Overview
The ‘Vintage Modern Series’ comes in three models; - 2466 - 100W head; 2266 - 50W head and
2266C - 50W 2 x 12 combo. The accompanying 4 x 12 cabinets are the 425A and 425B, each rated for
100 Watts power handling.
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From Jim Marshall
I would like to thank you personally for selecting one
of our new ‘Vintage Modern Series’ amplifiers.
I have always believed that the most important
aspect of a musician's choice of amplification is the
fundamental tone it produces. Truly experienced
electric guitar players, and I have known a few, will
look for an amplifier that will enable them to
express themselves with comfortable ease. Music
is a language like any other and serves to
communicate the artists feel and emotion to their
audience. A guitarist is capable of translating a
universe of subtle nuances, dynamics, aggression,
restraint and touch to the appreciative listener. This
is the philosophy behind our Vintage Modern series
of amplifiers.
Over the years I have witnessed several trends in
guitar amplification and take great interest in keeping in
touch with peoples comments and opinions from all
generations. In doing so I have found that we must move
with technology in order to take advantage of the rapid
advances in our industry, as well as preserving the classic
Marshall tones of yesteryear that have been the keystone of my
company’s success. The amplifier you have just purchased is a
marriage of vintage 60s and 70s tone to a feature set found on our
more current ranges.
Dr Jim Marshall OBE and daughter
Victoria (Managing Director)
This amplifier has a single channel with the capability of switching between two dynamic ranges, either by
front panel push button or supplied footswitch. Each dynamic range yields its own gain structure and sonic
character. It is optimised to react to your touch and always retains a substantial tonality wherever you may set
your guitar volume. Organic and simplistic in operation, it will facilitate the classic method of dialling your
sounds in ‘on the fly’ with the guitar controls, as opposed to using preset patches. This technique is still
favoured by many players and their heroes.
Once the amplifier is optimally set, the guitar becomes your control centre for accessing the varying degrees
of tone and boost required for live performances. A true affinity with your instrument will develop once you
have familiarised yourself with the ideal ‘sweet spot’ settings that suit your own personal style.
Modern features included on this amp are the now standard Master Volume; a foot switchable high quality
Reverb and a -10/+4dB Series Effects Loop which can be completely bypassed if not required.
A brand new feature are the two frequency selective Preamp Volumes (gains) which work in tandem to
provide greater flexibility over tonal shaping of your instrument.
The power amp plays a significant role in contributing to the overall sound and incorporates KT66 valves for
true vintage tone. These are complimented by the newly developed Celestion G12C greenback speakers
which deliver that smooth, balanced, harmonically rich timbre sought after by numerous connoisseurs of
benchmark Marshall Tones.
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This amplifier is designed to react to the player’s human dynamic in conjunction with judicious
use of the guitar’s volume and tone controls, as exemplified by many iconic guitar heroes
who mastered this art. It has been designed to deliver the goods no matter what your style,
instrument or musical genre. I hope you enjoy the voyage of tonal discovery on which you are
about to embark and continue to do so for many years to come.
Yours Sincerely,
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Front Panel Features (panel shown is 2466 - 2266C Combo panel is reversed)
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1. Power Switch
This is the On/Off switch for the mains electric
power to the amplifier.
Note: Please ensure the amplifier is switched off
and unplugged from the mains electricity supply
whenever it is 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 valves. When
powering up the amplifier always engage the Power
Switch (1) first, leaving the Standby switch in the
‘OFF’ position. This enables the heater voltage,
allowing the valves to come up to their correct
operating temperature. After approximately two
minutes the valves will have reached their correct
operating temperature and the Standby Switch can
be engaged, enabling the HT. In order to prolong
valve life, the Standby Switch alone should also be
used to turn the amplifier on and off during breaks in
a performance. Also, when switching the amplifier
off, always disengage the Standby Switch prior to
the main Power Switch.
3. Mains Indicator
This purple LED indicator will light up whenever the
amp is plugged into the mains and the Power
Switch (1) is on.
4. Reverb
This controls the level of the internal studio quality
plate emulation reverb that is mixed with the direct
guitar signal.
