Marshall Amplification JCM 2000 TSL100, JCM 2000 TSL122 User Manual

JCM 2000

TSL100&TSL122

T

RIPLESUPERLEAD

Valve Amplifiers

Handbook

1

Marshall Amplification plc

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

Tel: [phone]

Fax: [phone]

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.

Nov ‘98

WARNING! - Important safety instructions

A. ALWAYS fit a good quality mains plug conforming to the latest B.S.I. standards where necessary (UK only).
B. NEVER attempt to by-pass the fuses or fit ones of the incorrect value.
C. NEVER attempt to replace fuses or valves with the amplifier connected to the mains.
D. DO NOT attempt to remove the amplifier chassis, there are no user serviceable parts.
E. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such

as the power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has
been exposed to rain or moisture, does not operate normally or has been dropped.

F. NEVER use an amplifier in damp or wet conditions.
G. ALWAYS unplug this apparatus during lightning storms or when unused for long periods of time.
H. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles and at the point where they

exit from the apparatus.

I. DO NOT switch the amplifier on without the loudspeaker connected.
J. ENSURE that any extension cabinets used are of the correct impedance.
K. PLEASE read this instruction manual carefully before switching on. Follow all instructions and heed all warnings.
WARNING : This apparatus must be earthed!
WARNING : Do not obstruct ventilation grille and always ensure free movement of air around the amplifier!

USA ONLY - DO NOT defeat the purpose of the polarised or grounding type plug. A polarised plug has two blades with one wider

than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for
your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.

KEEP THESE INSTRUCTIONS

Introduction

The Triple Super Lead series of 100 watt amplifiers takes the acclaimed formula of the groundbreaking Dual Super Lead series and places

an immense amount of control and flexibility at your fingertips.

As the name implies, the Triple Super Lead is a three channel amp. Each channel has a full range of independent controls for gain,
volume and EQ functions, to maximise its sonic qualities and balance that channel against the others. Further to that, the master section
has the capability to enhance and modify the sonic palette even further by providing controls for reverb, fx loop mixes, presence and deep
EQ, virtual power reduction and even muting the power amp output for silent recording via the inbuilt speaker emulating DI circuit.

Although the three channels of the TSL are named ‘Clean’, ‘Crunch’ and ‘Lead’, DO NOT let these names mislead you into thinking that
you will only get those functions. Alternatively, think of the TSL as three classic valve amplifiers in one. As you would expect from
independent amps, each has a wide range of tones, depending on how you you set it up, and you are able to footswitch between them.
Read on and we will take you through what each channel can do.

Because of the immense functionality of the TSL, it may be that you find, at first, that the front panel control layout is, perhaps, slightly
daunting. Do not worry, a great deal of thought has gone into the layout of the controls and, with the help of this manual and a little
patience from yourself, we feel that you will soon learn how easy your TSL actually is to use.

WHAT YOUR TSL WILL and WON’T DO !

Before going into what your TSL amp can do, let’s discuss what it won’t do. Firstly, remember that your tone comes from you and
nobody, or nothing, else. Your technique is what makes you the player that you are, nobody else in the world sounds exactly like you.
That’s how special you are! Having the best gear in the world is not going to make you play like anybody else but what it will do is help
you to achieve your aims, by expanding your creative possibilties and generally making life a lot easier.

Likewise your guitar, pickups and strings have an immense influence on your final tone. Guitars come in (basically) three different
flavours - Single coil pickups over 25 1/2” scale length (names usually start with the letter F), Humbucking pickups over a shorter scale
length, usually 24 3/4” (names usually start with a G) and thirdly a combination of humbuckers over a 25 1/2” scale length. All these
guitars sound different and although the choice is personal, one type will do a better job than another depending on what type of music
you want to play.

Also different woods and build techniques have a very significant affect on the final tone, i.e. most Humbucking guitars use a lot of
mahogany and a glued in neck, whilst most single coil guitars woods of a totally different resonance (alder, maple, ash, etc) and a
separate bolt on neck construction.

