marshallamps.com 50TH ANNIVERSARY 1-WATT SERIES OF ALL-VALVE HEADS & COMBOS – LIMITED EDITION We’re kicking off our 50th Anniversary celebration with five pairings of Limited Edition, all valve 1-Watt heads and combos. Each duo pays sonic and visual homage to one of the five decades that Marshall has been in business – ‘60s, ‘70s, ‘80s, ‘90s and 2000s.These five pairs will be released chronologically at regular intervals throughout 2012, our 50 Years of Loud Anniversary year. They will only be produced in 2012 and Made in England with Pride in the Marshall UK factory.

To add to their “neighbour friendly” nature, each and every amp features a rear panel Low Power switch which drops the output power from 1-Watt to 0.1-Watt. Each amp also boasts a 50th Anniversary Limited Edition Commerative plaque. 12 13

50TH ANNIVERSARY 1-WATT SERIES OF ALL-VALVE HEADS & COMBOS – LIMITED EDITION THE 1960s, 1970s & 1980s . . .

JTM-1H

JMP-1C JCM-1C

JTM-1C

JCM-1H

JMP-1H

For more information visit www.marshallamps.com

JTM-1 Head & Combo – Paying tribute to JMP-1 Head & Combo – The muscular, JCM-1 Head & Combo – The ‘80s were SPECIFICATION JTM-1H JTM-1C JMP-1H JMP-1C JCM-1H JCM-1C the tone and aesthetic of the ‘60s, this pair of musical overdrive of Marshall Super Leads dominated by the Master Volume Marshall MODEL TYPE Head 1 x 10″ Combo Head 1 x 10″ Combo Head 1 x 10″ Combo all-valve (2 x ECC83, 1 x ECC82) Class A/B truly was the sound of the ‘70s and the JTM1s JCM800 Series – the must-have amps for POWER (RMS) 1 Watt 1 Watt 1 Watt 1 Watt 1 Watt 1 Watt 1-Watters are steeped in JTM-era vibe. With pay homage to that decade’s tonality and look the NWOBHM (New Wave Of British Heavy PRE-AMP VALVES 1.5 x ECC83 1.5 x ECC83 2 x ECC83 2 x ECC83 1.5 x ECC83 1.5 x ECC83 simple yet effective controls for Loudness in spades. Boasting a true Class A power- Metal), the hair metal movement born on LA’s POWER AMP VALVES 0.5 x ECC83, 1 x ECC82 0.5 x ECC83, 1 x ECC82 2 x ECC81 2 x ECC81 0.5 x ECC83, 1 x ECC82 0.5 x ECC83, 1 x ECC82 (Volume) and Tone, these touch-responsive stage topology, these all-valve (2 x ECC83s, infamous Sunset Strip, plus the brutal, no- EQUALISATION Tone Control Tone Control Treble & Bass Treble & Bass 3-Band EQ 3-Band EQ LOW POWER MODE (0.1 W) 3 3 3 3 3 3 amps are harmonically rich and perfect for 2 x ECC81s) amps are classic rockers in the holds-barred, Thrash/Speed metal movement. SPEAKER - Celestion G10F-15 - Celestion G10N-15 - Celestion G10F-15 blues/rock. “My R&D boys have done a really truest sense of the word. Thanks to there The JCM800s aggressive, punch-in-the-chest DIMENSIONS (WxHxD in mm) 180 x 380 x 195 360 x 380 x 220 180 x 380 x 195 360 x 380 x 220 180 x 380 x 195 360 x 380 x 220 fantastic job,” comments Jim Marshall. “Both being an extra valve gain stage in the pre- roar was omnipresent throughout the decade WEIGHT (kg) 5.2 9.4 5.3 8.8 4.7 8.6 amps sound and look like the ones we made amp (an ECC83 is a dual-triode – effectively and oozes from this dynamic JCM-1 duo. A back in the ‘60s.” The combo is loaded with a “two valves in one”), a rear panel Boost switch front-panel Boost switch kicks in the equally 10″ Celestion speaker. kicks in even more overdrive and sustain. popular, extra gain of the Jubilee and Split Channel amps. Beloved by many, the sounds that ruled the ‘80s still rule today. 14 15

50TH ANNIVERSARY 1-WATT SERIES OF ALL-VALVE HEADS & COMBOS – LIMITED EDITION THE 1990s & 2000s . . .

JVM-1C DSL-1C

DSL-1H JVM-1H

For more information visit www.marshallamps.com

SPECIFICATION DSL-1H DSL-1C JVM-1H JVM-1C DSL-1 Head & Combo – Even though JVM-1 Head & Combo – Hailed as the

there were several popular Marshalls in the most “versatile Marshall ever” with the “most MODEL TYPE Head 1x8” Combo Head 1x8” Combo ‘90s, the JCM2000 DSL100 Dual Super heinous high-gain profanity imaginable” by the POWER (RMS) 1 Watt 1 Watt 1 Watt 1 Watt Lead head became known as the “go to rock press, the JVM Series of the new millennium PRE-AMP VALVES 1 x ECC82, 2 x ECC83 1 x ECC82, 2 x ECC83 1 x ECC82, 2 x ECC83 1 x ECC82, 2 x ECC83 amp” of the decade. Critics hailed it as “the is our current all-valve flagship range. The POWER AMP VALVES 1 x ECC82, 1 x ECC83 1 x ECC82, 1 x ECC83 1 x ECC82, 1 x ECC83 1 x ECC82, 1 x ECC83 CHANNELS 2 2 2 2 ultimate Marshall” as it straddled vintage and JVM-1H and JVM-1C pay homage to the look 3 BAND EQ 3 3 3 3 modern so well. The DSL-1H and and sound of this “powerhouse of tone” with PRESENCE CONTROL NO NO 3 3 DSL-1C dual footswitchable channels pay two footswitchable channels (Clean and OD), MID-SHIFT SWITCH 3 3 NO NO 3 3 3 3 tonal tribute to this great amp’s Classic four EQ controls (Bass, Middle, Treble and DEEP/RESONANCE SWITCH LOW POWER (0.1 WATT) 3 3 3 3 Gain and Ultra Gain options with switches Presence) plus a Resonance Switch for even EMULATED OUT 3 3 3 3 for Deep and Tone Shift for further sonic more low end girth. The back panel of both amps FX LOOP 3 3 3 3 flexibility, just like the original. An Emulated also feature an Emulated Output, Series FX SPEAKER - Celestion G8C-15 - Celestion G8C-15 Line Output, FX loop and Low Power (0.1 Loop and a Low Power switch that knocks the SUPPLIED FOOTSWITCH PEDL-00008 PEDL-00008 PEDL-90003 PEDL-90003 DIMENSIONS (WxHxD in mm) 180x380x195 360x380x220 180x380x195 360x380x220 Watts) switch add further to the ante. output down to a neighbour friendly 0.1 Watts. WEIGHT (kg) 5.5 8.9 5.5 8.9 16 17 JOE SATRIANI SIGNATURE – JVM410HJS & JVM410HJSB Recently hailed by the six-string press as “the CEO of Shred”, Joe Satriani needs no introduction to fans of great and innovative guitar playing – his exemplary, trail-blazing career path for the past 20+ years speaks for itself. After meticulous R&D and extensive testing both in the studio and on the road by Satch himself, we’re delighted to launch the following Joe Satriani Signature heads and cabs…

Both the JVM410HJS and JVM410HJSB come supplied with a fully programmable, 6-way footswitch which is connected to the amp with a standard, ¼″ guitar cable. Its revolutionary, patent-pending technology allows you to program each of the 6 footswitches to do one of the following:

1. Switch Store. Operate one of the amp’s 8 front panel switches: Channel Selection/Mode for each channel; Noise Gate (on/off); Master Volume (1 or 2); FX Loop (on/off) or Mid-Shift (on/off: OD1 & OD2 channels).

2. Preset Store. Recall any pre-selected and stored, front-panel switch combination – namely Channel & Footcontroller JVM410HJSB Mode, Gate (on/off); Mid-Shift (on/off: OD1 & OD2 channels), Master (1 or 2) FX Loop (on/off). 1960AJSB 1960BJSB To ensure you know where you are at all times, a row of multi-coloured LEDs reflect the amp’s current Channel/Mode and switch settings at a glance – and they’re right at your feet.

JVM410HJS 1960A

CAB SPECIFICATION 1960AJSB 1960BJSB

SPEAKER CONFIGURATION 4 x 12″ 4 x 12″ POWER HANDLING 300 Watts Mono 300 Watts Mono 150 Watts Stereo 150 Watts Stereo FRONT Angle Straight VINYL COLOUR 30th Anniversary Blue 30th Anniversary Blue MONO/STEREO 3 3 IMPEDANCE 16Ω / 4Ω Mono 16Ω / 4Ω Mono 8Ω Stereo 8Ω Stereo SPEAKERS Celestion G12-75 Celestion G12-75 DIMENSIONS (WxHxD in mm) 760 x 830 x 365 760 x 830 x 365 WEIGHT (kg) 36.4 37

For more information visit www.marshallamps.com

Overview he first turned the guitar world upside-down four channels with three modes per channel, re-voicing Channels and Modes. The result SPECIFICATION JVM410HJSB JVM410HJS with his brilliant debut solo album, the aptly four independent noise gates, an effects is that the Clean Modes are all very 6100-like MODEL TYPE Head Head Having just won, once again, the “Best titled, Not Of This Earth, we’re delighted to loop, and more versatility than I could have and that the fourth channel, OD2, mirrors the POWER (RMS) 100 Watts 100 Watts Shredder” category in Guitar World’s release a Marshall amp with Joe’s signature imagined. This amp sounds amazing.” “Satchurised” OD1 channel. It’s no wonder Joe VINYL COLOUR 30th Anniversary Blue Black prestigious Annual Readers’ Poll, Joe Satriani’s alongside Jim’s on its brushed-gold frontpanel. says, “It’s the punchiest, most exciting amp I’ve ALL-VALVE 3 3 popularity had never been higher – and How did this momentous occasion come to While Joe’s Signature amp is based on a ever played through.” PRE-AMP VALVES 4 x ECC83 4 x ECC83 POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 4 x EL34 deservedly so. A much respected innovator and pass? We’ll let Joe tell the tale: JVM410H it’s been 100% “Satchurated”. In CHANNELS / MODES PER CHANNEL 4 / 3 4 / 3 “guitarists’ guitarist” for many years, Joe not “I’m so happy to be playing through addition to adding four independent Noise To introduce the amazing JVM410HJS, we’re PROGRAMMABLE MID-SHIFT OD1 & OD2 OD1 & OD2 only continues to tour and record relentlessly, Marshall amps again,” the virtuoso states. Gates (one for each channel – replacing offering a Limited Edition JVM410HJSB head SWITCHABLE NOISE GATES 4 (one per channel) 4 (one per channel) 3 3 he just keeps getting better and better, and “Since Chickenfoot’s ‘09 European tour I’ve reverb) and a footswitchable Mid Shift on the and 1960AJSB and 1960BJSB cabs, clad in 2 SWITCHABLE MASTER VOLUMES MASTER PRESENCE & RESONANCE 3 3 shows no signs of slowing down! been re-discovering all the cool elements of the OD1 and OD2 channels, Joe spent many “30th Anniversary Blue” vinyl as homage to the MIDI SWITCHABLE & EMULATED LINE OUT 3 3 Marshall sound. Now, after using prototypes on hours with Santiago Alvarez (our R&D maven, blue 6100 head Joe used for many years that 2 FX LOOPS (ONE SERIES/PARALLEL) 3 3 As you may know, Satch is no stranger to the two records and a few world tours, I’ve got my responsible for the Kerry King, Yngwie and many still consider him synonymous with. FOOTCONTROLLER PEDL-00055 PEDL-00055 Marshall brand. So, a quarter of a century after own signature 100 watt JVM410 model! It has Slash AFD Signature heads) tweaking and DIMENSIONS (WxHxD in mm) 750 x 310 x 215 750 x 310 x 215 WEIGHT (Kg) 22 22 18 19

2012 DSL SERIES “Due to popular demand” and “if it ain’t broke, don’t fix it” are two grossly overused clichés but both apply to this brand new series of four great sounding and surprisingly affordable, all-valve Dual Super Lead (DSL) amps. Based on the critically acclaimed & best selling JCM2000 DSL100 head, we are proud to announce the new 2012 DSL Series…

DSL100H 1960A 1960B Identical features on DSL40C Front Panel Close-ups Front

When the JCM2000 Dual Super Lead (DSL) series of amps was introduced in 1997, they were received with open arms and glowing compliments by the guitar loving public and press alike. In fact one of the biggest American guitar magazines described the DSL100 as possibly “the best Marshall ever. It combines the best tonal qualities and features of both modern and vintage Marshall amps in one package.”

