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During the mid '60s a lot of well-known and up-and-coming
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guitarists used to visit me and see me at my music shop in
Hanwell, West London, but there’s one particular visitor that I’ll
never forget. One Saturday in the autumn of 1966, a tall, lanky
American chap walked in with Johnny Mitchell or ‘Mitch’
as most people know him. His name was James Marshall
Hendrix and he quickly became the greatest ambassador my
amplifiers have ever had.
Mitch used to work at my shop as a ‘Saturday boy’, when he was
a teenager
talented lad and quickly became one of my top students. When
Jimi Hendrix came over to England in 1966 he put a three-piece
band together
with Noel Redding on bass guitar.
key figure in Jimi's management company (Anim Ltd), ‘Tappy’
A
Wright, recalls that when Jimi started rehearsing with 'The
Experience' he was trying various amplifier setups, none of which
he was happy with. Chas Chandler had asked Pete Townsend for
his advice, prompting Pete to send his roadie, Neville Chester,
(later to become Jimi's roadie), over with a Marshall Super 100
head and two Marshall columns for Jimi to try
say that Jimi fell in love with the Marshall sound straight away
and knowing that Mitch knew me he said to him, “I’ve just got to
have this Marshall stuff because it sounds so good. Can I meet
up with this character that has my name - James Marshall?!”
Despite his somewhat wild appearance and his incredible, largerthan-life on-stage personality, Jimi was a very softly-spoken,
charming and extremely polite young man with an unbelievable
sense of humour. When he came to see me we talked about his
sound and he asked me a lot of questions about Marshall
equipment. W
The very first words Jimi said to me were, “I’ve got to use your
stuff! I don’t want anything given to me; I want to pay full retail
price for whatever I order.” That impressed me greatly and then
he added, “I’m going to need service wherever I am in the world!”
My first thought was, “Oh no, he's going to expect me to put an
engineer on an aeroplane every time a valve needs replacing!” As
that wasn't exactly practical I suggested that we taught his roadie,
Gerry Stickells, some basic amplifier servicing skills, like changing
and biasing valves. Jimi liked the idea and so his roadie came to
, and take drum lessons from me. He was a very
. Mitch auditioned and got the drumming job along
. I’m delighted to
e hit it off right away.
Mitchell
the factory for several weeks. He must’ve been a very good
learner because we were never called out at all! It was wonderful
and Jimi was very happy. We remained good friends right up to
his tragic and untimely death on September 18th 1970.
Sadly, because we both had such busy schedules I only got to
see him perform three or four times but on those occasions I'd
always go back stage for a chat and a laugh with him. Jimi was a
fantastic character who loved to joke around, I always had a great
time on those rare occasions we managed to get together.
In my book Jimi’s playing is still the best ever and heaven above
knows what he’d be doing if he was still with us today. Plus his
showmanship was just fantastic! I can still remember him scaring
the living daylights out of all the big name English guitarists when
he first came over here because they’d never heard or seen
anything like Jimi - no-one had. Jimi’
that he didn’t only influence his generation; he’s influenced every
single generation since then. His records and videos continue to
sell amazingly well, he still appears on the front cover of the
world's biggest music and guitar magazines on a regular basis,
and when I go out and do appearances, kids of all ages insist on
having his poster!
continues to grow
I am extremely proud of the fact that Jimi chose to use Marshall
Amplification and very pleased to celebrate the 40th anniversary
of his legendary association with Marshall by way of this limitededition Jimi Hendrix Super 100JH stack. I would also like to
express my sincere gratitude to Janie Hendrix and all involved at
Authentic Hendrix (the family company established by the late
James Al Hendrix, Jimi’s father) for collaborating with us in order
to make this exciting joint-project a reality.
Only 600 of these authentic, handwired re-issues will be made.
I sincerely hope that this unique looking and sounding landmark
of Marshall history will provide you with countless hours of playing
pleasure, inspiring you to push musical boundaries even further…
just like Jimi did with the originals!
Yours Sincerely,
That’s how impressive his legacy is, and it
.
s talent was so extraordinary
Dr Jim Marshall OBE and daughter Victoria (Managing Director)
The Super 100JH Jimi Hendrix Head is a Class-A/B, all-valve,
att amp with two channels (High Treble & Normal) and a
100 W
shared EQ network. It is a meticulously accurate, handwired
re-issue of a 100-Watt head that Dr. Jim Marshall recalls naming
the ‘Super 100’
extra power it produced compared to the 50-Watt JTM50.
