Page 1
30th
Anniversary
Amplifier
Denbigh Road, Bletchley, Milton Keynes, MK1 1DQ, England
Web Site - http://www.marshallamps.com
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.
Marshall Amplification plc
Tel: (01908) 375411
Fax: (01908) 376118
Dec ‘98
Handbook
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Introduction
CHANNEL 1 - CLEAN
MID SHIFT
BRIGHT
BASS MIDDLE TREBLE VOLUME
The 30th Anniversary Amplifier is the most comprehensive valve amp ever built by Marshall. It’s three
separate channels each drive directly into the power amplifier, the same way as in early Marshalls, to
provide the maximum amount of natural warmth from the valve powered core.
Every feature has been carefully considered to give you the greatest flexibility and a range of sounds
unsurpassed in any valve amplifier. It is well worth getting to know these features as thoroughly as possible
as many of the functions are interactive and even minor alterations can have a dramatic effect on the
overall sound. The most exciting part of owning a new amplifier is exploring it’s possibilities - so take plenty
of time and learn to fully enjoy this work of Marshall art - you won’t be disappointed.
Input Section
1. Input jack socket For connection from the guitar.
2. High Compensation Switch
3. Low Compensation Switch Reduces unwanted low end “rumble” from high
Operational Note A: input Compensation
The sound will vary from guitar to guitar. Try all combinations to find which best suits your style and tone.
Reduces the high end “scratch” from single coil pick-ups.
powered pick-ups and tightens the bottom end of the
sound.
Channel 1 Clean
The most versatile clean Marshall channel yet produced. Every
conceivable Marshall clean sound, from rich and mellow through to
the “glassiest” JTM 45 and the fullest warm Super Lead can be
found. The bright switch gives you extra top end and bite for
ringing full chords or bell-like picking. Adding the mid-shift
changes the character to give you hard clean edge for crisp picking
and chord work.
4. Volume Control Volume level control for Channel 1 only.
5. Bright Switch Adds top end sparkle and “glassiness” to the sound.
6. Mid Shift Push Switch Changes the character of the mid-band by moving the
7-9. Treble, Middle, Bass Three band EQ for tonal variation and control. The
9 8 7 654
frequency downwards. When selected this gives an
excellent percussive picking sound ideal for country
playing.
controls inter-act and dramatic changes can be
achieved by experimentation.
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Channel 2 Crunch
CHANNEL 2 - CRUNCH
MODE B - C
MODE A- B
BASS MIDDLE TREBLE VOLUME GAIN
Crunch is an understatement when describing Channel 2. The
three sound selections span across three generations of Marshall
with full bodied tone and the unique character which only pure
valve power can produce. The gain selections allow you to
switch from fat creamy vintage blues, to driving hard rock and
devastating metal rhythms. There is as much tonal and gain
variation in this one channel as many amps have in total.
10. Gain Control Controls the level of gain on all crunch selections. As
11-12. Mode A-B-C Selector Switch
with all gain controls the amount of distortion increases
as the control is advanced.
Three modes can be selected on Channel 2. Mode A is a
low gain, natural valve overdrive reminiscent of an
original JTM 45.
drive of a 1959 Super Lead amp or early Master Volume.
Mode C gives high gain drive similar to the JCM 900
master volume amps.
16 15 14 13 121110
Mode B is crunchier with the feel and
13. Volume Control Controls the level of Channel 2.
14-16. Treble, Middle & Bass 3 band EQ network for tone shaping.
Channel 3 Lead
The ultimate lead channel! Marshall overdrive has always set the
standard, constantly pushing back the barriers that constrain
creativity. Superbly voiced EQ maintains real tone despite
unbelievable levels of gain. By adding the gain boost and using
the selectable contour, you can focus your lead sound through
every extreme of rock guitar playing. This level of gain can't be
described in words. When you play this channel you will feel
what we mean!