Note: If the supplied footswitch is not connected,
the reverb is always enabled and can only be
turned off by setting this control fully
counterclockwise if the reverb is not required. If the
footswitch is connected then the reverb can be
toggled on and off allowing the reverb level control
to remain where you set it.
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5. Master Volume
This control sets the overall output volume of the
amplifier.
Tonal tip: It is practical to set this first to suit the
venue in which you are playing as the position of
this volume largely dictates the optimum positions
for the other controls.
Tone Controls
6. Presence
This control operates in the power amp section of
your amp and adds high frequencies to your tone,
creating crispness and bite. As you turn this control
up (clockwise), your sound will become more
cutting.
7. Bass
This controls the amount of low frequencies (bottom
end) in your tone.
8. Middle
This controls the mid-range of your sound. Turning
this up (clockwise) will make your guitar sound fatter
and fuller.
9. Treble
This control determines the amount of treble and
gives your guitar tone a defining edge as it is turned
up.
Dynamic Ranges: Low and High
This single channel amplifier has provision to switch
between two dynamic ranges.
The low dynamic range is synonymous with our
classic vintage amplifiers in terms of the available
gain. In this mode clean to mild/moderate overdrive
is attainable depending where your guitar volume is
set.
The high dynamic range adds an extra valve gain
stage enabling a lot more overdrive capability
coupled with a dynamically realistic volume boost
with the guitar volume on full. The clean to
mild/moderate overdrive tones are still there but will
now be found at lower guitar volume settings.
10. Dynamic Range LEDs
These LEDs serve as a visual representation for the
current status of the dynamic range selection. Blue
indicates the lower dynamic range is active and
white indicates the higher range is active.
11. Dynamic Range push button
This button is used to toggle between the dynamic
ranges if the supplied footswitch is not used. When
the footswitch is used this button still remains
functional.
12. Mid Boost push button
This button adds a significant boost to the middle
frequencies in your guitar tone. Use it to fatten thin
single coils or just because you want to anyway!
See which position you prefer.
‘Body’ and ‘Detail’ Preamp Volumes
These two controls are the dual preamp volumes
serving to set your preferred gain and allow more
extensive tone shaping possibilities for individual
guitars and styles. They both work together
irrespective of which dynamic range is selected and
can be set to whatever positions sound right for you,
including one of them completely off if that is your
sound. Balancing of these two controls is the secret
to a great fundamental tone.
Tonal Tip: as the Body & Detail controls offer so
uch tonal fle
m
Bass, Middle, Treble and Presence controls at 12
o’clock - and then use them to fine tune your tone
once y
settings.
xibility, we suggest you initially set the
our Body and Detail
y with y
re happ
ou’
13. Detail
This controls the upper mid and treble frequencies
of your sound bringing an edge to your tone which
defines the identity of your instrument. You can set
just the right amount of transient detail to allow your
guitar to cut through with all the subtle information
that your playing dynamic requires.
14. Body
This controls the lower mid and bass frequencies of
your sound bringing fatness and weight to your
tone. This is ideal for making single coil pickups
deliver a humbucker style bottom end without
destroying their inherent higher frequency detail.
This control coupled with the Mid Boost button (12)
can enable a real rock solid beefy grind for those
who choose to truly feel it as they play it!
Tonal tip: Bear in mind there is much dynamic
versatility to be had at your fingertips when varying
the volume/s and/or tone/s on your guitar rather
than leaving them on full. Please take the time to
fully investigate their impact on the sound as well.
This amp is optimised for this interaction between
playing dynamics and guitar volume/tone settings.
Try setting the amp so that high gain, medium gain
and clean can all be accessed from the guitar
volume alone.
15. Input Jack Socket
This high impedance input is where you plug your
guitar into the amp. You must use a screened
(shielded) guitar cable. Never use an unscreened
(unshielded) speaker cable because you will find it
very noisy to the point of annoyance. The input to
any guitar amplifier is a very sensitive part of the
signal path and is therefore susceptible to air born
radio interference, hence the need for a screened
guitar cable.
be of good quality. If you are in any doubt regarding
this, your Marshall dealer will be more than happy to
help, advise and supply you.