In order to make the Super 100JH identical to the 1966, 100-W
heads Jimi Hendrix used, the circuit, cosmetics, construction,
sound and all-important dynamic characteristics have to be 100%
correct - and they are. W
maximum authenticity and are delighted to report that our
suppliers were equally as exacting in their tasks, none more so
than Drake and Celestion.
As you can see from its front panel layout, the controls of the
Super 100JH are both familiar and straightforward. Its two
channels - High Treble and Normal - each have two inputs (High
and Low sensitivity) and separate Loudness (Volume) controls,
both sharing the amplifier's four tone controls: Treble, Middle,
Bass and Presence. Like all Marshall valve amplifiers, the
Super 100JH performs optimally when turned up to deliver your
personally preferred dynamic range. Due to its 100-W
rating and astonishing projection, it is a formidable live amplifier in
even the largest of venues, a truth born out by Jimi time-and-time
again.
The Super 100JH's thick, pure and harmonically rich musical tone
emanates not only from its pre-amp valves but from its power
valves being driven into a dedicated 100W output transformer.
The Super 100JH will produce all of Jimi's ground breaking tones
and lends itself perfectly to the emotion-fuelled music that
launched him to the peerless, legendary status he maintains to
this very day
subtlest variations of your guitar's volume control - going from ‘inyour-face’ when you play with unbridled aggression, to subtle ‘in
your ear’ blues caresses when you pull back or turn down… as
exemplified by Jimi's recordings where he made extensive use of
this amp's astounding dynamic capability.
Thanks to extensive research, we have learned from technicians
and roadies of the period that the 1966 Super 100 heads that
Jimi used were ‘stock’
circuitry that were implemented in response to his request for
‘more treble.’ There is evidence to support this in our reference,
where we found two small but significant component changes to
when it first came out in 1966 because of the
att
e went to incredible lengths to achieve
att power
. It reacts superbly to picking dynamics and even the
except for minor modifications to the tone
the tone stack. Replacing a 56K resistor with a 33K, and a 250pf
capacitor with a 500pf not only gives the amp a moderate treble
boost (resulting from the capacitor increase) but also an increase
in bottom end and low mids (due to the drop in the value of the
resistor).
amount of mid-cut when compared to the JTM45* as a result of
these changes. This ‘more treble’ modification is included in your
Super 100JH, as it was in the amazing sounding, and pristine
condition (in terms of circuitry) reference unit (serial number 7026)
** from 1966 that we used as one of our references.
*TONAL NOTE: the original Super 100 was essentially a JTM45
pre-amp driving a 100-Watt output stage. The ‘more treble’
modification just described not only gave the amp more cut and
edge but also gave it slightly more gain - basically the same sort
of wave-shape but with a bit more drive. As the Marshall 100-watt
head evolved due to more and more artists requesting ‘more
treble,’ this was one of the modifications that eventually became
standard in Marshall pre-amp circuits.
There is also a small but noticeable decrease in the
The KT66 was a
great valve that was
part of the secret of
“
those early amps.
**REFERENCE UNIT NOTE: The reference ‘Super 100’
mentioned, Serial Number 7026, is the well-known unit owned by
Rich Dickinson of England. He bought the amp in 1971 after
seeing it advertised in the UK weekly music publication, Melody
Maker - the ad, placed by ‘Carlsboro Sound,’
previously owned by Hendrix. A worker in the store told him it was
sold to them by one of Jimi’s roadies. Even though the head has:
- J.H. Exp stencilled on top of it; is 100% period correct; contains
the aforementioned modification and there is strong photographic
evidence that indicates Jimi owned and used this amp, there is
no conclusive proof for Marshall
certain. That said, there is no doubt that Jimi owned amps exactly
like it due to the time period in question.
Amplification plc to be 100%
stated it was
“
ENGLISH
Meeting Jim was beyond groovy for me. It was such a
relief to talk to someone who knows and cares about
sound. I love my Marshall amps; I am nothing without them!