17. Gain Control Controls the gain level of the lead channel.
18. Gain Boost Switch Boosts the pre-set gain level of the lead channel to
19. Contour Switch Changes the middle control into a “contour” shaping
20. Volume Control Sets the level of the channel.
21-23. Treble, Middle & Bass Three band EQ for lead channel tone shaping. These
23 22 21 20 191817
GAIN
BOOST
BASS
MIDDLE TREBLE VOLUME GAIN
CHANNEL 3 - LEAD
CONTOUR
push your lead sound far beyond any previous limits.
control, giving instant mid band cut and boost where it is
most effective.
controls are interactive so experiment to find their full
potential.
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Control Section
PUT CONTROL
STORE
3 2 1
24-26. Channel Selection switches
27. Store Switch Stores incoming MIDI information for channel selection
Operational Note B: MIDI Control
stored in the PATCH number that was LAST received. If no patch message has been received then no store will be
made. Try this example;
A. Send MIDI PROGRAM CHANGE to Anniversary amp (for example 24) B. Select ampchannel (for example 2) C.
Press store until all three channel LED’S flash momentarily. Now, whenever the Anniversary amp receives MIDI
PROGRAM number 24, it will automatically select Channel 2. The memory will be retained when the amp is switched off.
Note: The internal memory of your Anniversary unit can be reset (all patches Channel 1) by holding down the channel
1 button and the store button during switch on. Be sure you really want to reset the memory first!
Note: Ensure that compatible MIDI cables are used.
Selection switches with LED indicators to show
channel selected.
when used in conjunction with external MIDI device. (See
operational note B).
The MIDI section of your Anniversary amplifier is really very simple to
use. It allows you to control your amp’s channel switching (1,2 or 3)
via MIDI program change messages. The Anniversary amp has an
internal memory and can store Channel 1,2 or 3 selection in 128 MIDI
addressable patches. These correspond to the 0 - 127 MIDI
PROGRAM CHANGE message.
Note: The Anniversary amp is preset to receive MIDI messages on MIDI
CHANNEL 1 only.
On pressing the store button, the amplifier channel selection will be
Master Output
28. Effects Control
29. Presence Control Boosts the upper frequencies to give extra crispness to
30. Low Volume Compensation Switch
31. Master Volume Controls the overall volume level of the amplifier.
32. Standby Switch In the off position the valve heaters remain on,
33. Power Switch On/Off switch for mains power to the amplifier.
Gives control of the balance between effected and dry
signal when using external processors (see operational
note F).
the amplifiers output. Operates on low damp settings of
power amp only.
When the master volume is kept low, high gain valve
amplifiers can sound fizzy and unnatural. This switch
filters out the unwanted “fizz”, adds bottom and has
great benefits for recording and rehearsal. The
effectiveness of this control decreases as the master
volume is increased.
ready for instant use without the signal circuit being
active. With the standby switch off no sound will be
produced from the pre-amp or power stage.
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Rear Panel Features
The rear panel of the Anniversary amplifier is the most comprehensive that we have ever produced. In
addition to the connection and control facilities there are a number of major innovations that directly affect
the sound and performance of the amplifier. As your sound is personal to you, it is important to try the
different options for the most suitable settings for your style.
34. Footswitch Socket Accepts the connecting lead from the three way channel
35. MIDI-In Socket For connection from an external MIDI device.
36. Balanced Compensated XLR Output
37. Compensated Output Level Control
Operational Note C: Speaker Emulation
The Marshall speaker emulation circuit provides a signal for direct connection to PA or recording mixers, that retains
the true character of the amp driving a cabinet. The quality of this emulation is so high that ‘miking up’ cabinets should
no longer be necessary, saving you both time and money, and guaranteeing you a great direct guitar tone.
This output is active even when the power amp mute switch (item 39) is activated. Although this power amp muting
allows the amp to be used without speaker cabinets as with all valve amplifiers, it is wise to keep the cabinet connected.
