marshall AFD100 AFD100 Manual

Copyright: David Phillips - www.armarketing.co.uk

OWNER’S MANUAL

FROM JIM MARSHALL

I would like to thank you personally for choosing this limited AFD100 Slash

ignature Series Amplifier – our tribute to one of the greatest rock tones

S
ever recorded and one of the most influential guitarists of the past
25 years.

have known Slash since the early ’90s and I have rarely met a more

I
humble rock star. I remember when we launched the JCM Slash
Signature Amplifier back in 1996, the first signature Marshall amp ever,
Slash was utterly flattered by the concept and kept asking “Why me?” My

eason was, and still is, that in addition to being a truly great guitarist,

r
Slash personifies the spirit of rock ’n ’roll. That Silver Jubilee re-issue
proved to be a huge success and has paved the way for numerous
Marshall Signature Series amplifiers ever since. So, when Slash came to
us with the idea of recreating his fabled Appetite For Destruction tone,
I immediately put the challenge to the Marshall team. This would be no
easy task as, unlike most signature models, there was no original amplifier
to examine and replicate. Our Engineers had to rely on studying the
original recordings and information from Slash himself to find that elusive
sound. Yet, after countless hours of research and development, the first
prototypes were ready for the ultimate test – a world tour! I’m pleased to
say this latest addition to the Marshall Signature range is now a
permanent fixture in Slash’s rig.

This project represented another first for Marshall, as every stage of
development was made public through the AFD100.com website. From
initial research, including the intriguing AFD amplifier back-story, to
prototypes and full production models, every move was documented and
followed by thousands of fans around the globe. Visitors to the site were
also treated to engineer blogs, news updates and even behind-the-scenes
video footage, as well as being able to post comments and ask questions
directly to the Marshall team. It was a great experience, one which I’m
sure we’ll use again.

OVERVIEW

Introducing the AFD100 – a dual mode, all-valve 100 Watt head that revisits the legendary tones of one of, if not the most important, rock
albums of the last three decades. As well as reproducing what is regarded by many as the “Ultimate Rock Sound”, the AFD100 also contains
some truly awesome features, the first being Marshall’s new electronic power attenuation. This incredible technology allows you to precisely
adjust the maximum power output of the AFD100 without losing any of that sought-after tone. No limited wattage choices to click between and
no compromising your tone, just smooth and consistent power attenuation that is simple to use and makes the AFD100 ideal for stage, studio
and home use.

The Presence, Bass, Middle and Treble controls dictate the overall tone of theAFD100’s highly interactive EQ section, meaning that changes

o one will affect the parameters of the others. This allows for a greater range of tonal possibilities, plus a more fluid and dynamic way of

t
controlling your sound.

The power amp volume is controlled using the Master, while pre-amp distortion is governed by the Gain. By using these two controls, and
depending on your guitar and playing style, it is possible to dial in both classic high gain Slash tones and biting bright cleans, with everything
in between. Again, the overall output volume of the AFD100 can be governed by the Power control.

The twin modes – #34 and AFD – are based on two of Slash’s legendary tones. The first is taken from Slash’s ‘modded’ JCM800 2203
(complete with stenciled 34 on the side) that he has used since the late ’80s. The second provides an additional gain stage and is of course

ased on the infamous ‘Appetite Amp’, widely believed to be a modified 1959 Tremolo from the mid ’70s. Both modes provide a unique,

b
harmonically rich, natural valve-driven tone, ideal for thick crunchy rhythm and wild soaring solos alike.As with traditional Marshall amplifiers,
the AFD100 provides two sensitivity input options – one high and one low. Either input can be used and is a matter of personal taste.

The AFD100 rear panel features a series Effects Loop, where you can connect any outboard stomp boxes and/or rack equipment you may
have. The Return Level control allows you to dial in the exact amount of Effects Loop signal you want and can even be used as a second
master volume when left unconnected, providing a boost of up to +10dB or attenuating the signal to a lower volume. A valve fault indicator
and self-biasing circuitry have been included as well, ensuring that any maintenance can be carried out quickly and that the amplifier’s bias is
always correctly configured. You can also choose to have other types of popular octal pentode or tetrode power valves installed (see Rear
Panel features, section 3). This work should always be undertaken by a qualified engineer – ask your local Marshall dealer for more
information. The included two-way footswitch connects via the rear panel also, allowing for quick #34/AFD mode changes and Effects Loop
on/off toggling.