After an extremely successful and long life, the JCM2000 series was replaced by the JVM series in 2007, which has also gone onto great DSL15H success and critical acclaim. That said, there’s still a great deal of respect and demand for Dual Super Leads, with one of the UK’s most popular 1960A

guitar magazines recently referring to the DSL100 as “the go-to rock amp.” “As a result of public demand, I tasked my R&D team with designing DSL Origins four new, affordable, all-valve based on the popular DSL100.” Jim Marshall states. The outcome of this Marshall misson? The 100- Watt DSL100H head; the 40-Watt DSL40C 1x12″ combo; the 15-Watt DSL15C 1 x 12″ combo; & the 15-Watt DSL15H head.

DSL15C DSL40C

For more information visit www.marshallamps.com

SPECIFICATION DSL100H DSL40C DSL15H DSL15C DSL100H: 100 Watt head – The all-valve Channels each boast two modes – Clean/ tonal character as Triode mode produces a Clean option) and Ultra Gain (the DSL100H’s

(4 x ECC83, 4 x EL34) twin-channel monster Crunch and Lead 1/Lead 2 respectively. smoother, less aggressive sound. Lead 2 option) – share the same EQ network MODEL TYPE Head 1 x 12″ Combo Head 1 x 12″ Combo has the same valve compliment and feature These will take you from Plexi-style, pristine and a Deep switch for extra low-end “girth” PENTODE MODE OUTPUT (RMS) 100 Watts 40 Watts 15 Watts 15 Watts set as the iconic DSL100, with the following clean to JCM800 snarl, hot-rodded 2203, DSL40C: 40 Watt 1x12″ Combo – This if required. Like its bigger brothers, its TRIODE MODE OUTPUT (RMS) 50 Watts 20 Watts 7.5 Watts 7.5 Watts upgrades: i) A Resonance control as opposed high gain lead and all points in-between. The sturdy, gig-ready 40 Watt workhorse boasts footswitchable digital Reverb is studio quality PRE-AMP VALVES 3 x ECC83 3 x ECC83 3 x ECC83 3 x ECC83 POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 2 x 6V6 1 x ECC83, 2 x 6V6 to the original’s fixed Deep switch – giving flexibility of the shared 5-band EQ (Treble, 2 x EL34 power valves, a Celestion speaker and a Pentode/Triode switch drops the power DUAL FOOTSWITCHABLE CHANNELS 3 3 3 3 you total control of exactly how much low-end Middle, Bass, Resonance and Presence) and the same front and rear panel features as to 7.5 Watts. TWO MODES PER CHANNEL 3 3 No No “girth” you want to add; ii) Studio-quality, section is increased further by a Mid-Shift the DSL100H. The Triode (Half Power) option 3 BAND EQ, MID-SHIFT & PRESENCE CONTROL 3 3 3 3 3 3 digital Reverb instead of spring; iii) Rear-panel button – perfect for modern metal brutality. drops the DSL40C’s output to 20 Watts. DSL15H 15 Watt Head – This no- RESONANCE CONTROL No No DEEP SWITCH No No 3 3 Pentode/Triode switch that will drop the amp’s A Series FX loop on the rear panel nonsense, mini-brute is identical to the DIGITAL REVERB 3 3 No 3 output power to 50 Watts; iv) Supplied 2-Way (bypassable via an on/off switch) adds to DSL15C: 15 Watt 1x12″ Combo – A DSL15C minus the Reverb. A portable PENTODE/TRIODE SWITCH 3 3 3 3 footswitch for channel switching and Reverb the DSL100H’s professional flexibility, as compact, 15 Watt, all-valve 1x 12″ combo powerhouse of tone. SERIES FX LOOP (BYPASSABLE) 3 3 No No on/off. does the Pentode (Full Power)/Triode (Half boasting 2 x 6V6 power valves and a SUPPLIED FOOTSWITCH PEDL-00009 (2-way) PEDL-00009 (2-way) PEDL-90003 (1-way) PEDL-90003 (1-way) SPEAKER - Celestion Seventy 80 - Celestion G12E-60 Power) switch which drops the power-amp’s Celestion speaker. Its two footswitchable DIMENSIONS (WxHxD in mm) 741 x 274 x 242 621 x 490 x 252 500 x 240 x 235 505 x 475 x 255 Its footswitchable Classic Gain and Ultra output to 50-Watts. It also changes the amp’s channels - Classic Gain (the DSL100H’s WEIGHT (kg) 24.2 22.85 10.2 16.8 20 21

MG CARBON FIBRE SERIES Not Modelling amps. Not Digital forgeries. Just 100% pure, unadulterated Marshalls. Boasting a bold carbon-fibre-clad look, new digital effects and MG’s critically-acclaimed, analogue tonal heart, the MGCF Series is already the practice amp choice of some of the world’s leading players. And, seven of the Series are programmable…yes you read it correctly: programmable amps with analogue tone & digital FX!

MG2CFX 2 Watt, 1 x 6.5″ combo – Battery or mains powered and packed full of programmable features – 10 custom-voiced channels; 2-band EQ; 3 adjustable digital modulation FX options (Chorus, Phaser & Flanger); digital Reverb; digital Delay; and a built-in Tuner. With its shoulder-strap, MP3/Line In and emulated Headphone Output, and you can literally practice anywhere. MG15CFXMS “Microstack” MG10CF 10 Watt, 1 x 6.5″ combo – A no-nonsense, no-frills, bedroom & backstage favourite. Clean & Overdrive channels with a Contour control on the OD channel so you can fine tune your tone – from fat & round, to scooped & savage…and anywhere between. It also features an MP3/Line In for jamming along to a track, and an emulated Headphone Output for great sounding, “silent” practice.

MG15CF 15 Watt, 1 x 8″ combo – Clean & Overdrive channels with shared 3-band EQ network for ultimate tonal control. It packs that More Effects More powerful Marshall punch that knocks out much “bigger” competitors with ease. MP3/Line In and an emulated Headphone Output adds to the ante.

MG15CFR 15 Watt, 1x 8 combo Speaker Damping – A big reason valve amps “feel” so good is the way the power-amp interacts with speakers – allowing them to behave ″ – Identical to the MG15CF but with a built-in, lush sounding spring Reverb. (move) differently depending on the frequency being played. Most solid state power-amps don’t do this and so feel “stiff” to the player. All MG power amps successfully emulate this desirable behaviour, utilising our Frequency Dependant Damping (FDD). Damping

MG15CF MG30CFX MG15CFR

MG15CFX

MG10CF

MG2CFX

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The Perfect Marriage: Analogue Tone + Digital Programmability, Memory & FX. SPECIFICATION MG2CFX MG10CF MG15CF MG15CFR MG15CFX MG15CFXMS MG30CFX

The MG15CFX is a 15 Watt, 1 x 8″ combo; Flanger, Delay (with Tap Tempo), or Octave – you select a channel, dial in the tone and MODEL TYPE 1 x 6.5″ 1 x 6.5″ Combo 1 x 8″ Combo 1 x 8″ Combo 1 x 8″ Combo Microstack 1 x 10″ Combo Battery Powered Combo (Head & two 1 x 10″ cabs) the MG15CFXMS is a 15 Watt microstack (fixed). All three amps also house 3-band EQ, FX you want, hit the Store button and “Hey POWER (RMS) 2 Watts 10 Watts 15 Watts 15 Watts 15 Watts 15 Watts 30 Watts (15 Watt head with two 1x10″ cabinets – one MP3/Line In, emulated Headphone Output and Presto,” those settings will be instantly recalled CHANNELS 10 2 2 2 4 (programmable) 4 (programmable) 4 (programmable) angled, one straight); while the MG30CFX built-in FDD. every time you select that channel…until you REVERB Digital - - Spring Digital Digital Digital DIGITAL FX 3 3 3 3 3 3 3 is a 30 Watt, 1 x10″ combo. This trio of decide to change and re-store them. The only 3 3 3 3 3 3 3 Instant Recall INTERNAL FDD 4-channel (Clean, Crunch, OD1 & OD2) amps – This is where it gets really setting not remembered is the Master Volume. MP3 / LINE IN 3 3 3 3 3 3 3 successfully meld modern digital technology clever. The amps’ four channels have memory. OUT 3 3 3 3 3 3 3 with traditional, tried-and-tested analog tonal Here’s how it works: Each of these three amps Ultimate Foot Control – Even cooler MG FOOTCONTROLLER COMPATIBLE - - - - 3 3 3 circuitry. The result? 100% pure Marshall has two easily selectable operational modes is this – if you get the optional 4-way MG SPEAKER Custom 6.5″ Custom 6.5″ Custom 8″ Custom 8″ Custom 8″ 2 x Custom 10″ Custom 10″ DIMENSIONS (WxHxD in mm) 260 x 263 x 175 295 x 315 x 180 385 x 380 x 210 385 x 380 x 210 385 x 380 x 210 385 x 960 x 240 480 x 420 x 225 tone enhanced with Digital FX and memory! – Preset or Manual. In Manual mode, it will Footcontroller, your possibilities expand WEIGHT (kg) 3.1 4.8 7.4 7.4 7.7 18.7 10.8 The effects you can choose from are Reverb operate like a “regular” amp: namely, what even more thanks to our patent-applied for, (Studio or Spring) plus one of the following you see on the front panel is what you get. Stompware™ technology. Read on… easily adjustable offerings: Chorus, Phaser, In Preset Mode, however, the game changes 22 23 MG CARBON FIBRE SERIES continued Completing the comprehensive range of flexible, Carbon Fibre clad, MG tone-machines are a 50-Watt combo and a trio of 100-Watters – two combos and a head. All four are purpose built to play on stage and are armed-and-ready for any live situation – from pubs and clubs to theatres and, yes, even stadiums and arenas, where they’ve been used. That’s the MG difference right there, and why the family has been so respected for well over a decade…they’ve even graced Platinum selling CDs. From bedroom, to backstage, to onstage and top recording studios, MG covers all bases.