38. Uncompensated Line Output Line Out suitable for linking to further amplifiers to extend
39. Uncompensated Link Selection Switch
40. Line Input Line level input jack to take an external pre-amp thus
Operational Note D: Series effects option
Items 38 & 40 can also be used as a 2nd series effects loop (See operational note F). The selection switch (Item 39) will
switch the loop in or out of the circuit, but will not mute the power amp.
41. Effects Send Trim Channel 1 Provides -10 to +4db level control of the effects send
42. Effects Send Trim Channel 2 Provides -10 to +4db level control of the effects send
Operational Note E: Effects level balancing
On 41 & 42 - When setting up the effects loop, the effects processor’s level controls should be set up against the lead
channel -3 and matched using switch (44), then channels 1 & 2 set up via the trim controls for an effects send balance.
If desired, more or less sound level can be set for differing amounts of effected signal.
switching footswitch (which is included with your unit).
Balanced output featuring Marshall line level Speaker
Emulation for accurate sound reproduction directly through
recording equipment or PA (see operational note C).
Provides volume level control of the signal from item (36).
the system.
When pushed in, this switch mutes the internal power
amp allowing operation as a pre-amp, switching in also
activates the line input to the power amp.
using just the power stage of your amplifier.
from Channel 1 only.
from Channel 2.
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43. Series/Parallel Selection Switch Selects series or parallel effects loop operation. Series
connection is most suitable for Graphic Equalizers,
compressor limiters etc. Parallel connection suits delay,
reverb and chorus effects. It is generally not advisable
to link distortion effects through the loop.
Operational Note F: Effects Loop
The main effects loop on this amplifier can be configured either as a series or a parallel loop by using the
series/parallel selection switch (item 43). The parallel loop (switch out) splits the pre-amp signal into two, retaining the
direct signal within the amplifier itself, whilst sending a parallel signal out to the effects processor. By turning the direct
signal within the processor to zero only an effects signal is returned to the amplifier where it will be mixed back in with
the direct signal. This leaves the original direct signal uncoloured by any circuitry within the processor. By using the
effects level control (item 28) your ideal mix of dry and effects signal can be easily set up.
The series loop (switch in) diverts the whole pre-amp signal through the effects loop and switches off the internal direct
signal. The effects level control (28) now acts as an overall master level control.
In terms of application, units that are time based (eg Chorus, Delay, Reverb etc) are best suited to the parallel loop.
Real time effects (eg. Graphic or Parametric EQ, Compressors etc.) suit series loop operation.
It is worth noting that the line in (40) and line out (38) circuit could be used as a series effects loop at 0 dBm, giving
you the ability to use both types of loop simultaneously.
44. Loop Level Selector Switch Selects the general level of the effects loop (-10 or
45. Effects Send Jack Output for connection to the input of an external
46. Effects Return Jack Input for connection from the output of external
47. Damping Select Switch Three position switch to select high, low or auto
+4dB) to match processor linked to (45 & 46)
effects processor.
processor.
damping positions. (See operational note G).
Operational Note G: Damping Control
This unique feature controls the power amp damping. Effectively this is the way that the amplifier drives the speaker.
High damping gives tight speaker movement and is ideal for clean sounds, where a precise and defined response gives
sweet clear picked notes and chords.
Low damping, with greater speaker movement, suits breathing heavy overdrive and full distortion. In the auto position
the amp automatically selects high damping for clean selections and low damping for crunch and lead. It is probably
best to leave the amplifier in auto mode for normal use.
48. Power Selection Switch Two position switch to select high power (all 4 valves
working) or low power (2 valves working). The amplifier
must be switched to standby before selection.(See
operational note H).
Operational Note H: Power selection
This useful feature gives excellent flexibility for all playing situations. When switched to half power, with only 2 valves
working, these two valves will be driven harder than normal and will therefore have a shorter working life. If a low
power selection is required for long periods then it would be better to use the pentode/triode switch (Item 52). ‘Triode’
operation will give a slightly different tone to half power. 4 valves give 100 Watts in pentode - 50 Watts in triode. 2
valves give 50 Watts in pentode - 25 Watts in triode.