Jimi Hendrix
”
** REFERENCE UNIT
- Serial Number 7026
Eddie Kramer
”
Photo credit - Jean Louis Rancurel - Paris, L
ENGLISH
’Olympia - 9th October 1967
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Components: Wherever and whenever possible, we have gone back to
the original manufacturers for all components to ensure maximum
authenticity.
alve compliment:
V
KT66* valves in the power amp working in push-pull. All valves are of the
highest quality available and are subjected to our stringent grading and
testing processes.
*KT66: these output valves were standard issue in mid-sixties Marshall
Amplifiers and yield a fat, round tone that has a distinctly vintage flavour
The way the pre-amp’s three ECC83s (labelled V1, V2 & V3 in the
photograph) are utilised is as follows -
V1 is the first pre-amp gain stage for the High Treble and Normal
channels. Each half of the valve (the ECC83 is a dual-triode which
means it is literally two triode valves in one) acts as a dedicated
gain/input buffer stage for each channel.
V2 is common to both channels which are summed at the input of this
The first half of V2 acts as a second gain stage which boosts the
valve.
signal further and directly drives the second half of the valve which is
configured as a cathode follower (providing a high input impedance and
a low output impedance for the signal to drive the pre-amp’
tone network).
V3 is the amplifier’s phase inverter and sits at the very end of the preamp section. V3 divides the single ended input signal into two separate
output signals that are inverted with respect to each other - hence the
name ‘phase inverter’ (a.k.a. ‘phase splitter’). The two resulting signals
are then fed to the push-pull power output stage of the amplifier.
Three ECC83s in the pre-amp and a quartet of
s passive
Output Transformers: The Output Transformer in your Super
100JH is identical in every single aspect to the original ones used
back in 1966. The inclusion of the fully functional 100V Line tap,
while being historically correct, is of little or no use on this
particular model, if truth be told!
60s was because the same transformer was also used in the
100-watt Super PA heads (model 1968) as well - enabling the
head to drive multiple remote 100V line speakers in various
locations within a particular venue.
.
ower supply:
P
(high voltage DC, a.k.a. the B+ voltage) line as the original
versions, a factor that contributes to the Super 100JH having a
unique, dynamic characteristic all of its own.
the Hendrix head is notably different to that of the post '68 Plexis
and, when the amp is fully cranked, has a very different regulation
(i.e. its ability to supply what is demanded from it).
with the period correct smoothing capacitor values produces that
characteristic ‘sag’ (compression).
Chassis: We are using a box-section chassis made from 16gauge mild steel with butt-welded corner joints.
passivated, giving it lifelong resistance to corrosion.
deviation from an original 1966 Super 100 head as it had an
aluminium chassis.
strength, longevity and reliability reasons, and we can assure you
that it has no tonal effect whatsoever. Aluminium is a very soft
metal and the one thing that all chassis from this period have in
common, is they are easily distorted, buckled, bent or even
cracked - due to the material's inherent weakness. Alot of this
can obviously be attributed to the sheer size and weight of the
This circuit has the same filtering on the H.T
The reason we have made this change is for
The reason it was present in the
.
The power supply on
This coupled
The steel is also
This is a
transformers. The steel chassis used in your Super
100JH doesn’t suf
much more practical and roadworthy.
ont Panel:
Fr
(actually Perspex, causing some people to refer to it
as ‘Perplexi’!), exactly the same as the original. And,
just like the original, the front panel is that of a
JTM45 (hence its ‘JTM45’ nomenclature) - used on
the first Super 100s as standard. Specific details
pertaining to the front panel features can be found on
the next page of this manual.
anel:
Rear P
print, just like the original reference units. Specific
details pertaining to the rear panel features can be
found on the next page of this manual.
Head Cabinet Construction: High-grade, flawless
(knot-free) Baltic birch-ply with finger-locked (a.k.a.
‘comb’) joints for maximum strength. The main
cabinet frame (sides, top and bottom) is 15mm ply;
the front baf
the back of the cabinet is 9mm ply
15mm radius.