MG100HCFX MG412ACF

Front-panel controls and switches are identical on the MG50CFX, MG101CFX and MG102CFX combos. Front Panel Close-Up Front MG101CFX

MG102CFX

MG50CFX

CAB SPECIFICATION MG412ACF MG412BCF

TM SPEAKER CONFIGURATION 4 x 12″ 4 x 12″ Incorporating Marshall’s patent-pending Stompware technology, developed from the POWER HANDLING 120 Watts 120 Watts award-winning JVM Series, the MG Footcontroller makes using the MGCFX amps (with the FRONT Angle Straight exception of the MG2FX) simplicity itself. The MG Footcontroller is totally programmable IMPEDANCE Mono 8Ω Mono 8Ω SPEAKERS Celestion G12-412MG Celestion G12-412MG and any one of its 4 switches can be assigned to a front panel switch (Switch Store) or DIMENSIONS (WxHxD in mm) 695 x 675 x 390 695 x 675 x 390 programmed to recall complete presets (Preset Store). It can also be used as a tuner. An WEIGHT (kg) 24 24 easy to read LED panel lets you know exactly what’s going on with regards channel and switch selection, so looking over your shoulder at the amp is unnecessary. To add to its guitarist-friendly nature, it is connected to the amp via a regular guitar cable. MG Footcontroller

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The Big Four – The quartet of high- The big four of the MGCF range boast four The three simultaneous, programmable jack; and an emulated Headphone Output SPECIFICATION MG50CFX MG101CFX MG102CFX MG100HCFX powered MGCFs under scrutiny here are programmable channels – Clean, Crunch, digital effects are Reverb (Studio or Spring), that doubles as a Line Out jack. A two-way, MODEL TYPE 1 x 12″ Combo 1 x 12″ Combo 2 x 12″ Combo Head as follows: the MG50CFX 50 Watt, 1x12″ OD-1 and OD-2 – which switch instantly Delay and either Chorus, Phaser, Flanger, channel switching footpedal comes supplied POWER (RMS) 50 Watts 100 Watts 100 Watts 100 Watts combo; the MG101CFX 100 Watt, 1x12″ and seamlessly. In addition to being armed Vibe or Octave. Furthermore, with the and all four are compatible with the optional PROGRAMMABLE CHANNELS 4 4 4 4 combo; the MG102CFX 100 Watt 2x12″ with stage-ready firepower, their digital FX exception of Octave which is fixed (original MG Footcontroller. PROGRAMMABLE DIGITAL REVERB (2) 3 3 3 3 3 3 3 3 combo; and the MG100HCFX 100-Watt arsenal has also been upgraded so three note(s) plus an octave lower), Reverb, Delay, PROGRAMMABLE DIGITAL MOD (4) & OCTAVE PROGRAMMABLE DIGITAL DELAY (4) 3 3 3 3 head. The MG100HCFX head can be used simultaneous, programmable effects are now Chorus, Phaser, Flange and Vibe are all Don’t just take our word on how good the SWITCHABLE / PROGRAMMABLE DAMPING 3 3 3 3 with any suitable wattage cab in the Marshall possible as a separate Delay section’s been adjustable. This is the perfect marriage of latest MGs are, take Zakk Wylde’s: BUILT-IN FDD 3 3 3 3 range, but is perfect when partnered as added. In addition to having Tap Tempo it modern digital technology with critically- “Not only do they contain the MP3 / LINE IN 3 3 3 3 3 3 3 3 either a half or full-stack with the Celestion- offers four delay type choices – Hi-Fi, Tape, acclaimed, tried-and-tested analogue classic, warm, unique tone that makes EMULATED LINE OUT / HEADPHONES OUT MG FOOTCONTROLLER COMPATIBLE 3 3 3 3 loaded, 120 Watt, 8 Ohm, MG412ACF Multi or Reverse. And, as Delay is now tone circuitry – 100% pure Marshall tones Marshall the greatest amp ever made, the FX LOOP 3 3 3 3 (angled-front) and MG412BCF (straight-front) separate, an extra effect, Vibe has been enhanced with Digital FX and memory! built-in effects & Reverb sound amazing. SPEAKERS Custom 12″ Custom 12″ 2 x Custom 12″ - 4x12″ cabinets. added to the FX menu. A Damping switch Another killer addition to the Marshall arsenal DIMENSIONS (WxHxD in mm) 520 x 505 x 280 595 x 540 x 280 675 x 505 x 280 595 x 255 x 280 (classic or modern) has also been included. All four house an FX Loop; MP3/Line Out of doom.” WEIGHT (kg) 16.6 20 22.4 11.4 24 25

JVM4 SERIES Our current, British-built, professional, all-valve flagship, the JVM family of amps has been hailed as “the most comprehensive and versatile Marshall to date,” with one UK review raving “in a market sector with more than its fair share of indifferent, run-of-the-mill black boxes, Marshall has just unleashed a powerhouse of tones that could easily compete with boutique designs costing two or three times as much.”

JVM410H 1960A 1960B

Both the JVM410H and JVM410C come supplied with a fully programmable, 6-way footswitch which is connected to the amp with a standard, ¼” guitar cable. Its revolutionary, patent-pending technology allows you to program each of the 6 footswitches to do one of the following:

1. Switch Store. Operate one of the amp’s 7 front panel switches: either Clean Channel Selection/Mode; Crunch Channel Selection/Mode; OD1 Channel Selection/Mode; OD2 Channel Selection/Mode; Reverb (on/off); Master Volume (1 or 2) or FX Loop (on/off).

2. Preset Store. Recall any pre-selected and stored, front-panel switch combination – namely Channel & Mode,

Reverb (on/off), Master (1 or 2) and FX Loop (on/off). JVM4 Footcontroller

To ensure you know where you are at all times, a row of 7 multi-coloured LEDs on the footswitch reflects the amp’s current Channel/Mode Front and Rear Panel Close-Ups Front and switch setting at a glance – no need to look over your shoulder on stage anymore!

JVM410C

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Overview to use due to its incredibly logical layout. extreme overdrive capabilities of the OD1 and main gain stage, as opposed to after it as is SPECIFICATION JVM410H JVM410C Furthermore, each of its 12 Modes has built-in OD2 channels? The same writer penned the the case with most Marshall’s and also the MODEL TYPE Head 2 x 12″ Combo The British built, all-valve JVM4 redefines switch memory, meaning they recall the most following: “two channels of the most heinous JVM4’s Crunch, OD1 and OD2 channels. POWER (RMS) 100 Watts 100 Watts versatility thanks to its 4 totally independent recent Reverb, FX Loop and Master switch high-gain profanity imaginable.” The JVM410C 2x12″ combo houses two ALL-VALVE 3 3 channels (Clean, Crunch, OD1 & OD2, each settings. A LED in each channel’s Mode switch different Celestion speakers – a Vintage 30 PRE-AMP VALVES 4 x ECC83 4 x ECC83 with 3 switchable Modes) and a host of In terms of the amp’s vast tonal palette, we’ll indicates channel selection. Furthermore, it and a Heritage. Why? To get the proverbial POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 4 x EL34 CHANNELS / MODES PER CHANNEL 4 / 3 4 / 3 other features including switchable, studio- let a Guitar World reviewer explain: “the all- will glow Green, Orange or Red, dependent “best of both worlds.” This unique tonal pairing 3 BAND EQ PER CHANNEL 3 3 quality, digital Reverb with individual channel tube JVM410 houses a virtual encyclopedia on which Mode has been recalled/selected. is mirrored in the optional JVMC212 2x12″ REVERB PER CHANNEL 3 3 controls; 2 switchable Master Volumes; 2 FX of Marshall’s finest stock and modified rock The Channel/Mode is reflected by a line of extension cabinet. 2 SWITCHABLE MASTER VOLUMES 3 3 3 3 loops (one switchable); Emulated Line Out; tones, including stout ‘Plexi’ power, stock indicator LEDs on the supplied footswitch. The JVM4’s MIDI IN and MIDI THRU MASTER PRESENCE & RESONANCE MIDI SWITCHABLE & EMULATED LINE OUT 3 3 MIDI switching; and its own revolutionary, JCM800 crunch and modified JCM800 The Clean channel achieves its critically connections make either amp easy to 2 FX LOOPS (ONE SERIES/PARALLEL SWITCHABLE) 3 3 programmable, 6-way footswitch. Despite high-gain insanity. It’s the ultimate rocker’s applauded pristine cleans and vintage, bluesy integrate into a MIDI switching set-up, FOOTCONTROLLER PEDL-00044 PEDL-00044 having a mind-boggling 28 front-panel Marshall and may be the most significant overdrives via pre-gain tone stack – meaning meaning that the JVM’s possibilities are SPEAKER(s) - Celestion: 1 x Vintage, 1 x Heritage controls and 8 switches, it’s remarkably simple Marshall amp since the JCM800.” As for the the tonal shaping is done before the channel’s endless. DIMENSIONS (WxHxD in mm) 750 x 310 x 215 690 x 510 x 265 WEIGHT (kg) 22 34.5 26 27 JVM2 SERIES Designed to complement the versatility, tone and power of the 4 channel JVM410H and JVM410C, this quartet of 2 channel additions broaden the range without compromising the incredible flexibility and vast sonic spectrum that made its bigger brothers a universal success story. A truth reflected by the conclusion of Guitar Buyer magazine’s review. “With the JVM2, Marshall has done an excellent job striking the right balance between flexible features and user-friendliness, and the result is a truly versatile amp that’s practically idiot proof.”

JVM210H 1960A JVM205H 1960B

JVM205H 1960A

As with the JVM4’s 6-way version, this fully programmable, 4-button unit not only connects via a standard guitar lead, it also works in two ways – Switch Store mode or Preset Store mode. Essentially, this enables the user to either control individual front-panel switches (Channel/ Mode, Reverb, FX Loop & Master) when needed or recall a pre-programmed set of JVM front panel switch combinations (eg: OD1 Channel in Orange Mode with Reverb off, Master Volume 2 selected and FX Loop on) with a single foot-stomp. The 5 multi-coloured LEDs housed in the JVM2 Footcontroller indicate the status of each channel and switch – a user-friendly plus

JVM2 Footcontroller whether practicing in your bedroom, rehearsing or rocking out to the masses on a dimly lit stage.

JVM210C

JVM205C

JVM215C

For more information visit www.marshallamps.com Overview technology as the JVM4 range, the JVM2 review in the UK’s much respected Guitarist SPECIFICATION JVM210H JVM205H JVM210C JVM205C JVM215C Series comes loaded with an impressive array magazine: “On the features front, the JVM In addition to offering a slightly more of features. Its twin Channels – Clean/Crunch has practically everything most guitar players MODEL TYPE Head Head 2 x 12″ Combo 2 x 12″ Combo 1 x 12″ Combo POWER (RMS) 100 Watts 50 Watts 100 Watts 50 Watts 50 Watts straightforward, 2-channel option to the and OD – are totally independent and both could ask for, and then some…. a ferociously ALL-VALVE 3 3 3 3 3 4-channel JVM4s, the JVM2 Series also have 3 switchable Modes, taking you from versatile tone machine that doesn’t force you PRE-AMP VALVES 4 x ECC83 4 x ECC83 4 x ECC83 4 x ECC83 4 x ECC83 caters to players who prefer the sound and “Plexi”/JTM45 clean through JCM800 to high- to understand a lot of technical stuff in order POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 2 x EL34 feel delivered by a 50-Watt, valve powerstage. gain modern metal and shred nirvana, plus all- to use it. This and the sheer quality of the CHANNELS / MODES PER CHANNEL 2 / 3 2 / 3 2 / 3 2 / 3 2 / 3 3 BAND EQ PER CHANNEL 3 3 3 3 3 To this end, the JVM210H head and JVM210C points in-between. Add to that studio-quality, sounds it produces are two very good reasons REVERB PER CHANNEL 3 3 3 3 3 2x12″ combo are 100-Watters, while the digital Reverb (with separate level controls for getting one.” 2 SWITCHABLE MASTER VOLUMES 3 3 3 3 3 JVM205H head, JVM205C 2x12″ and for both channels); 2 switchable Master The compact JVM215C 1x12″ 50-Watt combo MASTER PRESENCE & RESONANCE 3 3 3 3 3 3 3 3 3 3 JVM215C 1x12″ combos pack 50-Watts of Volumes; Master Resonance and Presence rounds the JVM2 Series out. We leave the last MIDI SWITCHABLE & EMULATED LINE OUT 2 FX LOOPS (ONE SERIES/PARALLEL SWITCHABLE) 3 3 3 3 3 power.The result is the most comprehensive controls; 2 FX Loops (one Series/Parallel word to Guitarist: “If you want a great all-round FOOTCONTROLLER PEDL-00045 PEDL-00045 PEDL-00045 PEDL-00045 PEDL-00045 range of all-valve amplifiers in our illustrious and switchable); Emulated Line Out; the amp for a good price then the JVM is going to SPEAKER(s) - - 1 x Vintage, 1 x Heritage 1 x Vintage, 1 x Heritage 1 x G12B 50 year history. supplied, programmable JVM2 Footcontroller; be very, very hard to beat.” DIMENSIONS (WxHxD in mm) 750 x 310 x 215 750 x 310 x 215 690 x 510 x 265 690 x 510 x 265 605 x 510 x 265 Equipped with the same groundbreaking and MIDI. As a result, to quote a JVM205C WEIGHT (kg) 22 17.5 34.5 29.5 26.5 28 29