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49. Output Fuses With LED Fail Indicators
50. Loudspeaker Outputs
51. Impedance Selector Switch Selector to ensure correct match of cabinet impedance
52. Pentode/Triode Selection Switch
In the event of valve failure the HT fuse will blow to
protect the amplifier from damage. The LED will indicate
which valve pair is faulty. The
allows the amplifier to continue running on two valves
(providing it is not switched to half power), to get you to
the end of the gig.
Twin loudspeaker output jacks. It is important that the
speakers used are correctly wired and that the impedance
is correctly selected. Also ensure that the speakers are
capable of handling the full power of the amplifier. The
cabinet must be connected before switching on the standby
switch.
to the amplifier (see impedance chart on page.9).
“Triode” operation gives half the rated power output
(Triode operation also gives a smoother tone) and
“Pentode” operation provides full rated output. (See
operational note I).
Marshall “Failsafe” circuit
Operational Note I: Pentode/triode
This feature is particularly useful when tailoring your system to suit different sized venues and recording applications.
When switching this function the standby switch should always be switched off. The same also applies to items 39, 44,
47, 48 & 51.
53) Mains Input & Fuse Socket for connection from the mains. Always ensure
that the fuse matches the labelling on the amplifier’s
rear panel. If you have any doubts contact your dealer
or a qualified technician.
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Footswitch Operation
The three way footswitch provided with your Anniversary amplifier is for channel switching between the
three channels. Connection should be made to the DIN connector on the rear panel of the amp. An LED
above the switch corresponds to the channel which has been selected. Switching can also be achieved via
MIDI. (See operational note B).
Speaker Connection
The type of cabinet and speakers has a fundamental effect on the quality of your sound. Also vitally
important is the matching of speaker impedance to the amplifier. Incorrect matching will impair the
performance and eventually damage the amplifier.
Impedance is usually marked on the cabinet input socket. If you have any doubts, have the speakers
checked by a qualified technician. When using a single cabinet the amp and cabinet should be identical
(e.g. 16 Ohm 4x12 cab = 16 Ohm amp selection). If two 16 Ohm cabinets are used, then the amplifier
should be switched to 8 Ohms. Where two 8 ohm cabinets are employed the amp should be switched to
4 Ohms. A speaker load below 4 Ohms cannot be used. Following these simple rules should maintain
long life and minimise amplifier servicing requirements. Unlike solid state amps, valve amplifiers don't
increase in power as speaker impedance is lowered.
Operational Note J: Impedance switching
It should be noted that although the output transformer has 3 impedance connections, only two are switchable from
outside the amplifier. These are 16 ohm and 8 Ohm on heads and 8 Ohm and 4 Ohm on combo’s. If your particular
application requires this to be different, the transformer connections can easily be altered by a qualified technician.
Marshall Cabinet Chart
Model No. Power Rating Impedance Speaker Type
6912 (1x12) 200 N/A 8 N/A G12-Gold Celestion ✫
6960A (4x12) 300 150 4 or 16 8 G12T-75 Celestion
6960B (4x12) 300 150 4 or 16 8 G12T-75 Celestion
1922 (2x12) 150 75 8 16 G12T-75 Celestion
1936 (2x12) 150 75 8 16 G12T-75 Celestion
1912 (1x12) 150 N/A 8 N/A G12B-150 Celestion
In some cabinets the speaker type may vary (refer to rating plate for correct impedance).
✫ Except in US
Mono Stereo Mono Stereo
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Trouble Shooting Guide
If you have a problem with your amplifier, it is always best to let a fully qualified approved technician
check it over. Regular servicing should prevent any major breakdowns and is an extremely beneficial long
term precaution.
Often it is the simplest thing that needs attention and it may not be possible to get technical assistance. In
this case you may be able to keep the amp running at least until the end of the show. The greatest care
should be taken, before removing the back panel, that all mains power is disconnected. Also remember
that even after short periods valves will become very hot.