Cosmetically, the AFD100 blends key characteristics of both an old-school ‘seventies’ style head and a mighty JCM800. The modern silver
panel and matching knobs also pay homage to the 2555 Silver Jubilees on which Marshall’s inaugural Slash Signature amplifier was based.
Classic black Levant vinyl covering, a small vintage script logo and white piping complete the unique livery of this incredible tone machine.

We recommend that you read through the information in this owners manual carefully before powering up your AFD100 to ensure you get
the best out of your new amplifier.

ENGLISH

I would like to take this opportunity to wish you every success with your
new AFD100 Slash Signature Series Amplifier and I hope it brings you
many years of playing pleasure.

Welcome to the Marshall family.

Yours Sincerely

Dr Jim Marshall OBE

Copyright: David Phillips - www.armarketing.co.uk

1

THE

APPETITE TONE

LEGACY

In 1987 Guns’n’Roses released their debut album Appetite For Destruction, the
record that redefined rock music in the ’80s. Raw, unrelenting and ‘in-yer-face’
from start to finish, the whole album was driven by Slash’s inspired fretboard
mastery and unique sound, regarded by many as the ultimate rock tone.

The intriguing history of the Marshall amp used by Slash on AFD and its
subsequent disappearance has now passed into rock folklore. Widely believed to
be a hot-rodded, 100 Watt, pre-master volume model from the early ’70s, this
legendary amp was hired specifically for the ‘Appetite’ sessions in 1986. Eager to
hold on to the amplifier, Slash told rental company S.I.R. that it had been stolen,
only to have it ‘stolen’ back a year later during tour rehearsals. Ever since, there
has been little to no word on the whereabouts of that mysterious 100 Watt head,
only time will tell whether it resurfaces again!

In January 2010, Slash and MarshallAmplification announced that they were to
join forces to recreate that revered “Appetite Tone” with the launch of theAFD100
project. Rather than develop this Signature Series amp behind the closed doors
of Marshall HQ, it was decided that every stage of this collaboration should be
fully open to the public. www.AFD100.com was created for just this purpose,
allowing the world to view and comment on project updates, picture galleries and
blogs by the Marshall design team as well as exclusive Slash interviews and
behind-the-scenes development videos. This was the very first
truly interactive project between Marshall and
guitarists from all over the world. We’re pleased
to say it has proven to be a huge success.

ENGLISH

The Marshall AFD100 Slash
Signature SeriesAmplifier you
now own is arguably the most
anticipated Marshall amplifier
ever and part of the
ever-growing “Appetite
Tone” legacy.

Copyright: David Phillips - www.armarketing.co.uk

2

3

FRONT PANEL (LEFT TO RIGHT FEATURE BY FEATURE)

0.1

0.3

0.5

0.8

1

2

3

5

6

9

12

15

20

25

30

35

45

55

70

85

100

BACK PANEL (LEFT TO RIGHT FEATURE BY FEATURE)

13

3

2

1

IMPORTANT: READ BEFORE POWERING UP

Before powering-up your Marshall amplifier you must ensure that an
appropriate speaker cabinet(s) or dummy load is connected to the
correct impedance Loudspeaker jack on the rear panel. Failure to do

his could result in serious damage being caused to your amplifier.

t
Always use an unshielded speaker cable to connect the amp to the
speaker cabinet, never use a screened (shielded) guitar lead.
When powering-up the amplifier always engage the Power Switch (1)
first to allow the power valves to warm-up, we would also recommend
setting all volume controls to zero. After about two minutes the power
valves will be at their correct operating temperature and the Standby
Switch (2) can be engaged. To prolong valve life, the Standby Switch
alone should be used to turn the amplifier on and off during breaks in a
performance.Also, upon full power down, always disengage the
Standby Switch prior to the main Power Switch.Always allow the amp
to cool down before moving.

5

4

1. POWER SWITCH

On/Off Switch for mains power to the amplifier. Please ensure the
amplifier is switched off and unplugged from the mains electricity
supply before being moved.

2. STANDBY SWITCH

The Standby Switch is used in conjunction with the Power Switch
(1) to ‘warm up’ the amplifier before use and to prolong the life of
the output valves.

3. INDICATOR

Indicates that power is being supplied to the amplifier.

4. FX LOOP SWITCH

Switches the AFD100’s FX loop on and off. This can also be
controlled from the included footswitch. The LED is on when the
FX loop is enabled.

5. POWER

This control provides access to the AFD100’s Electronic Power
Attenuation (EPA) feature. The internal attenuator allows you to
adjust the overall output volume of the
amplifier whilst retaining all of your tone.
This works by electronically reducing the
voltages to components within the
amplifier instead of placing resistive loads
in the circuitry. Output of between 100%
and 0.1% can be achieved, making the
AFD100 ideal for stadium, studio and
home use! The adjacent diagram shows
the amount of power shown as a
percentage in relation to the dial setting.