VINTAGE MODERN SERIES Winner of the “Best Amp Head” Category in Guitar Player magazine’s prestigious GP Readers’ Choice Awards in 2008, the all-valve Vintage Modern Series has also won the hearts of a plethora of professional players due to its dynamic, touch sensitivity and hot-rodded, vintage vibe…

2466 425A 425B

2266 425A Front and Rear Panel Close-Ups Front

2266C

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Overview • Footswitchable Low (Vintage) and Celestion G12C Celestion Greenbacks – 25 SPECIFICATION 2466 2266 2266C High (Modern) “Dynamic Ranges” Watt 12″ speakers specifically designed for MODEL TYPE Head Head 2 x 12″ Combo The name Vintage Modern says it all really – • Mid Boost switch for extra tone the Limited Edition Jimi Hendrix Super 100JH POWER (RMS) 100 Watts 50 Watts 50 Watts 100% genuine, old-school, all-valve Marshall thickening stack. They’re voiced for that rich, balanced PRE-AMP VALVES 3 x ECC83 3 x ECC83 3 x ECC83 tone married with contemporary features • Studio-quality, digital plate Reverb harmonic timbre that compliments vintage POWER AMP VALVES 1 x ECC83, 4 x KT66 1 x ECC83, 2 x KT66 1 x ECC83, 2 x KT66 and, of course, increased gain availability. In (footswitchable) tones perfectly. CHANNELS 1 1 1 MASTER VOLUME 3 3 3 keeping with its traditional foundation, the • Series FX Loop with True Bypass TWIN PRE-AMP CONTROLS (BODY & DETAIL) 3 3 3 Vintage Modern is a single channel, Master We’ll leave the last word on this Series to FOOTSWITCHABLE DYNAMIC RANGES LOW & HIGH LOW & HIGH LOW & HIGH Volume amp with KT66 power valves. Its This Vintage Modern Series consists of three Guitarist magazine who said the following: MID BOOST 3 3 3 3 3 3 contemporary upgrades include the following: amps and two 4x12″ cabinets. The trio of “Bullet-proof build quality, classic Marshall 3 BAND EQ & PRESENCE TRUE BYPASS SERIES FX LOOP 3 3 3 amps are the 2466 100-Watt head; the 2266 tone by the bucketload…it recalls the FOOTSWITCHABLE DIGITAL PLATE REVERB 3 3 3 • Two “frequency selective” Pre-amp 50-Watt head and the 2266C 50-Watt 2x12″ company’s illustrious past and the players that SUPPLIED FOOTSWITCH PEDL-00041 PEDL-00041 PEDL-00041 Volume (Gain) controls – Body and combo. The two 4x12″ cabinets, the angled made Marshall such an institution. You have SPEAKER(s) - - 2 x Celestion G12C Detail 425A and straight 425B, are both loaded with to hear it.” DIMENSIONS (WxHxD in mm) 750 x 310 x 230 750 x 310 x 230 690 x 570 x 270 WEIGHT (kg) 22.5 18 30 30 31

JUDGE US BY THE COMPANY WE KEEP Slash, Zakk Wylde, Jimi Hendrix (RIP), Kerry King, (RIP), , Yngwie J. Malmsteen & Joe Satriani… it’s a veritable who’s who list of rock royalty. “I’m very pleased and proud to have their signatures next to mine,” Jim Marshall states. “They’re all fantastic players who are wonderful Marshall Ambassadors and have had a profound impact on rock guitar.”

SIGNATURE HEAD WALL OF FAME Bottom Row (from left to right): Slash Signature 2555SL (1996); Zakk Wylde Signature 2203ZW (2002); Jimi Hendrix Tribute 1959JH (2006) 2nd Row (from left to right): Kerry King Signature 2203KK (2007); Randy Rhoads Tribute 1959RR (2008); Lemmy Signature 1992LEM (2008) 3rd Row (from left to right): Slash Signature AFD100 (2010); Yngwie J. Malmsteen Signature YJM100 (2011); Slash Signature AFD100SCE (2011) Top Row (from left to right): Joe Satriani Signature JVM410HJSB (2012) & JSH410HJS (2012) 32 33

CLASS5 SERIES Built in our British factory with pride, this all-valve pair of portable, 5 Watt fire-breathers have caused critics to wax lyrical. “Classic Marshall tone in a quality, five watt, all-valve package. Very hard not to love” is how UK’s Guitarist magazine poured on the praise…

C5H

C110

C5-01

For more information visit www.marshallamps.com

Overview Celestion G10F-15 speaker helps the C5-01 some.” A headphone output also facilitates SPECIFICATION C5H C5-01 dish out an impressive low-end “thump” for “silent” practice. MODEL TYPE Head 1 x 10″ Combo The all-valve, Class5 1x10″ combo was an such a diminutive amp, while retaining tonal POWER (RMS) 5 Watts 5 Watts instant, best-seller thanks to its tone, clarity and definition. The C5H head packs the exact same all-valve PRE-AMP VALVES 2 x ECC83 2 x ECC83 mini-Bluesbreaker looks, portability and heart and tonal soul in a compact, retro-style POWER AMP VALVES 1 x EL84 1 x EL84 3 3 price. A remarkably simple, 1 channel amp, Because it’s an all-valve Marshall, even head. It’s 1x10″ partner in crime, the C110 CLASS A DESIGN CHANNELS 1 1 the C5-01 combo’s 5 Watts of pure Class A, though it’s “only a 5 Watt amp,” the C5-01 cab, boasts the C5 combo’s look and also the 3 BAND EQ 3 3 EL84 driven power make it the perfect home is surprisingly loud when cranked. For this same, custom-built 10″ Celestion speaker. LOW POWER MODE No 3 practice and recording partner. reason it comes armed with a Low Power Each and every Class5 combo, head and HEADPHONES OUT 3 3 Mode switch on its back panel to prevent the C110 cabinet is meticulously hand-built by our EXTENSION CAB OUT 8Ω &16Ω 16Ω SPEAKER(s) - Celestion G10F-15 The Class5’s simplicity and pure-valve signal long-suffering folk next-door from calling the highly skilled factory staff. All units are also DIMENSIONS (mm) 496 x 200 x 210 502 x 390 x 230 path offer up a wealth of touch responsive, police! As Guitarist’s reviewer warned, “The painstakingly tested before leaving Marshall WEIGHT (kg) 6.75 12 harmonically rich and full-bodied clean, crunch Class5 is rudely loud – enough to upset your HQ in the heart of the UK. and lead tones. A custom designed 10″ neighbours to legal action levels and then 34 35

EXTENSION CABINETS – BUILD From 1962 to late 1966, all Marshall cabinets were built using butt-joints – meaning that the pieces of wood that make up the four sides (Left, Right, moved the factory to Bletchley,” Jim recalls. “I did so purely for road worthiness and it’s worked out well over all these years. Top & Bottom) of the cabinet were literally “butted” up against each other and glued. From late 1966 to the current day, all Marshall cabinets (including Our 4x12″ cabinets get knocked about like mad you see, and yet the joints are still OK.” In fact, if truth be told, thanks to the combo and head boxes) employ fingerlocked joints (a.k.a. comb joints) on every corner/edge.As well as literally “fingerlocking” the two pieces of wood fingerlocking, the resulting joints are actually stronger than the actual wood being used. firmly together, this type of joint also greatly increases the surface area being glued, maximising adhesion and strength.“I bought the machine when we

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7

3

5 1 4 2

8

10

14

12

9

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MARSHALL 4x12″ CONSTRUCTION Wood used: “knotless” Russian birch ply. • Glue put in comb joints (3), the four sides • Carcass’s are stacked (6) ready for the • Covered by hand! (9) durable grille cloth (11) and the iconic script screw fixing it to the center post to stop 15mm thick with 11 plys. are assembled and then put in an RF (Radio “Spindle process” where 22 mm radius is logo is added (12). unwanted vibration. Frequency) “carcass press” (4) – this applies added to corners and edges. Note: until 1984, Jim himself would often The Process (in order, in brief!) pressure, keeps the box square and also acts work in the covering section – which is why • Corners put on. • Handles, skid trays (on top of angled • The four cabinet sides (Left, Right, Top as a primitive microwave oven, heating up the • Final sanding by hand (7). countless cabinets house his signature inside. cabinets) or castor cups (on top of straight and Bottom) are cut and then comb joints are glue which helps it set. “I insist that the lads sign their work because • Speaker baffle added, speakers fixed to cabinets) added, then on to the conveyer belt cut (1) in to them by a machine known as “the • Put onto overhead conveyor belt and into they should be proud of it,” the Guv’ states. baffle with T-nuts, then wired up (13). (14) to Final Testing & Inspection. Hauncher” on the Marshall shop floor. • Next stop is the batoning bench where the a large oven, at approx 65 degrees centigrade wooden batons for fixing the speaker baffle (8). This residual heat ensures that the water • Placed on racks ready for the finishing • 2″ x 2″ center post fixed to center of baffle • Boxed with castors (in a separate carton) • Every piece is checked by hand before and back panel are added. The baffle boards based glue for the vinyl is tacky when applied stage (10) and a speaker cable added. proceeding (2). that will hold the speakers are also crafted at (via spraying)…”tackiness” being essential for • Speaker wired to input jack-plate. this stage(5). covering process. • Meanwhile, the baffle board is covered with Back screwed onto cabinet, with a central • Shipped to all four corners of the globe! 36 37

ANATOMY OF A MARSHALL 4x12″ CABINET HAIL ME A CAB! Weighing in at about 80lbs, the Marshall 1960A is the undefeated “World Heavyweight Champion” of 4x12″ cabinets in PART I: THE LEGENDARY 4x12″ FAMILY terms of appearance, popularity and sales. Let’s take a look at the anatomy of the best selling, angled 4x12″ cab that’s Marshall makes a multitude of extension cabinets of all shapes and sizes. The most famous acknowledged and accepted globally as “the industry” standard. and popular are our angled (A) and straight/base (B) 4x12″ offerings…

1

3 6 10

2

• 300 Watts (RMS) • 280 Watts (RMS) • 100 Watts (RMS) • 120 Watts (RMS) • Celestion G12T-75 • Celestion G12 Vintage • Celestion G12M-25 • Celestion G12H-30 • Mono/Stereo • Mono/Stereo • Mono • Mono • 16/4 Ohm (mono) • 16/4 Ohm (mono) • 16 Ohm • 16 Ohm 11 4 • 8 Ohm (stereo) • 8 Ohm (stereo) • 760 x 830 x 365 • 760 x 830 x 365 • 760 x 830 x 365 • 760 x 830 x 365 • 37.7kg – 38.2kg • 36.4kg – 37kg • 36.4kg – 37kg • 40.6kg – 41.4kg • Made in England • Made in England 5 14 • Made in England • Made in England 1960A/B 1960AV/BV 1960AX/BX 1960AHW/BHW

7

1 Rear Connection Plate x1 8 2 Back Board x1

3 Speaker Wire x4 9 4 Celestion G12T-75 Speakers x4 5 Baffle Board x1 6 Grille Cloth x1 13 7 Side Handles x2 • 100 Watts (RMS) • 100 Watts (RMS) • 280 Watts (RMS) • 300 Watts (RMS) 8 Hand Built Birch Ply Cab x1 • Celestion G12M-25 • Celestion G12C • Celestion G12V-30 • 12AX75 (75 Watt)