Phase splitter
CH1 Clean CH2 Crunch
V2 V6
(fault all channels dead)
View from top of Chassis
V7V1
V3 V4 V5
CH3 Lead
V1 V2 V3 V4 V5 V6
V7
V8 V9 V10 V11
V8 V9 V10 V11
V9 - 10 Pair
V8 - 11 Pair
COMBO
9
HEAD
In case of microphony
(high pitched whistle) on
CH2 suspect V2
In case of microphony
(high pitched whistle) on
CH3 suspect V2 and/or V3
Page 10
The following list outlines some of the most obvious problems and causes.
PROBLEM/SYMPTOM/CURE
Valves And Pilot Light On, But No Sound.
1. Check valve fuse fail lights to see if HT fuses are blown. If they are, replace them with the same value
fuse. If they blow again replace all the power valves if possible.
2. Check standby switch.
3. Check that the series/parallel switch and power amp mute switch are both out, unless their operation is
intended.
Constantly Blows HT Fuses.
Check the output valves; If they need replacement use matched sets and replace all power valves if possible.
Have a service centre check the bias on the output valves. If it’s too low the amp will not clean up. If it’s
too high it will stay too clean no matter how loudly you play.
High Pitched Whistle At Hi Gain Settings
Most likely this is a microphonic pre-amp valve. Replace if necessary.
Rattling Noise From Head Or Chassis
99% of the time this is caused by the spring output valve retainers jangling against the valve. Gently bend
the spring holders out a fraction.
No Sound, Lights, Hum, Etc.
1. Check mains fuse, but never with the amp plugged in.
2. Make sure the amp is plugged in.
Quick Hint
Someday, probably at a most inconvenient time, you will blow a fuse or your valves will go. This is no
reflection on any amp, valves have a definite lifespan. Always make sure you have replacements, just like
you carry spare strings, or you could be left stranded. Always thoroughly check speaker leads to ensure
that (A) they are properly connected and (B) they are fully working. Also, use good quality guitar leads
and check them regularly.
Spares And Accessories
Superb engineering is a part of Marshall tradition and your amplifier is built to withstand the abuse of a
working musicians heaviest demands. However it is worth remembering that at it’s heart, your amplifier is
full of electrical components and glass bottles. If you think of it as an extension to your guitar and treat it
accordingly, then long life and small service bills should be the norm. Using only Marshall valves as
replacements will give you optimum performance from your amplifier and will remove the need for any rebiasing by a technician.
In the event of component damage Marshall agents worldwide maintain a stock of spares and accessories
capable of refurbishing your road-worn beast!
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VOLUME
POWER
0
1
STANDBY
Model 6100
MASTER OUTPUT
30th Anniversary 1962 - 1992
CONTROL CHANNEL 3 - LEAD CHANNEL 2 - CRUNCH CHANNEL 1 - CLEAN
INPUT
PRESENCE EFFECTS BASS
LOW VOLUME
COMPENSATE
STORE
CONTOUR
GAIN
BOOST
MODE B - C
MODE A- B
MID SHIFT
BRIGHT
COMPENSATION
LOW HIGH
3 2 1
MIDDLE TREBLE VOLUME GAIN BASS MIDDLE TREBLE VOLUME GAIN BASS MIDDLE TREBLE VOLUME
30th Anniversary Amplifier - Model 6100 - front panel
33 32 31 30 29 28 27
26 24 18 11 5 3
25 23 22 21 20 19 17 16 15 14 13 12 10 9 8 7 6 4 2
30th Anniversary Amplifier - Model 6100 - rear panel
1
34 35 36 37 384339 41 42 4440 45 46 48 4947 51 52
LOW
AUTO
DAMPING
HIGH
SELECT
FX SEND TRIM
PUSH TO
MUTE POWER
0 10
AMPINPUT
OR TO
FOOT
MIDI
SWITCH
IN
CONTROL
BALANCED
COMPENSATED
OUTPUT
ACTIVATE
LEVEL
LINE
LINE
LINE INPUT
OUTPUT
INPUT
UNCOMPENSATED
LINK
LOOP
LEVEL
-10 +4 -10 +4
SERIES
PARALLEL
EFFECTS LOOP
SEND RETURN
CH-1 CH-2
WARNING: No user seviceable parts inside. Refer servicing to qualified personnel.