This screened cable should preferably
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Rear Panel Features (panel shown is 2466 - 2266C Combo panel is reversed)
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1. Footswitch
Connecting the supplied footswitch here enables
you to perform two functions; you can change the
Dynamic Range and toggle the Reverb on and off.
The Dynamic Range switch functions exactly the
same as the front panel counterpart (11).
Effects Loop Send & Return Jacks
To increase the flexibility of your amplifier even
further, you may choose to add external effects in its
Series Effects Loop, which allows direct connection
of either floor pedals or rack processors, with the
Level switch (4) providing the correct operating
level.
2. Send
Connect the (mono) input of an external effects
processor here.
3. Return
Connect the (mono) output of an external effects
processor here.
Tonal tip: Effects involving distortion or Wah Wah
aren’t usually put in an effects loop because they
sound best when they're ‘before’ the amp (i.e.
placed between the guitar and the amp’s input).
However, when it comes to your sound, it’s up to
you!
4. Ext FX (-10dBV / +4dBu)
This switch offers two different loop levels to enable
you to match the type of effect(s) connected to the
Series Effects Loop. The higher level (+4dBu: switch
‘in’) suits rack processors and the lower level
(-10dBV: switch ‘out’) suits floor pedals (stomp
boxes).
Note: A similar level matching s
witch may also be
found on rack effect units, in which case the amp
and effects unit should be set to the same level.
5. Ext FX (Bypass/Loop)
When ‘out’ this switch completely bypasses the
circuitry involved in the effects loop. Push this switch
in to enable the loop.
Note: If this switch is accidentally pushed in and
there is nothing plugged in to the loop, the signal
will still pass through from send to return by means
of an internal link on the switching jacks.This link is
disconnected when something is plugged into the
return socket. The send socket has no effect on the
status of the internal link and could therefore be
used as a line out to a tuner for example if no
external FX are connected.
6. Speaker Outputs
WARNING! Never use the amplifier without a load
(speaker cabinet/s) attached!
There are two parallel loudspeaker output jacks
provided for connection to speaker cabinet(s).
ALWAYS ensure you use good quality speaker
(unshielded) cables. NEVER use guitar (shielded)
cables.
Always use a non-screened Marshall approved
speaker lead when connecting an extension cabinet
to these units.
7. Output Selector
This switch should be set to match your speaker
cabinet’s impedance. If more than one speaker
cabinet is connected then you should set the switch
to match the total impedance of the combination.
Check with your dealer if you are unsure.
16 & 8 ohms are provided for on the heads (2466
and 2266).
8 & 4 ohms are provided for on the combo (2266C).
Note: The impedance of the combo’s (2266C) own
speakers is 8 ohms. Make sure the combo’s output
selector is set to 8 ohms when no extension cabs
are connected.
The correct value of mains fuse located in the small
drawer at the bottom of the mains socket is
specified on the rear panel of the amplifier. The
drawer contains a space for a spare fuse. NEVER
attempt to bypass the fuse or fit one of the incorrect
8. HT Fuse
value!
The correct value of this H.T. fuse is specified on
the rear panel of the amplifier. NEVER attempt to
Note: It is wise to carry spare HT and Mains fuses!
bypass the fuse or fit one of the incorrect value!
9. Mains Input Socket with incorporated
Mains Fuse
Your amp 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 back panel. Before
connecting for the first time, please ensure that your
amplifier is compatible with your electricity supply. If
you have any doubt, please get advice from a
qualified technician. Your Marshall dealer will help
you in this respect.
Technical Specification
2466 Head 2266 Head 2266C Combo
Power (RMS) 100W 50W 50W
Valves 4x ECC83 + 4x KT66 4x ECC83 + 2x KT66 4x ECC83 + 2x KT66
FX Send Level - selectable
Weight 22.5kg 18kg 30kg
Size (mm) W, H, D 750 x 310 x 230 750 x 310 x 230 690 x 570 x 270
-10dBV
, +4dBu
-10dBV
, +4dBu
Follow all instructions and heed all warnings
KEEP THESE INSTRUCTIONS !
-10dBV
, +4dBu
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