9 Protective Corners x8 12 • Mono • Mono/Stereo • Mono/Stereo Also Available • Mono

10 Skid Trays x2 1960A Parts List • 16 Ohm • 16/4 Ohm (mono) • 16/4 Ohm (mono) • 16 Ohm 11 White Piping x1 • 770 x 820 x 365 • 8 Ohm (stereo) • 8 Ohm (stereo) • 770 x 755 x 365 • 39kg • 770 x 755 x 365 • 770 x 755 x 365 • 36.3 – 36.7kg 12 Castors x4 • Made in England • 36 – 37kg • 43 – 44kg • Made Offshore 13 1960 Plaque x1 • Made in England • Made in England 14 Marshall Logo x1 1960TV 425A/B 1960DMA/B M412A/B

For more information visit www.marshallamps.com

THE BIRTH OF THE 4x12 speakers would probably do it – they’d be able Putting a Slant on Things – And so the and it did. We were really proud when we he realised what was going on sonically was ″ to handle the power of the amp and could well world’s first 4x12″ cabinet was born, but Jim were finished.” when an artist put him on the spot. Read on… & THE LEGENDARY MARSHALL STACK give me the sound and projection I was after.” wasn’t done designing yet. “The first one I built was straight fronted and when I put the In addition to looking “neater,” as it turns out “One of the big groups back then was Brian In September 1962, Jim Marshall, together Necessity is the Mother of Invention *Note: the speakers being used were rated at JTM45 head on top of it I thought “That looks the angle Jim added to his 4x12″ cabinet also Poole and the Tremoloes and as they were with his service engineer/right-hand man, Ken “We were trying out 2 x 12″ cabinets with 15-Watts and were the only ones available at terrible! It just looks like a small box sitting had a sonic benefit ... Due to the angle that using Marshalls they got me to go out on one Bran, and assistant, Dudley Craven, built the the prototype but they just didn’t give us the the time. on top of a bigger one – which is essentially Jim found aesthetically pleasing, the top half or two gigs with them,” Jim recounts. “At the first ever Marshall amp, the JTM45 (Note: sound or projection we were really looking all it was. Because of this I came up with the of the cabinet’s baffle had to be angled too. first sound check, Ricky, the lead guitarist, JTM is an acronym for Jim & Terry Marshall – for,” Jim recalls. “Plus we were blowing “I made the first 4x12″ cabinet in my garage idea of putting an angle on the top-half of As a result, the top two speakers were now asked me, ‘What’s the idea of the angle on Terry being Jim’s son), This game-changing, speakers* left and right because they just workshop,” Jim continues. “There was nothing the cabinet’s front. I did this so the top of the pointing slightly upwards as opposed to being top of the cabinet front, Jim?’ I didn’t want all-valve head produced 30-Watts of clean weren’t capable of handling the amp’s output particularly brilliant about its design. I merely 4x12″ matched the dimensions of the head a horizontal. “The design was purely cosmetic,” to tell him that it was just there because I power (i.e. before clipping/distorting) but was when it was turned all the way up. So I asked made it as small as I possibly could because little better and the two looked like they were Jim grins. “I didn’t even consider what the liked the way it looked so I said, ‘Well Rick, a capable of kicking out a good 45-Watts or myself, ‘What can I do?’ Then it came to me. of the transport the groups had in those days made to go together. I wanted the package to angle did to the sound at the time.” In fact, Jim straight fronted cabinet just blows the sound more when cranked to the max. ‘Hold on for a second,’ I thought. Four 12″ – that’s why it’s so compact.” look more designed. I wanted it to look neater is not ashamed to admit that the only reason straight into the front of the crowd. But, >>> 38 39 HAIL ME A CAB! HAIL ME A CAB! PART III: SPEAKERS’ CORNER PART II: OTHER EXTENSION CABS In the world of British-built Marshall 4x12″ cabinets, our consistent, rock-solid construction aside, the two biggest sonic In addition to our comprehensive 4x12″ range, we also offer 1x10″, 1x12″ and 2x12″ altering ingredients are firstly: the type of speakers used; and secondly, and perhaps less obviously, whether or not the extension cabs. cabinet’s front is angled (A) or straight (B). The following should help clarify the sonic differences between our seven best-selling UK made cabs – the 1960A and 1960B, the 1960AV and 1960BV, the 1960AX and 1960BX plus the 1960TV.

LISTENING FROM A DIFFERENT ANGLE: The sonic difference between Marshall angled and straight 4x12” cabs The world’s best selling 4x12″ cabinet, the 1960A has an angled front – a feature which not only has an aesthetic impact but also a sonic one. As the now famous “angled cabinet creation” story tells us (page 37 & 38), to achieve the angle Jim felt looked the best, it became necessary to actually angle the upper half of the cabinet’s baffle (the vertical piece of wood at the front of the cabinet, just behind the grille cloth, on which the speakers are mounted). Because of this, the top two speakers face slightly upwards and, as a result, the A cabinet disperses sound upwards as well as forwards.When an A cabinet is used in a halfstack set-up (namely – one head and one cabinet), it’s top half acts as a monitor of sorts as the top two speakers direct the sound upwards, towards the users head and ears. This is obviously great for gigs on a very small, shallow stage where there are minimal monitors, or none. The result is not only greater sound dispersal but also a perception of more highs due to the upward throw.

• 150 Watts (RMS) • 150 Watts (RMS) • 150 Watts (RMS) • 140 Watts (RMS) In the case of a 1960B straight cabinet (B standing for ‘base’ or ‘bottom’), all 4 speakers are facing the exact same • Celestion G12B-150 • Celestion G12T-75 • Celestion G12T-75 • Celestion G12 Vintage way so the resulting sound is more focused and, therefore, tends to have more low end “punch” and “tightness” due • 1 x 12″ • 2 x 12″ • 2 x 12″ • 2 x 12″ to less dispersion. In addition to this, another thing that has a small but perceivable effect on the low end “knock” of a B cabinet is the simple fact that it because it’s enclosure is slightly bigger than a A cabinet, it’s resonant frequency is • Mono • Mono/Stereo • Mono/Stereo • Mono/Stereo slightly lower. For these reasons, and because the sound of a B doesn’t literally hit you in the head but “stays low,” a • 8 Ohm • 8 Ohm (mono) • 8 Ohm (mono) • 8 Ohm (mono) lot of professional players prefer to use them – especially at high volumes. • 510 x 465 x 290 • 16 Ohm (stereo) • 16 Ohm (stereo) • 16 Ohm (stereo) • 14.6kg • 675 x 515 x 260 • 740 x 600 x 305 • 740 x 600 x 305 SONIC OVERVIEW OF THE SEVEN BEST SELLING MARSHALL 1960 4x12″ CABINETS • Made in England • 19kg • 24.6kg • 24.6kg • Made in England • Made in England • Made in England 1960A & 1960B: Loaded with Celestion 12″ G12T-75 75 Watt speakers The 1960A produces a loud, well-focused and uncluttered sound with a tight, full low end and a crisp, bright top. It 1912 1922 1936 1936V projects well across the guitar’s entire tonal range and its clarity makes it ideal for players who like using a fair amount of effects such as reverb, chorus or delay as it doesn’t “mask” or “muddy-up” such FX. Its all-around versatility and relatively “uncolored” nature makes the 1960A the best-selling angled 4x12″ of all time. The 1960B sounds like it has a little less high-end and a little more low-end “punch,” even though the speakers are identical.

1960AV & 1960BV: Loaded with Celestion 12″ ‘Vintage’ 70 Watt speakers The 1960AV and 1960BV have a thicker, warmer sound than the 1960A and B, with a fat, well-defined midrange and a more rounded high end that sparkles nicely while not being overly bright. It also has a good low end “chunk” which never gets “boomy.” Some have called the Vintage’s bass kick “tuneful.” The 1960BV is a favourite amongst many leading exponents of aggressive heavy metal.

1960AX & 1960BX: Loaded with Celestion 12″ G12M-25 ‘Greenback’ 25 Watt speakers Tonally, these fall somewhere between the brightness of the 1960A/B and the warmth of the 1960AV/BV. ‘Greenbacks’ have a very distinctive sound with a fast, snappy response that adds detail and dynamics to both clean and distorted • 150 Watts (RMS) • 15 Watts (RMS) • 60 Watts (RMS) • 20 Watts (RMS) playing. As your amp drives the 1960AX & BX, their lower head room causes the sound to gently break up. It’s this • Celestion Vintage & • Celestion G10F-15 • Celestion G12H-30 • Celestion G12M-20 saturation character that provides them with their classic vintage tone and natural musical compression, creating an Heritage • 1 x 10″ • 2 x 12″ • 1 x 12″ “easy-to-play” vibe that cuts across genres. • 2 x 12″ • Mono • Mono • Mono 1960TV: Loaded with Celestion 12″ G12M-25 ‘Greenback’ 25 Watt speakers • Mono • 16 Ohm • 8 Ohm • 8 Ohm Utilising the same speakers as the 1960AX & BX, but standing 65mm taller than any standard cabinet the 1960TV’s • 16 Ohm • 496 x 390 x 230 • 650 x 665 x 305 • 610 x 535 x 230 increased physical presence is matched by its reinforced low end. Its vintage fret is not just for cosmetic purposes, • 690 x 490 x 265 • 8.8kg • 24kg • 14kg its density and tightness help shape the overall sound, taming the upper mids, and serves as a finishing touch to Other Handwired Speaker Cabinets Other Handwired • 24kg • Made in England • Made in England • Made in England recreating those classic tones. • Made in England IMPORTANT NOTE: Due to the fact that an all-valve, 100 Watt Marshall amp will kick out far more than 100 Watts JVMC212 C110 2061CX 1974CX when cranked to the max, we do NOT recommend a 100W head is used with a single 1960AX, 1960BX or 1960TV as a half stack.

For more information visit www.marshallamps.com

thanks to the angle on top you can hear it at The only Rock Icon who hasn’t aged roadies were going to complain like mad. His it with me and I’ll get it sorted out.’ So I ended “We build several hundred cabinets a week the back of the audience as well because the a bit: the Marshall Stack – The year reply was, ‘Never mind them, they get paid’ up doing what I wanted to do in the first place and we’ve been doing that for many years,” top two speakers are angled slightly upwards.’ was 1965. were playing bigger and and off he went!” – a straight fronted cab with an angled one Jim concludes. “That’s an awful lot of 4x12″s And blow me down if I wasn’t telling the truth! bigger venues and guitarist, Pete Townshend, sitting on top.” – heaven above knows where they’re all I went to the back of the hall when the band needed a louder amp… “We built him a few and sure enough, a couple going! One of these days I’m going to have to was playing and sure enough, even though of weeks later he came back and said, ‘you And thus the Marshall stack was born work out exactly how many we’ve made – I’d the place was packed with people, you could “Pete came into my shop and said ‘I need a were absolutely right Jim, they are way too and has become synonymous with rock. love to know how far they’d go around the hear Ricky’s guitar as clear as a bell – the more powerful set-up. I want 100-Watt amps heavy, my roadies are furious!’ He wanted me “Really, the stack was a combination of world if they were put side-by-side!” angle was working! I just shook my head and 8x12″ cabinets.” Jim recalls. “I replied, to just cut the 8x12″s in half but that wasn’t design ideas from Pete and myself,” Jim and thought, ‘What a fool I am!’ It’s actually a ‘No problem. I’ll make a 4x12″ with a straight possible because of they way they were made concludes. “I don’t mind admitting that we pretty clever design in terms of what it does to front and then put an angled one on top.’ He – we weren’t using fingerlocked joints in those initially built the stack with looks very much the sound and I never even realised it!” shook his head and said, ‘No, I don’t want early days as the cabs were butt jointed. So I in mind, because a wall of them does make that, Jim. I want all eight in one cabinet!’ I told told him, ‘Look Pete, I can’t do that because a fantastic backdrop on any stage.” him it was going to be too heavy and that his the whole thing will fall apart if I do! Just leave 40 41

RACK MOUNTABLE POWER AMPS While the late ‘80s and early ‘90s were the true heyday of the refrigerator-sized rack, a great many global touring pros still swear by them – from the Deftones to Def Leppard, Maiden to Megadeth – and at the sonic heart of each one you’ll find a valve-driven, British-built Marshall power-amp pumping harmonically rich tone.