Head Cabinet Cosmetics: The small gold Marshall
script logo, black Levant covering, original venting,
beading and piping all duplicate the look and style of
the originals.
fer from such problems and is
Extra thick, gold coloured Plexiglas
Made from cream styrene with gold
fle is constructed from 12mm ply, while
. All edges have a
Marshalls were
the only amps that
could follow Jimi into
“
the musical realms he
chose to play in and
come out the other
side delivering the
goods, 100%
James 'Tappy' Wright
”
ENGLISH
one Circuit:
T
network is both passive and interactive. By interactive we simply mean
that the settings of the Bass and Treble controls affect the amount of
mid-cut available via the Middle control.
Tag Boards: The tag boards used in your handwired Super 100JH are
exactly the same as those in the original in terms of thickness and matrix
pitch. The material we’re using is made exclusively for us and is
registered with UL as ‘Marshall EM42 brown.’ The reason we didn’t use
a board with the exact same chemical composition as in the original units
is simple - that material doesn’t pass current safety legislations
concerning flammability!
Transformers: The mains (power) and output transformers are vital to
the performance, sound and feel of an all-valve Marshall amplifier. In
order to achieve authentic tone and performance, we went to Drake for
these important components as they are the company that supplied us
with the transformers used in the original Super 100. Fortunately, Drake
still had all of their original documentation intact in their files.
Mains (Power) Transformer: The Mains Transformer in this re-issue is
an exact duplicate of the original in terms of electrical performance and
behaviour. This said, some constructional alterations had to be made in
order to pass current Safety Legislations. These alterations have no
impact on tone or performance whatsoever!
In typical Marshall fashion, the Super 100JH’
s shared tone
ECC83 V
V1 V2
AL
VES
V3
KT66 POWER VALVES
Anybody
wanting quotes
from Jimi regarding
“
his Marshall Amps
will find hundreds
recorded on his
albums and
videos.
Neville Chester
”
ENGLISH
Photo credit - Ulrich Hand /
© Authentic Hendrix, LLC - Big Apple Club, Munich, West Germany - 9th November 1966
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1 2 3 4 5 6 7 8 9 11 13 1 2 3 4 5 6
1. MAINS (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
(item 1) to ‘warm up’ the amplifier before use and to prolong the
life of the output valves. When powering up the amplifier always
engage the Power Switch (1) first, leaving the Standby switch on
‘Standby’. 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 without ‘shocking’ cold valves. 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 off, always disengage the
Standby Switch prior to the main Power Switch.
3. INDICATOR
This 6.3 Volt incandescent filament indicator will light up
whenever the Super 100JH is plugged into the mains and the
Mains Switch (1) is on.
4. PRESENCE CONTROL
This control affects high frequency content in the negative
feedback derived from the Super 100JH’s power section and fed
back to the phase inverter. Turning it clockwise adds an extra
high cut to your sound.
5. BASS CONTROL
This adjusts the bottom end. Turning it clockwise increases the
amount of low frequencies in the sound.
6. MIDDLE CONTROL
This adjusts the level of those all-important mid-range
frequencies. Turning it clockwise increases the mids and fattens
your sound, giving it more punch. Turning it anticlockwise reduces
the mids, producing a more 'scooped' tone.
7. TREBLE CONTROL
This adjusts the top-end. Turning it clockwise increases the
amount of high frequencies present in the sound, giving your
guitar tone a brighter edge.
Note: The previous four controls - PRESENCE (item 4), BASS
(item 5), MIDDLE (item 6) & TREBLE (item 7) - are all shared,
meaning that they are common to both of the amp’s channels -
ENGLISH
Channel 1 and Channel 2. They are very interactive and,
consequently, altering one control can change the way the others
behave. For this reason, experimentation is recommended.
10 12
8. LOUDNESS 1
This controls the overall output level of Channel 1, turning it
clockwise increases the volume. This channel is voiced for a
higher treble response than the amp's other channel, Channel 2,
hence its ‘High Treble’ labelling.
9. LOUDNESS 2
This controls the overall output level of Channel 2, turning it
clockwise increases the volume level. This channel is voiced for a
flatter, more ‘normal’ response and is labelled ‘Normal’
accordingly.
10. TOP (HIGH SENSITIVITY) INPUT FOR CHANNEL 1
This is the ‘high sensitivity’ guitar input for Channel 1, the High
Treble channel. It is the most commonly used input.
Note: Always use a high quality screened guitar lead.