Despite what some other amp manufacturers may claim about their products, no amplifier can make one type of guitar sound like a
totally different type of guitar.

The TSL100 and TSL122 are no different in this respect !

What we would like to claim however (and virtually guarantee), is that your TSL100 will maximise the potential of your guitar in a way
that you may never have thought possible and without a doubt will spur your musical creativity onto new horizons.

5 Way Foot Controller

Your TSL100 or TSL122 come supplied with a 5 way foot controller for channel, reverb and FX loop switching. It comes complete with an
8 metre (approx 26 ft) long lead ending in a 6 pin DIN plug to connect into the footswitch connector on the rear panel of your amplifier,
(see rear panel details).

Once connected the controller will give you instant access to and visual indication of each of the 3 channels, plus reverb on/off and fx
loop on/off. To allow proper operation it is important to remember that both channel mode pushswitches on the front panel (located
between the Clean and Crunch / Lead channels) MUST be pushed IN. As the FX loops are switched entirely out of the amplifier circuit until
an FX device is plugged into either of the FX loop jack sockets, the FX switch and LED indicator on the foot controller are completely
inoperative until the loops are connected. Unless this is done the FX LED will not light up, no matter how many times the switch is
depressed!

One benefit of having a foot switched FX loop is that it can be used as a secondary master volume if no FX are connected. This is
achieved by inserting a shorted dummy jack plug into the Loop A Return jack socket to access the loop circuitry, switch OFF the FX
footswitch and set your loudest required volume on the individual channel master volumes. Now switch the FX footswitch ON (LED glows
red) and set your quieter volume using the FX Mix controls (Clean Mix for Clean channel, Crunch / Lead Mix for Overdrive). Remember
that these controls will now work back to front to a normal volume control, i.e. anticlockwise is loudest (same as normal signal) and
clockwise is quietest. Now you can toggle between these settings by using the FX footswitch.

2

3

1. Mode Select

To access the Clean channel (if the foot controller is NOT connected) ­release the Clean - OD1/OD2 pushswitch. If the footswitch IS connected
both mode switches MUST be pushed in, and then press the Clean
pushswitch on the foot controller. The Clean LED (green) on the front
panel and the clean LED on the footswitch should now both be
illuminated.

As you can see, the controls available in the ‘Clean’ mode are: Gain,
Volume, Treble, Middle, Bass rotary controls and Mid Boost pushswitch
(preamp) and Reverb, FX Mix, Presence rotary controls and Deep
pushswitch (at master level).

Two more pushswitches are available, but remember these affect the
whole amplifier as well (these are marked PowerAmp V.P.R. and Output
Mute).

FUNCTIONS

2. Gain Control

As with most amplifiers, this controls the sensitivity of the input section
of the preamp. At low settings the preamp will be ultra clean with a very
bright character. As you turn the control up, the sound will become
fuller and warmer (some may say ‘fatter’), with a more pronounced
bottom end. Set at the top end of the control’s range (depending on the
type of guitar and pickups, etc) a very warm sustaining breakup will start
to occur, depending on the EQ settings, as described below.

3. Volume Control

This sets the amount of signal generated by the preamp out into the
power amp section. When using very clean ‘Gain’ settings, you may
want to turn this up higher than when using higher ‘Gain’ settings to
achieve a suitable stage sound level. The FX loop comes after this
control, which will help you balance the FX level with the other
channels.

NOTE : Many different ‘clean’ amp textures can be created by balancing
the ‘Gain’ and ‘Volume’ controls.

4. Mid Boost Pushswitch

This works in conjunction with the passive EQ controls by disconnecting
the Mid control from the circuit, then reconfiguring the way the Treble
and Bass controls work. One way of using this function is to set the
Gain control high, Treble and Bass midway and with sufficient output
volume setting, you will be rewarded with a very singing, sustaining
Blues / Jazz Rock lead type tone, as characterised by many Chicago,
Texan and Californian players, particularly those using more vintage
type amps. This tone can then be modified by using the Treble, Bass and
Presence controls.