For more information visit www.marshallamps.com

EL84 20/20 Valve Power Amp – Thanks EL34 50/50 Dual MonoBloc Amplifier – “Voice” switch which takes you from EL34 100/100 Dual MonoBloc SPECIFICATION EL84-20/20 EL34-50/50 EL34-100/100 to its single rack-space compactness, the In the minds of many, Marshall’s EL34-driven “traditional” (Voice A) to “modern” (Voice B). Amplifier – Identical to the 50/50 except MODEL TYPE Rack Rack Rack stereo, 20 Watt + 20 Watt, all-valve EL84 valve-power stages have been the “industry Furthermore, you can mix ‘n’ match these boasting 100 Watt + 100 Watt of 100% pure, STEREO 3 3 3 20/20 power amp is perfect for a player who standard” for the past five decades. The EL34 voices by having one each per side if you so unadulterated, EL34 valve-driven, stereo POWER (RMS) 20 Watt + 20 Watt 50 Watt + 50 Watt 100 Watt + 100 Watt needs a compact system. Its quartet of fan- 50/50, 50 Watt + 50 Watt, 3-rackspace power- desire. Our highly specialised True Differential power. POWER AMP VALVES 4 x EL84 4 x EL34 8 x EL34 cooled, EL84 output valves provide harmonic amp delivers this classic valve tone in stereo. Inverter circuitry ensures maximum integrity PRE-DRIVER VALVES 1 x ECC82 2 x ECC83 2 x ECC83 PHASE INVERTERS 2 x ECC83 2 x ECC81 2 x ECC81 richness, impressive clean headroom and a Just like expensive, hi-fi equivalents, the and purity of valve tone is maintained at VOLUME CONTROL(S) 1 x Stereo 1 per Channel 1 per Channel surprisingly loud punch when cranked. 50/50 is a Dual MonoBloc amplifier – meaning all times, meaning that those all important PRESENCE 1 x Stereo 1 per Channel 1 per Channel that each of its 50 Watt, stereo sides is a and highly desirable valve overdrive and VOICING OPTIONS Resonace A/B A/B 3 3 3 In addition to controls for Volume and completely separate mono unit. compression effects aren’t compromised in REMOTE VOICE SWITCHING (per Channel) (per Channel) IMPEDANCE SELECTION 3 3 3 Presence the 20/20 also has a Deep switch any way. This professional, all-valve unit is LINE LEVEL OUTPUT 3 No No for a tight, resonant, low-end boost and Line Each of its two channels, A & B, has its own designed to withstand arduous world tours LINK OUTPUT No 3 3 Level outputs for further flexibility. individual Gain and Presence controls. Both and sounds as good as it looks! DIMENSIONS 1U Rack (270mm deep) 3U Rack (330mm deep) 3U Rack (330mm deep) channels also boast a remotely switchable WEIGHT (kg) 5 19 20.5 42 43 HANDWIRED SERIES – POINT TO POINT PERFECTION The timeless tone of vintage, handwired, all-valve Marshall amplifiers have made them highly desirable to collectors and sonic connoisseurs alike for many years. Due to overwhelming public demand we proudly offer meticulously accurate, handwired re-issues of three of our most sought-after vintage amplifiers and four speaker cabinets in our Handwired Series – A range that celebrates the Company’s rich tonal heritage and revisits the handcrafted traditions and skills that first launched the Marshall legend.

1959HW 1960AHW 1960BHW 1974X Top-Loaded View 1974X Top-Loaded

“When it comes to producing handwired amps with extraordinary tone, Marshall hasn’t forgotten how to do it…” Guitarist magazine, UK

1960AHW: Hand-soldered, 120 Watt, 16 Ohm, mono, 4x12″ angled cabinet. It boasts metal 2061X handles, “100” logo, salt ‘n’ pepper grille cloth and loaded with aged re-issues of the lower 2061CX resonance (55Hz as opposed to 75Hz) 30 Watt, Celestion G12H30 speaker.

1960BHW: Hand-soldered, straight-fronted partner to the 1960AHW.

2061X: Hand-soldered, compact, 60 Watt, 2x12″ angled cabinet loaded with Celestion’s critically acclaimed G12H30 (75Hz resonance) speaker. Compliments the 2061X head.

Handwired Cabs Handwired 1974CX 1974X 1974CX: Hand-soldered, 20 Watt, 1x12″ extension cabinet that complements the 1974X combo. Loaded with the same exact, exclusive “aged” T1221 Greenback speaker found in the 1974X.

For more information visit www.marshallamps.com

1959HW 100 Watt ‘Plexi’ Head – To 2061X 20 Watt ‘Lead & Bass 20’ Head 1974X 18 Watt 1x12″ Combo – An influence performance, sound and feel, so SPECIFICATION 1959HW 2061X 1974X the minds and ears of many, the mythical An authentic, handwired re-issue of the authentic re-issue of the fabled 18 Watt we worked extremely closely with Dagnall in order to duplicate the original, “off-the-shelf” MODEL TYPE Head Head (small box) 1 x 12″ Combo 100 Watt “Plexi” heads of the late ’60s are original 20 Watt 2061 head (1968-1973), 1974 combo of the late sixties (1966-1968). POWER (RMS) 100 Watts 20 Watts 18 Watts considered the “Holy Grail” of great rock this compact, twin-channel, all-valve beauty Just like the original, it boasts a point-to- transformers in all areas. Another major PRE-AMP VALVES 2 x ECC83 1 x ECC83 2 x ECC83 tone. The 1959HW transports us back houses 2 x ECC83 valves in its preamp point, handwired, tagboard circuit housed in factor in the distinctive sound of vintage POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL84 1 x ECC83, 2 x EL84 1974 combos is the way the original 20 Watt, VALVE RECTIFIER NO NO 1 x EZ81 to that celebrated era and the result is a and a pair of cathode-biased EL84s in its an aluminium chassis, plus a valve-driven 3 ceramic magnet, Celestion Greenback T1221 VALVE TREMOLO NO NO breathtaking, handwired, all-valve re-issue power stage. Featuring a solid-state, silicon tremolo circuit. At the very heart of its simple, SPEAKERS - - 1 x G12M-20 Special that’s authentic in every detail – from that diode rectifier, it is a very aggressive and but effective, two channel design are six loudspeaker’s tone has softened with age. DIMENSIONS (WxHxD in mm) 750 x 305 x 210 510 x 225 x 210 610 x 535 x 230 world-famous front panel to the oversized, surprisingly modern sounding amplifier, while valves: three ECC83s in the preamp, an EZ81 In order to re-create the gorgeously smooth WEIGHT (kg) 22 10 19 custom-built, “drop through” mains still possessing that unmistakable and highly rectifier and a pair of cathode-biased EL84s in tones of a 35-year-old vintage Greenback, transformer that lies at the very heart of the desirable, vintage all-valve tone. Just like the the power stage. Celestion not only revisited the 1967 recipe, beast. Good looks and impressive specs original, the 2061X boasts a point-to-point, they also came up with a proprietary way of aside, the 1959HW’s real beauty lurks in its handwired, tagboard circuit, a mild-steel The output and mains transformers are vital “ageing” the speakers so they sound and feel unique and highly responsive tone. chassis and Dagnall transformers. components in any amplifier because they like the originals made in the late ’60s. 44 45

VINTAGE RE-ISSUES After five decades of being hailed as “the Sound of Rock” by guitarists all over the globe, it’s hardly surprising that demand for our Vintage Re-issue Series is always high. After all, it’s made up of the amplifiers that not only played a pivotal role in rock’s sonic evolution, but continue to do so to this very day. Just like the GibsonTM Les PaulTM or the FenderTM StratTM, amps such as the ‘Plexi’, the JCM800 2203 and the ‘Bluesbreaker’ remain omnipresent and influential…

2245 (JTM45) 1959SLP 1960TV 1960AX 1960BX 1987X 1960AX

For more information visit www.marshallamps.com

1959SLP 100 Watt ‘Plexi’ Head – This 1987X 50 Watt Head – While the 1987X 2245 (JTM45) Head – The very first SPECIFICATION 1959SLP 1987X 2245 is the amp that defines classic rock– the 100 shares the same front and rear panel features Marshall amp made back in 1962 was the MODEL TYPE Head Head (small box) Head (small box) Watt Super Lead head of the late ’60s with the as the 1959SLP, it has its own distinctive sonic JTM45. It was an instant hit and launched POWER (RMS) 100 Watts 50 Watts 30 Watts Plexiglas front panel – re-issued in all its glory. personality – sweet, warm and singing are a whole new generation of groundbreaking PRE-AMP VALVES 2 x ECC83 2 x ECC83 2 x ECC83 To ensure absolute tonal authenticity, we the tonal trademarks of this much respected, guitar players and sounds. Since then, tone POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 2 x 5881 3 found an amp from said era that epitomised all-valve head. Great care has been taken to connoisseurs have searched high and low for GZ34 VALVE RECTIFIER No No TRUE BYPASS FX LOOP 3 3 No the tone, gave it to our guitar playing R&D ensure that this re-issue remains as true to originals of this beautiful amp. Now their quest DIMENSIONS (WxHxD in mm) 750 x 310 x 215 665 x 265 x 205 665 x 265 x 205 experts and they developed a replica so the original as humanly possible, including is over, thanks to this meticulously accurate WEIGHT (kg) 20.5 15.3 14.6 exact that we couldn’t tell them apart. The its classic look. Mission accomplished! Once re-issue. By including GZ34 valve rectification, only modern concession made is the addition again, the only “modification” is the addition as in the original, we have ensured a faithful of a tonally transparent Series Effects Loop, of a switchable Series Effects loop, with that recreation of the JTM45’s much sought-after complete with a True Bypass switch for the all-important True Bypass switch. signature-sound. The rectifier interacts with the purist. rest of the valves causing subtle harmonics to shift and smoulder beneath every note you play. 46 47

VINTAGE RE-ISSUES continued Here we take a look at the following trio of re-issues. The head that dominated the ‘80s – the infamous JCM 800 Series 2203; the head that took the ‘90s by storm – the JCM900 Hi Gain Dual Reverb 4100; plus the 2x12″ combo born in the ‘60s, the legendary model 1962 ‘Bluesbreaker.’