Equalisation
Note: The tone network is highly interactive; altering one control

affects the behaviour of others. Experimentation is the best way to
achieve your desired sound, a good place to start is to set all EQ
dials to half way and adjust from there. If you are looking for a
particular tone it is important to bear in mind that your choice of
guitar plays an important role as well.

6

7 8 9 1

0

6. PRESENCE

This control adjusts the power amplifier’s high frequency response,
making your tone more cutting and ‘present’.

7. BASS CONTROL

Controls the amount of low frequencies or bottom-end in your tone.

8. MIDDLE CONTROL

Dictates the middle register of the amplifier. Turning up this control
will make your guitar sound fatter. Conversely, reducing the amount
of middle in your tone will result in a sharper and thinner guitar
sound for a more ‘scooped’ tone.

9. TREBLE CONTROL

Controls the high frequencies or top-end in your tone.

10. MASTER VOLUME

Controls the volume output from the AFD100’s pre-power amp
section. Used in conjunction with the POWER (5) function, it is
possible to overdrive the power amplifier even at reduced power
output.

11. GAIN

Governs the amount of signal passing through the pre-amp valves.
Turning up this control overdrives the pre-amp and creates a
desirable, harmonically rich distortion. Reducing the Gain level will
begin to clean up your tone.

12. #34/AFD

This switch toggles between the AFD100’s two distinct gain
structure modes. The #34 mode of the amplifier replicates the
modded Marshall JCM800 2203 that Slash has been using since
the late ’80s. Switching to AFD mode provides a thicker, more
driven, higher gain tone, based of course on Slash’s legendary
Appetite For Destruction sound. The LED indicator will be lit when
in AFD mode.

Inputs
Note: As with most vintage Marshall amplifiers, the AFD100 has

more than one guitar input. Input I is the high sensitivity input for the
amplifier, traditionally this was used for guitars with lower output
pickups. Many guitarists now take advantage of this input, which
allows them to drive the amplifier harder as it provides +6dB more
than the low sensitivity input. Which input you choose is purely
down to personal taste and experimentation. It is also possible to
daisy-chain amps from the low input to the high input of the next
amplifier.

13. HIGH SENSITIVITY INPUT

Traditionally used for guitars with low output pickups.

11

12 14

1. LOUDSPEAKER OUTPUTS

WARNING! Never use the amplifier without a load attached! There
are five speaker outputs available on the rear panel. They are
labelled according to the intended impedances:

4Ω: Connect a single 4 ohm guitar cabinet or two 8 ohm guitar
cabinets.
8Ω: Connect a single 8 ohm guitar cabinet or two 16 ohm guitar
cabinets.

16Ω: Connect any 16 ohm guitar cabinet to this jack.

WARNING: Although the AFD100 amplifier has five speaker

outputs, never attempt to connect more speakers than rated, the
safe combinations being 1x4 Ohm or 1x8 Ohm or 2x8 Ohm or 2x16
Ohm or 1x16 Ohm. Any other speaker configuration may stress the
power amplifier section and in extreme cases may lead to valve
and/or output transformer failure.

2. EFFECTS LOOP

The AFD100 provides a series Effects Loop where you can connect
any outboard FX equipment you might have. This feature can be
toggled on and off from either the front panel or the supplied
footswitch.

Connect your external FX gear input to the SEND jack and the FX
output to the RETURN jack.

Return Level – This control allows you to adjust the level of the
return signal from your Effects Loop. Reducing the level to 0 will
mute the signal from your Effects Loop, whereas increasing it to 10
will allow the maximum signal volume to be used. The loop can also
be used as a second master volume for attenuating or boosting (up
to +10dB) the signal by leaving it unconnected and using the Return
Level as a solo boost/rhythm attenuation control.

3. BIAS FAULT

Like any high performance machine, parts such as valves wear out
over time. It is essential that these all-important components are
working properly and that’s where the valve fault indicator comes in
very useful. This system allows you to monitor the AFD100’s power
amp and clearly indicates any valve that has developed a fault while
performing the biasing procedure. If lit under normal use, it may
indicate that a valve is faulty or that some kind of temporary fault
was detected and the valve needs to be examined. If all four LEDs
are lit, this could signal that the HT fuse has blown and needs to be
replaced. Only use the same HT fuse type as indicated on the rear
panel.

NOTE: It is possible to have different octal pentode or tetrode
power valves installed in your AFD100. Some popular options
include EL34s, 6L6s, 5881s, KT66s, KT77s and KT88s.