WARNING: Risk of shock. Do not open. AVIS: Risque de choc - Ne pas ouvrir.
WARNING: Fire and shock hazard. Do not expose to rain or moisture.
T500 mA
LOW
HIGH
V8-11 V9-10
POWER OUTPUT FAIL
FUSE
WARNING: To prevent shock hazard this unit must be earthed.
CAUTION: Replace fuse only with same type and rating. Disconnect mains before opening.
ATTENTION: Remplacer le fusible par le meme type et le meme calibre. Debrancher a la prise secteur avant d’ouvrir.
50 53
CONNECT
SPEAKERS
BEFORE USE
LOUDSPEAKER
OUTPUTS
Jim Marshall (Products) Ltd.
Milton Keynes
ENGLAND
MAINS INPUT
240V ~ 50/60Hz 375 Watts
FUSE
220/240V - T2A
110/120V - T4A
TRIODE
PENTODE
8 OHM
4 OHM
(16 OHM)
MODEIMPEDANCE
Page 12
STANDBY
0
1
POWER
Model 6101
30th Anniversary 1962 - 1992
CHANNEL 3 - LEAD
CHANNEL 1 - CLEAN CHANNEL 2 - CRUNCH
CONTROL MASTER OUTPUT
INPUT
GAIN
VOLUME TREBLE MIDDLE BASS GAIN VOLUME TREBLE MIDDLE BASS
GAIN
BOOST
CONTOUR
MID SHIFT
BRIGHT
STORE
MODE B - C
MODE A- B
LOW VOLUME
COMPENSATE
COMPENSATION
HIGH LOW
1 2 3
VOLUME TREBLE MIDDLE BASS EFFECTS PRESENCE VOLUME
30th Anniversary Amplifier - Model 6101 - front panel
18 25 27
1
17 20 21 22 23 28 29 30 31 32 33
19 24 26
234 5
30th Anniversary Amplifier - Model 6101 - rear panel
220/240V - T2A
110/120V - T4A
MAINS INPUT
240V ~ 50/60Hz 375 Watts
FUSE
Jim Marshall (Products) Ltd.
Milton Keynes
ENGLAND
53 52 51 48 47 46 45 44 42 41
7 8 9 10 13 14 15 16
6
WARNING: Risk of shock. Do not open. No user seviceable parts
inside. Refer servicing to qualified personnel. Fire and shock hazard.
Do not expose to rain or moisture. This unit must be earthed.
CAUTION: Replace fuse only with same type and rating. Disconnect
mains before opening.
ATTENTION: Remplacer le fusible par le meme type et le meme
calibre. Debrancher a la prise secteur avant d’ouvrir. AVIS: Risque de
choc - Ne pas ouvrir.
PENTODE
TRIODE
8 OHM
4 OHM
(16 OHM)
MODE RETURN
IMPEDANCE POWER SEND
11
12
LINE
PUSH TO
INPUT
OUTPUT
MUTE POWER
AMPINPUT
OR TO
ACTIVATE
LINE INPUT
UNCOMPENSATED
LOUDSPEAKER
OUTPUTS
CONNECT
SPEAKERS
BEFORE USE
50 49
LINK
V9-10 V8-11
OUTPUTFAIL FUSE
T500 mA
LINE
0 10
LEVEL
34353637383940
BALANCED
COMPENSATED
OUTPUT
HIGH
LOW
HIGH
AUTO
LOW
DAMPING
SELECT
LOOP
LEVEL
SERIES
PARALLEL
-10 +4 -10 +4
CONTROL
MIDIINFOOT
CH-2 CH-1
FX SEND TRIM
SWITCH
43
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