4100 JCM900 1960A

2203 JCM800 1960A

1962 “Bluesbreaker”

For more information visit www.marshallamps.com

JCM800 2203 100 Watt Head – The we’ve added a Series Effects Loop with a True B takes off from where Channel A finishes released to satisfy players’ demands and thus SPECIFICATION 2203 4100 1962 ‘Bluesbreaker’ all-valve 2203 is one of the most highly Bypass switch that takes the loop completely and is perfect for lead – from silky smooth the now legendary 1962 combo was born. As out of the signal path, thus ensuring the to a searing scream and all tones between. already mentioned on the previous pages, MODEL TYPE Head Head 2 x 12″ Combo respected 100 Watt Marshall heads in the POWER (RMS) 100 Watts 100 Watts 30 Watts company’s long history. Evolving from the original tone isn’t compromised in any shape As well as having separate Gain controls, a GZ34 valve rectifier plays a pivotal role in PRE-AMP VALVES 2 x ECC83 2 x ECC83 2 x ECC83 legendary ‘Plexi’ head, it was one of our first or form. each Channel has its own Master section helping to achieve the famed output-stage POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 4 x 5881 1 x ECC83, 2 x 5881 3 amplifiers to feature a Master Volume (MV) JCM900 4100 100 Watt Head – Another containing controls for Master Volume and compression and sustain unique to both the GZ34 VALVE RECTIFIER No No players’ favourite, the Hi Gain Dual Reverb Master Reverb. A Series Effects Loop with JTM45 and 1962. Though tonally similar CHANNELS 1 2 (footswitchable) 2 control. The very essence of simplicity, the 3 BAND EQ 3 3 3 2203 is a one channel, valve amp with no 4100, all-valve 100 Watt head is available Loop Level control allows you to use either to a JTM45 for obvious reasons, the 1962 TREMOLO No No 3 (footswitchable) reverb or built-in effects. Its foolproof front- once again. Known for its tone and tried- stomp-boxes or rack-effects. Whatever style combo is loaded with two re-issue Celestion SPRING REVERB No 3 (footswitchable) No 3 3 No panel and distinctive, punch-in-the-sternum and-tested roadworthiness, the 4100 won of rock you play the 4100 provides tonal ‘Greenback’ 25 Watt speakers to re-create SERIES FX LOOP (w/True bypass) SUPPLIED FOOTSWITCH No PEDL-10013 PEDL-10008 roar immediately set the standard by which all many fans due to its incredible versatility and flexibility without compromise. that classic sixties tone. The ‘Bluesbreaker’ 1962 ‘Bluesbreaker’ 30 Watt 2x12 SPEAKERS - - Celestion ‘Greenback’ (T1221) other rock amps were judged. Now by popular feature set. Channel A is voiced for a sparkling ″ combo also comes with the addition of a DIMENSIONS (WxHxD in mm) 750 x 315 x 215 750 x 310 x 210 740 x 610 x 265 demand and continued artist use, it’s back! clean on lower gain settings, building up to a Combo – After the huge success of the footswitchable Tremolo effect. WEIGHT (kg) 20.5 18.8 30.2 As with the 1959SLP and 1987X re-issues, raunchy crunch when driven hard. Channel JTM45 amplifier, a 2x12” combo version was 48 49

ACOUSTIC SOLOIST Given the company’s rich legacy of loud, high-gain stacks, the idea of there being a Marshall Acoustic Series might seem a little odd to some. To a veritable legion of acoustic performers though – from the likes of Corey Taylor (the menacing, masked Slipknot frontman) to French phenomenon, Pierre Bensusan – Marshall’s Acoustic Soloist combos are the only way to go. In fact, pound-for-pound, the AS50D is one of the best selling acoustic amps on the planet…

AS100D

AS50D

The AS50D contains a high quality digital effects section featuring an adjustable Chorus which is assignable to either or both channels. The studio quality natural sounding digital Reverb and the parallel Effects Loop can be balanced between the two channels.

The AS100D features sixteen built-in, adjustable stereo digital effects (including 10 Reverbs, Delay, Chorus and more) which add an entirely new dimension to the already wide range of sounds this

professional combo has to offer. Additionally, there is also a stereo Parallel Effects Loop, complete Digital Effects with Level Control, on the rear panel.

One of the most difficult aspects of amplifying certain acoustic instruments is feedback.Therefore, the AS50D anti-feedback controls include a Phase switch and a frequency controllable Notch Filter. The AS100D also features several anti-feedback controls. These include an individual Phase switch on channels 1, 2 & 3 plus two frequency controllable Notch Filters with selectable extra depth for channels 1 & 2. Anti-Feedback

For more information visit www.marshallamps.com

Overview input on Channel 1 is perfect for piezo or For the acoustic player who wants it all, For those using two pick-ups via a single stereo configuration offers more than enough SPECIFICATION AS50D AS100D magnetic pickups. we offer the comprehensively featured and stereo jack, the two main Acoustic Channels power for many typical acoustic music MODEL TYPE 2 x 8″ Combo 2 x 8″ Combo The AS50D is a 50 Watt combo housing 2x8″ powerful AS100D – a 50 Watt + 50 Watt, 2x8″ (1 and 2) can be linked together via a ‘Link’ venues, a stereo pair of balanced XLR DI POWER (RMS) 50 Watts 50 Watt + 50 Watt custom voiced speakers and a single high Channel 2 boasts RCA phono inputs plus a combo with two high fidelity polymer dome switch, affording you independent Volume and Outs and Line Outs allow you to connect CHANNELS 2 4 fidelity soft polymer dome tweeter as used on balanced phantom powered XLR type input in tweeters. The AS100D has been specially EQ controls for each pick-up. The other two directly to an external PA system for larger MICROPHONE INPUT 3 Ch. 2 & 3 3 the AS100D, a combination which allows for addition to its jack input, making it the perfect created for use with a variety of acoustic channels are a dedicated Microphone (Ch.3) venues. PHASE SWITCH Ch. 2, 3 & 4 PHANTOM POWER Ch. 2 Ch. 2 & 3 clear and detailed sound reproduction across host for voice, instrument or even backing instruments and now boasts new and and an Auxiliary (Ch.4), the latter of which has PHONO INPUTS Ch. 2 Ch. 4 the entire range. This compact and highly track. Another useful AS50D feature is an improved speakers conceived by our design phono (RCA) stereo inputs specifically for use Compact and portable, the stylish AS100D ANTI-FEEDBACK FILTER 3 Ch. 1 & 2 portable combo features two channels, each internal Limiter which allows you to drive experts in conjunction with Celestion. with external audio equipment. offers great flexibility and is the ideal amplifier DIGITAL FX Mono Chorus 6 (Stereo) of which has its own independent volume and the maximum level from the 50 Watt power Between its four channels, this combo has for the acoustic player who wants the highest REVERB Mono 10 (Stereo) FX LOOP Mono Stereo tone controls. stage, yet remain distortion free. Neat and the flexibility to handle instruments with The AS100D also houses an internal limiter quality performance with absolutely natural D.I. OUTPUTS & LINE OUTS Mono Stereo Balanced affordable, flexible and portable, the AS50D is piezo transducers or magnetic pick-ups, plus to ensure you can achieve maximum output tonal reproduction. SPEAKERS 2 x 8″ 2 x 8″ (Celestion) A variety of inputs give the AS50D the ability ideal for the acoustic musician who wants an microphones, for both vocal and instrument while your sound remains distortion free. TWEETER 1 x Polymer Dome 2 x Polymer Dome to handle all-comers: the high impedance amp which is perfectly suited to intimate gigs. reproduction. Even though the AS100D’s 50 Watt + 50 Watt DIMENSIONS (WxHxD in mm) 550 x 415 x 255 605 x 530 x 270 WEIGHT (kg) 16 21 50 51

JMD:1 SERIES Digital guitar amps aren’t a new thing – modelling offerings have been around for the best part of a decade and are now ten-a-penny. While such units have earned huge popularity at the low end of the price spectrum, seeing one as part of a professional touring rig or hearing one on a best-selling CD is as rare as a ballad. Enter the Marshall JMD:1 Series…pro level amps that take digital to the next level.

JMD100 M412A M412B

Front Panel features common to all JMD heads and combos Panel Close-Up

JMD50 M412A

Included with all JMD:1 units is the dual-mode, 6-way JMD:1 Footcontroller. Containing Marshall’s patented Stompware footswitching technology, it unlocks the vast versatility of the JMD range. Its two modes are:

• Switch Store Mode: allows you to assign any “Wow. That’s really the bottom line on this amp…with its front panel switch (eg: Tap Tempo, FX Loop, historic model library and onboard effects, it’s pretty much Modulation, any of the 4 channels) to any footswitch. a one-stop tone machine for the stage and studio.

• Preset Store Mode: the footswitch delivers access to 28 programmed KUDOS - Fabulous versatility. Historic collection of amp sounds via seven “banks”, each containing four “patches” each.

JMD:1 Footcontroller models. Good effects. Stunning roar. Connection to the amp is via a regular guitar cable so you’re not hampered with a “one-length fits all stages” specialist cord. Now that’s user-friendly! CONCERNS - None.” Guitarist magazine, UK

JMD102

JMD501

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Overview preamp options but each and every one is amp plus the ability to store and instantly SPECIFICATION JMD100 JMD102 JMD50 JMD501 100% Marshall. recall 128 settings via MIDI and you’ve got a Reviews have been stellar, awards have MODEL TYPE Head Combo Head Combo The JMD:1 Series all boast EL34 valve driven fire-breathing, tonal monster with literally 128 been won but, more importantly, the JMD has POWER (RMS) 100 Watts 100 Watts 50 Watts 50 Watts power-stages that deliver the world renowned, When we decided to enter the digital arena, heads! earned the golden-seal of approval from a CHANNELS 4 4 4 4 3-dimensional, powerful Marshall punch. The we partnered with globally respected amp much respected, top-level rock guitar icon, PROGRAMMABLE DIGITAL PRE-AMPS 16 16 16 16 four JMD variants are a 100W head (JMD100), software experts Softube, utilising their In addition to 16 programmable pre-amps, Doug Aldrich of Whitesnake. “I own a load of POWER AMP VALVES 1 x ECC83 4 x EL34 1 x ECC83 4 x EL34 1 x ECC83 2 x EL34 1 x ECC83 2 x EL34 MODULATION & DELAY FX 4 of each 4 of each 4 of each 4 of each a 50W head (JMD50), a 100W 2x12″ combo groundbreaking, patented “Natural Harmonics each JMD:1 offers 10 programmable, custom- vintage and classic Marshalls,” Aldrich admits. REVERB & NOISE GATE 3 3 3 3 (JMD102) and a 50W 1x12″ combo (JMD501). Technology.” Two years of intense R&D later, voiced effects - Modulation (Chorus, Phaser, “I never thought it possible to get all those SERIAL/PARALLEL FX LOOP 3 3 3 3 the JMD emerged – a hybrid amp with a Flanger or Tremolo) or a highly responsive tones in one amp, but the JMD:1 nails ‘em FOOTCONTROLLER INCLUDED 3 3 3 3 3 3 3 3 First and foremost, let’s get one thing straight sophisticated digital preamp stage that not Noise Gate; Delay (Analog, Tape, Hi-Fi or all! I used to have a crazy amount of gear on MIDI IN & THRU EMULATED LINE OUT 3 3 3 3 – these aren’t modelling amps, they’re only sounds and feels like it’s analogue but Multi); or Reverb. Three flavours can be used tour, but the JMD makes everything simple HEADPHONES OUT & MP3/CD INPUT 3 3 3 3 Marshalls and they don’t pretend or claim to reacts to playing dynamics in exactly the same simultaneously - a Modulation or Gate, a Delay and I love it. It’s effectively a ‘Best Of’ from the MEMORY LOCATIONS 128 128 128 128 be anything else. Granted, they each offer way too. Add to this, built-in, studio-quality, and Reverb. A programmable FX loop adds to originators of Tone.” SPEAKER(s) - 2 x 12″ - 1 x 12″ up 16 very different sounding, programmable digital effects, a mighty EL34 valve power the JMD’s already impressive tonal versatility. DIMENSIONS (WxHxD in mm) 750 x 310 x 220 685 x 530 x 260 750 x 310 x 220 635 x 525 x 255 WEIGHT (kg) 20.2 31 15.7 22.6 52 53

FX PEDALS “All of these Marshall pedals tick the right boxes, both in terms of their truly Despite the proliferation of digital devices that claim to “model” everything including the kitchen sink, simple stompboxes impressive build quality and, most importantly, the sheer variety and that deliver the goods remain essential weapons in most guitarists’ set-ups. That’s why we offer no fewer than eight – all quality of each pedal’s effects leaves very little to be desired.” built like tanks, thoroughly road tested and all boasting true, passive bypass. Meaning, when they’re off, your Guitar Buyer review of EH-1, RF-1 and RG-1 sound is 100% pure and untouched…an essential tonal attribute.