WARNING: This work should only be carried out by a qualified
engineer, never attempt to remove and replace the power valves
yourself. Ask your local Marshall dealer for more information.

14. LOW SENSITIVITY INPUT

Traditionally used for guitars with normal output pickups.

4

4. AUTO-BIAS AND BIAS CURRENT TRIMMER

The Bias setting of an amplifier ensures correct operation. In order
to adjust the bias level of your amplifier press and hold the FX Loop
switch on the front panel while powering the amplifier up until the

1

2 3 4 5 6 7

FX Loop and #34/AFD LEDs begin to flash. This procedure will take
about three minutes after which the amplifier is ready to be used.
Whilst setting the bias of an amplifier is not something that needs to
be done everyday, having the correct bias will prolong the life of
your valves and ensure your amplifier functions smoothly. We
recommend either engaging the auto-bias function every time the
amplifier is powered-up (like a warm-up procedure) or at least
performing the operation every time the amplifier is moved to a
different place. This will ensure that the amplifier is taking care of
possible mains voltage variations and adjusting itself to the different
conditions.

The desired biasing current can be selected by turning the trimmer
control located to the right of the valve fault indicator LEDs before
activating the bias procedure. Possible values range between 20mA
and 50mA with every mark representing 3mA. Since there is not a
‘perfect’ bias setting, we recommend values between 30mA and
40mA.

The chart on page 25 can be used as a guide for setting bias levels
for the AFD100

If you are unsure how to properly bias an amplifier, we suggest you
speak to your authorised Marshall Amplification dealer who will be
able to advise you.

ENGLISH

5. FOOTSWITCH

Both the #34/AFD modes and Effects Loop can be accessed via the
included AFD100 Footswitch (PEDL-00053). LEDs contained in the
footswitch will illuminate when the AFD mode and Effects Loop are
engaged.
The default setting for the FX circuit is off.
The default setting for the amplifier is AFD mode.
NOTE: When the footswitch is connected to the amplifier, the
relevant front panel switches will not function.

6. HT FUSE

This is the access point to replace the amplifier’s HT fuse. This
should only be done by a qualified engineer. The amplifier MUST be
switched off and disconnected from the mains before replacing the
HT fuse. If unsure, contact your local authorised Marshall dealer
who will be able to assist you. Use a T1AE250V fuse only.

7. MAINS INPUT

Your amplifier is provided with a detachable mains (power) lead,
which is connected here. The specific mains input voltage rating
that your amplifier has been built for is indicated on the rear panel.
Warning: Before going any further, make sure your amplifier is
compatible with your electrical supply. If you have any doubt, please
seek help from a qualified technician – your Marshall dealer can
help you in this respect.

The correct value of mains fuse is specified on the rear panel of the
amplifier. NEVER attempt to bypass the fuse or fit one of incorrect
value.

PLEASE NOTE: Extreme control settings may result in
compromised audio performance due to the extreme gain settings
available in this ADF100 all-valve amplifier.

5

GAINMASTERBASS MIDDLE TREBLEPRESENCEPOWER

F

XLOOP

P

OWER STANDBY

I

NPUTS

I

I

I

5

0

47

44

41

38

36

32

29

26

23

20

50

47

44

41

38

36

32

29

26

23

20

Very hot, overloaded Hot, not recommended

Recommended

Cold Very cold

NOTES

Slash’sAFD100 Settings

Slash has traditionally been setting all the controls around 6 in both AFD and #34 modes. However, depending on the venue or stage
acoustics, he fine tunes the controls usually finding his preferred settings between 5 and 7. The Power control should be adjusted to the

esired volume. Very low power settings tend to benefit from slightly higher gain settings.

d

Bias CurrentSettings

Bias Current (mA) EL34,6L6, 5881, KT66,KT77

Mains Voltage Europe 200v 210v 220v 230v 240v 250v 260v
Mains Voltage US/Canada 104v 110v 115v 120v 125v 130v 136v
Mains Voltage Japan 87v 91v 96v 100v 104v 109v 113v

Bias Current (mA) KT88,KT90, 6550

Mains Voltage Europe 200v 210v 220v 230v 240v 250v 260v
Mains Voltage US/Canada 104v 110v 115v 120v 125v 130v 136v
Mains Voltage Japan 87v 91v 96v 100v 104v 109v 113v

24 25

Denbigh Road, Bletchley, Milton Keynes MK1 1DQ, England.

Tel : [phone] Fax : [phone]

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.

BOOK-00098-00 / 11 / 2010