11. BOTTOM (LOW SENSITIVITY) INPUT FOR
CHANNEL 1*
This is the ‘low sensitivity’ guitar input for Channel 1. Its sensitivity
is configured to be 6dBr (decibels) lower than the channel’s ‘high
sensitivity’ input.
*Note: There is photographic and film evidence that Jimi used
this input rather than the high sensitivity input on certain
occasions. A particularly famous example of this can be seen in
the footage of his now legendary live performance of ‘Hey Joe’
and ‘Purple Haze’ at the Marquee Club, London, on March 2nd,
1967, for the TV show, Beat Club.
12. TOP (HIGH SENSITIVITY) INPUT FOR CHANNEL 2
This is the ‘high sensitivity’ guitar input for Channel 2, the Normal
channel.
13. BOTTOM (LOW SENSITIVITY) INPUT FOR
CHANNEL 2
This is the ‘low sensitivity’ guitar input for Channel 2. Once again
it is 6dBr lower than the channel’s ‘high sensitivity’ input.
They were his partners in crime. Of all the
amps he used, they were the most reliable,
“
packed the biggest punch and had the best tone.
formance Note: ‘Jumping’ the two channels and
Per
‘Daisy Chaining’ amps.
Because both channels of the Super 100JH have the same
number of gain stages and are in phase with each other, it is
possible to ‘jump’ (a.k.a. ‘link’ or ‘bridge’) them together and use
them both at the same time. Doing this enables you to expand
upon the amp's tonal capabilities.
The most common way of doing this is to plug your guitar into the
top input of Channel 1 and then run a short ‘jumper’ guitar cable
(i.e. a screened cable) from Channel 1’s bottom input to the top
input of Channel 2, (Fig. 1).
the desired mix of tone is achieved.
The reverse is also possible, i.e. plugging your guitar into
Channel 2’s top input and then running the ‘jumper’ cable from
Channel 2’s bottom input to Channel 1’s top input (Fig. 2).
Whether the channels are linked or not is entirely the choice of
the individual player’s taste in tone. As always, experimentation is
the key.
It is possible to ‘Daisy Chain’ or Link a number of amplifiers
together using the same principals described above. As illustrated
in numerous photographs, Jimi would often use this facility to
‘split’ his guitar signal between two or more full stacks - his guitar
would be plugged into the top input of Channel 1 on his main
amp and then a relatively long ‘jumper’ cable went from the
bottom input of the same channel to the top input of Channel 1 of
the second amp.
Fig. 1 Fig. 2
Adjust Loudness 1 & 2 controls until
Eddie Kramer
”
1. OUTPUT IMPEDANCE SELECTOR
Matches the amplifier's output to the load (speaker) impedance.
tant Note:Your Super 100JH should be completely
Impor
powered down before the Output Impedance Selector is turned.
It is imperative that: a) at least one of the speaker outputs of the
amplifier is connected to a load whilst in operation and b) the
impedance on the output selector matches the total impedance of
the speaker cabinet(s) being used. The following combinations
are our recommendations -
1x16 Ohm cabinet - Selector set to 16 Ohm
2x16 Ohm cabinets - Selector set to 8 Ohm
1x8 Ohm cabinet - Selector set to 8 Ohm
WARNING! Use of any other combination/configuration of
cabinets and/or impedances may result in sub standard sound
and possible damage to the amplifier and/or the speaker
cabinet(s)
WARNING! Failure to comply with any of the points raised in this
section may result in damage to the amplifier.
2. LOUDSPEAKER OUTPUTS
There are two parallel loudspeaker output jacks provided for
connection to the speaker cabinets. Please always ensure that
the amplifier’s output impedance selector is set correctly (see
item 1) and
(unshielded) speaker cables for this purpose.
(screened/shielded) cables.
WARNING! Never use the amplifier without a speaker load
attached!
3. MAINS SELECTOR
This matches the amplifier's mains transformer to the incoming
mains voltage.
WARNING! ALWAYS ensure that this rotary selector is set to the
correct mains voltage applicable for the country where the
SUPER 100JH is being used.
Important Note: Your SUPER 100JH should always be
completely powered down before the mains selector is turned.
echnical Note: Adjusting the selector from 230V to 120V or 100V
T
or vice-versa will require the mains fuse (item 5) to be changed to
the correct value as detailed on the rear panel.