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GV-2 Guv’nor Plus BB-2 Bluesbreaker II JH-1 Jackhammer RF-1 Reflector EH-1 Echohead RG-1 Regenerator VB-1 Vibratrem ED-1 The Compressor Shedloads of gain and loads This bluesy bruiser is effectively This metallic monster boasts two The cavernous Reflector reverb Create pulsing tones and add The Regenerator is a chorus, Take a step back in time to the Add sustain to solos, even-out of level, the GV-2 has all the two pedals in one – a tonally modes (O/D and Dist), both of pedal projects your sound into dense rhythmic textures to your a flanger and a phaser all in British amps of the early sixties attack and get rid of unwanted power and tone of our original, transparent booster that gives which are loaded with ungodly the third dimension. Six reverbs sound. The Echohead features a one sturdy shell. This stereo with the Vibratrem’s authentic peaks and troughs. For liquid much-loved Guv’nor pedal – and your solos that extra lift, and a gain plus all the tonal control you add diffuse trails to your playing maximum delay time of 2000ms, modulation pedal offers six vintage effects. Its wave-shaping leads, funky clean chords or beyond! The GV-2’s expanded truly valve-like overdrive that’s so need to push your guitar’s sound without ever swallowing your stereo outputs and a Tap Tempo different modes for you to control allows you to meld choppy yet consistent Gain structure allows you to steer rich in second order harmonics straight over the edge. From tone. Its stereo outputs create input. In addition to controls for explore. Vintage Chorus, Multi between two modulation pattern chicken pickin’, call on “Edward” your guitar tone through many it’ll make your guitar gently weep. cranium-crushing crunch and reverbs with wide spacious fields. Time, Feedback and Level, the Chorus, Vintage Flanger, Phaser, options, offering you everything The Compressor. In addition, different styles and adding one Blues Mode is reminiscent of the scooped modern metal mayhem With controls for Reverb Time, EH-1 offers you six versatile Step Phaser & Vintage Vibe. The from groovy, trembling tremolos to target the frequencies you want to your set-up is just like adding tonal and distortion characteristics to savage slamming solos, Damping and Level for each mode modes - Hi-Fi, Analogue, Tape Regenerator will entwine itself psychedelic quasi-vibratos. to compress with the Emphasis another Marshall amp to your rig. of our non-Master Volume amps its unique dual-control contour - Hall, Plate, Room, Spring 1, Echo, Multi Tap, Reverse & Mod around your tone while leaving control, which means that you such as the classic Bluesbreaker section gives you fearsome Spring 2 & Reverse; you’ll easily Filter. you in full control. It’s every can, for example, tighten up or combo from the 1960s. flexibility across the mid-range. find the sound you’re looking for. modulation pedal you’ll ever need. compress your bass notes and let your treble notes ring out. 54 55

VBA VALVE BASS RIG If the term “Marshall bass amp” strikes you as an oxymoron, think again. Two of the most prominent, rock pioneering, power trios of the ‘60s featured bassists plugged into Marshalls. Then, of course, there’s that living legend and Marshall bass amp loving diehard, Lemmy of Motorhead. As for VBA: try talking to Slayer’s Tom Araya or Whitesnake’s Michael Devin – both bassists have toured the globe with their trusty VBA rigs behind them every step of the way.

VBA400 VBC810

VBA400 VBC412 Panel Close-up

CAB SPECIFICATION VBC412 VBC810

SPEAKER CONFIGURATION 4 x 12″ 8 x 10″ POWER HANDLING 400 Watts 640 Watts IMPEDANCE 4Ω 4Ω DIMENSIONS (WxHxD in mm) 775 x 760 x 395 675 x 1260 x 425 WEIGHT (kg) 49 72

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Overview One of the main things that makes this the mid range as follows: Further tone control is provided by Deep and when activated, mutes the signal to both the SPECIFICATION VBA400 amp special is the sheer vastness of pure • Contour Position 1 – drops the low mids and Bright switches. Engaging the Deep switch loudspeakers and the DI Output, enabling MODEL TYPE Bass Head The Marshall name, together with our famous valve power on tap from the twelve valves it creates a rounder, fuller, fat bottom end. increases low-end thud without losing definition the user to tune ‘silently’ in any situation – POWER (RMS) 400 Watts scripted logo, has always been synonymous houses. Consequently, we didn’t want to dilute while the Bright option adds extra high-end providing a tuner is hooked up of course! PRE-AMP VALVES 2 x ECC83 with world-class, valve-driven tone. In keeping any of this natural purity by incorporating • Contour Position 2 – boosts the mid range, brilliance and bite to your sound. Other POWER AMP VALVES 1 x ECC83, 1 x ECC82, 8 x 6550 3 with this tradition, our 400 Watt, all-valve ACTIVE/PASSIVE INPUT unnecessary features and controls. For this giving greater edge and aggression to your essential features include Active and Passive GAIN CONTROL 3 VBA400 bass head is being hailed by players very reason, only the essential front panel sound. inputs, an XLR DI Output, complete with 3 BAND ROTARY EQ 3 and press alike as another true classic. controls have been included. This said, the switches for Earth (ground) Lift and pre/post 3 POSITION MID CONTOUR 3 DEEP & BRIGHT SWITCHES 3 VBA400’s 3-band passive EQ network for • Contour Position 3 – moves the mid range EQ selection, a Series FX Loop and a High/ 3 Designed with the serious bass player in mind MASTER VOLUME Bass, Middle and Treble has been designed higher than you would normally expect on a Low Fan Speed switch to ensure the valves TUNER OUTPUT & MUTE 3 and drawing from our many years of valve so that it offers you all the tonal adjustment . This adds an aggressive twang are kept at a safe operating temperature. DI PRE/POST SWITCH 3 ‘tone crafting’ experience, the VBA400 utilises you’ll need. Furthermore, this tone network while leaving the essential body of your tone FX LOOP 3 3 a staggering quantity of 12 valves: 8x6550, can be totally changed by means of the intact, making it ideal for percussive styles Another very practical ‘bassist friendly’ IMPEDANCE SELECTOR 3xECC83 plus 1xECC82. DIMENSIONS (WxHxD in mm) 685 x 275 x 330 3-position Contour switch which reconfigures such as slap bass. addition is a Tuner Mute facility which, WEIGHT (kg) 36 56 57 MB BASS SERIES The rugged MB Series of feature-loaded, twin channel bass amps starts off where most lines finish. The comprehensive MB family is 10 members strong, comprising of six combos, one head and three cabinets. It’s also very affordable and the range runs from a compact 15 Watt 1x8″ combo all the way up to the MB450H head driving 450 Watts of heart-stopping power into 8x10″ and 1x15″ MB cabinets, and all points in-between, From rank-beginner to road-hardened-pro, the metal- grilled MB Series covers all bases.

MB15 MB450H MBC115

Panel Close-up Front-panel controls and switches are identical on the MB4410 combo and MB450H head.

MB450H MBC810

MB4210 MB450H MBC410

MB4410 Other MB Combos and Cabinets

CAB SPECIFICATION MBC115 MBC410 MBC810

CABINET TYPE Bass Reflex Bass Reflex Bass Reflex SPEAKER CONFIGURATION 1 x 15″ 4 x 10″ 8 x 10″ POWER (RMS) 300 Watts 600 Watts 1200 Watts POWER (PROGRAM) 600 Watts 1200 Watts 2400 Watts 3 3 3 HF HORN MB30 MB60 MB150 HF HORN SWITCH 3 3 3 SPEAKON® CONNECTOR 1 1 1 JACK CONNECTOR 1 1 1 IMPEDANCE 4Ω 4Ω 4Ω DIMENSIONS (WxHxD in mm) 630 x 635 x 410 630 x 720 x 410 630 x 1250 x 410 WEIGHT (kg) 32 42.5 70

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SPECIFICATION MB15 MB30 MB60 MB150 MB4210 MB4410 MB450H Overview position Voice Shift, FX loop and footswitchable Tone Blenders – The MB4210 2x10″ and channels. MB410 4x10″ combos plus the MB450H head MODEL TYPE Combo Combo Combo Combo Combo Combo Head The impressive feature set of the 15 Watt are all capable of 450 Watts of power @ 2 POWER (RMS) @ 4 Ohms 15 Watts 30 Watts 60 Watts 150 Watts 300 Watts 300 Watts 300 Watts MGB15 1x8″ combo immediately lets you Classic Valve Driven Tone – From the 60 Ohms (300 Watts @ 4 Ohms). In addition to all POWER (RMS) @ 2 Ohms - - - - 450 Watts 450 Watts 450 Watts ECC83 PRE-AMP VALVE No No 3 3 3 3 3 know that the MB Series means business. Watt MB60 1x12″ combo and up, an ECC83 the aforementioned features, they also boast CHANNELS 2 2 2 2 2 2 2 The MB15 boasts twin channels, 3 band EQ, valve lies at the heart of the Classic Channel a footswitchable Blend control which allows COMPRESSOR 3 3 3 3 3 3 3 Limiter, Variable Compressor, Emulated Line for that unmistakable valve induced warmth you to punch in your preferred mix of the two LIMITER 3 3 3 3 3 3 3 Out, CD/MP3 input and a Headphone socket. and overdrive. A HF (high frequency) Horn channels – giving you a unique third tonal DI LINE OUT Emulated Jack Emulated Jack XLR (Pre & Post) XLR (Pre & Post) XLR (Pre & Post) XLR (Pre & Post) XLR (Pre & Post) CHANNEL BLEND CONTROL No No No No 3 3 3 Like the rest of the series, its two channels and a Classic Boost switch up the ante too. option. BOOST SWITCH No No 3 3 3 3 3 cover the complete tonal spectrum – from the In addition to all the aforementioned features, MID VOICES 1 3 3 3 3 3 3 clean thump of the Modern Channel to the each of the MB60’s footswitchable channels This impressive Series is rounded off by FX LOOP No 3 3 3 3 3 3 3 3 - dirty roar of the Classic Channel. In addition have their own EQ networks for even more three meaty cabinets – the 300 Watt MBC115 HF HORN No No No No SPEAKON® / JACK CONNECTOR - - - - 3 3 3 to boasting more power and a bigger speaker, flexibility. The gig ready 150 Watt MB150 1x15″ 1x15″, the 600 Watt MBC410 4x10″ and the SPEAKER(s) 1 x 8″ 1 x 10″ 1 x 12″ 1 x 15″ 2 x 10″ 4 x 10″ - the 30 Watt MB30 1x10″ combo also offers a 3 combo has the same exact feature set. behemoth 1200 Watt MBC810 8x10″. DIMENSIONS (WxHxD in mm) 260 x 263 x 175 295 x 315 x 180 535 x 505 x 325 580 x 585 x 355 630 x 535 x 280 630 x 720 x 410 630 x 220 x 235 WEIGHT (kg) 12 14.8 23 30 33 51 15 58

MS2 & MS4 MICRO AMPS From an infamous, turban-wearing, rollerskating busker on the boardwalk of California’s Venice Beach; to the belt of a modern-day Hollywood star in a blockbuster movie about a Rock School; to being recorded in a shoebox and appearing on hit rock songs; the Marshall MS-2 lurks omnipresent.

In September 1962, this pair of pioneers changed everything by creating what guitarists christened The Sound of Rock

Thanks Jim...Happy 50th Here’s to the next 50 Years of Loud!

Overview to tour-bus to backstage, it’s your perfect And, if size is important to you, it’s also For more information & details on all things Marshall go to: practice partner. available as a full-stack (MS-4). The perfect Armed with a sound so big it defies its gift for the guitarists and guitar lovers in your www.marshallamps.com diminutive size, a headphone output and looks This beloved, battery operated micro halfstack life, no home should be without one. Collect that kill, the MS-2 is the mighty mini Marshall is available in three flavours – traditional black all four… that never has to leave your side…literally, (MS-2); vintage grey with chequerboard grille thanks to its built-in belt clip! From bedroom cloth (MS-2C) and an oh so subtle red (MS-2R).

For more information visit www.marshallamps.com www.marshallamps.com Marshall Amplification plc, Denbigh Road, Bletchley, Milton Keynes, MK1 1DQ, England

Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement and development, Marshall Amplification plc reserve the right to alter specifications without prior notice.

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