EUROPE ONLY - Note: This equipment has been tested and found to comply with the requirements of the EMC Directive (Environments E1, E2 and E3 EN 55103-1/2) and the Low Voltage Directive in the E.U.
EUR
ALWAYS ensure you use good quality, unscreened
NEVER use guitar
OPE ONL
Y - Note:
The Peak Inrush current for the Super 100JH is 39 amps.
4. MAINS INPUT
Your amplifier is provided with a detachable mains (power) lead,
which is connected here. Before connecting for the first time,
please ensure that your amplifier
to your country’s domestic electricity supply voltage. If you have
any doubt, please get advice from a qualified technician. Your
Marshall dealer will be able to assist you.
Important Note: Always ensure that there is a (speaker) load
attached before connecting the mains lead.
5. MAINS FUSE
The correct value of this MAINS fuse is specified on the rear
panel of the amplifier. For safety reasons
bypass the fuse or fit one of incorrect value.
6. H.T. FUSE
The correct value of this H.T. fuse is specified on the rear panel of
the amplifier. For safety reasons
fuse or fit one of incorrect value.
Note: In the original heads this fuse was mounted internally,
making a quick change impossible and anything but convenient!
For obvious reasons we have made it accessible via the rear
panel.
’s mains selector (item 3) is set
NEVER attempt to
NEVER attempt to bypass the
Speaker Cabinet Featur
4x12" Cabinet Construction: High-grade, flawless (knot-free)
Baltic birch-ply with finger-locked (a.k.a. ‘comb’) joints for
maximum strength.
and back) is constructed from 15mm ply and all edges have a
15mm radius. The front baffle onto which the four speakers are
mounted is constructed from 15mm ply
Note: The extra tall, straight fronted 1982BJH cabinet is 6 3/4"
(173mm) taller than a regular Marshall 1960B cabinet.
4x12 Cabinet Cosmetics: The small, gold Marshall Script logo,
‘100’ corner logo, black Levant covering, leather strap handles
(placed on the top of the 1982AJH and on the right hand side of
the 1982BJH), gold beading, white piping and pinstripe grille cloth
duplicate the look and style of the originals. To this end, the input
jacks on both cabinets are placed near the bottom of the back
panel. The original grey and white, pinstriped ‘Bluesbreaker’ grille
cloth (used from 1965 to 1968) is no longer available, and
wouldn't satisfy modern safety legislations regarding flammability
because of its rubber content. Our supplier, ‘Somic Plc’ has
worked with us to come up with a cosmetically similar, modern
alternative.
Speakers: Both of these 100 Watt, mono, cabs are loaded with
Celestion G12C 25 Watt Speakers which have been specially
developed by Marshall and Celestion to duplicate the smooth,
balanced sound of the original 25 Watt Greenback speakers
found in authentic reference cabinets. In keeping with that time
period, a black and gold Marshall label is on the back of the
magnet cover, ensuring the look is as authentic as the sound.
TECHNICAL SPECIFICATION
SUPER 100JH Head
Power Output 100W RMS
eight
W
Size
1982AJH & 1982BJH Cabinets
Power Handling (per cabinet)
Impedance 16 Ohms per cabinet
Inputs Mono 1/4" jacks
Weight - 1982AJH 36.4 kg
Weight - 1982BJH 41.5 kg
Dimensions - 1982AJH
Dimensions - 1982BJH
The main cabinet frame (sides, top, bottom
es 1982AJH & 1982BJH
.
22 kg
741mm x 270mm x 210mm
100W RMS
754mm x 741mm x 355mm
754mm x 914mm x 355mm
ENGLISH
54
Page 5
We would like to thank the following people
for their valuable help with this project:
Janie Hendrix, Ken Bran, Rich & Jamie Dickinson,
James 'Tappy' Wright, Neville Chester, Eddie Kramer, Mitch Colby,
Nick Bowcott, Jean Louis Rancurel, John Steel, Tony Garland,
Bruce Kuhlman,Tommie Paxton, James Gulperin
and last, but not least, Jimi himself.
Marshall Amplification plc
Denbigh Road, Bletchley, Milton Keynes, MK1 1DQ, England.
Tel : +44 (0)1908 375411 Fax : +44 (0)1908 376118
.marshallamps.com
www
BOOK-00079-00 / 3 / 06
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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