5. Treble, Middle, Bass Controls

These are the time honoured passive type of network that help make a
guitar amp what it is. By being before the gain stages these controls
work in a slightly different way to being after the gain stages, as you
would normally find on a distortion type preamp (and as pioneered by
Marshall). By instead of processing an already formed sound, the EQ
helps form the voice of the sound. For instance, turning the Mid control
down will clean up the body of the tone and help give the characteristic
‘twang’ of country music (coupled with a Txlxcaxter of course !).

Also turning the Mid down will help when undertaking funkier rhythm
work, to enable the treble to cut through and not muddy up the
frequencies needed for the lead instrument(s). Obviously, altering the
Treble and Bass controls will have the affect of tailoring the high and
low frequencies in your tone. When playing at high levels (gain as well
as volume) turning the Bass down will help maintain note definition and
aid projection. Try turning the Treble down and Mid up a bit for the solo
in that warm romantic ballad, with the right amount of gain, you will be
rewarded with some sweet clean sustain.

Master Section Controls

At the other end of the panel you will find the ‘Clean’ master section
with the following controls :

6. Reverb Control

This will vary the inbuilt Accutronics spring reverb from a faint shimmer
to deep and luxurious, this will affect the ‘Clean’ channel only.

7. FX Mix Control

When using the extensive FX looping facility on the rear panel, this
control will adjust the FX mix for the clean channel only, from totally
dry (0) through varying degrees of parallel mix (1-9) to a full series
connected loop (10). For more information see FX Loop section

8. Presence Control and Deep Switch

The presence control will boost the upper mid / lower treble part of the
tone giving it more up-front brilliance, great for cutting through
overactive cymbals. The Deep switch gives the tone a very resonant
texture as it interacts with the low frequencies of the loudspeakers. This
is great for filling out the bottom end at low volumes but will also give a
resonant but controlled growl to the tone at high volumes.

9. V.P.R. and Mute Pushswitches

Please see later section.

1. Mode Select

To access the crunch channel (if the foot controller is NOT connected) ­front panel pushswitch marked ‘Clean - OD1 / OD2’ should be
depressed and the one marked ‘OD1 / OD2’ should be released. If the
foot controller IS connected both switches MUST be pushed in and then
press the Crunch switch on the foot controller. The Crunch LED
(yellow) on the front panel and the Crunch LED on the foot controller
will now be ON.

The controls available in the ‘Crunch’ mode are Gain, Volume, Treble,
Mid, Bass rotary controls and Tone Shift push-button (on the preamp
section), Reverb, FX Mix, Presence rotary controls and Deep pushswitch
on the master. These are also shared with the ‘Lead’ channel.

FUNCTIONS

2. Gain Control

Again this controls the input sensitivity of the channel but with the effect
of being capable of much more gain and hence more dramatic distortion.
At low settings, the channel is relatively clean (although darker in tone
than the clean channel) and makes a good alternative for gentler, bluesy
style solos. With a bit more gain the tone becomes more aggressively
traditional Marshall rock with the emphasis on chunky power chords.
Take the gain control to the limit and we enter modern high gain crunch
territory, with probably more gain and dynamics than other
manufacturers would put on their lead channels!

3. Volume Control

Again this controls the balance and level of the crunch channel against
the rest of the TSL.

4. Tone Shift Pushswitch

This takes the traditional, slightly middly Marshall passive post
distortion EQ network and reconfigures it to produce a more mid
scooped tone. Whilst mid-scooped tone is usually associated with
‘Metal’, please do not be afraid to experiment with the shifted tone
settings even if metal is not your thing, as it is very useful in deepening
the tone at low volumes.

5. Treble, Middle, Bass Controls

As stated above, these are the traditional Marshall post distortion EQ
controls and as such affect the character of the distorted signal. It is
suggested that initially you set the controls midway and experiment from
there, rather than the ‘everything on 10’ method favoured for the earlier
non-master Marshall amps. Remember, increasing the treble is going to
make the distortion more ‘fizzy’ and ‘cutting’, whereas increasing the
mid will make the distortion more fluent and sustaining but probably not
as dynamic (in the modern sense). Try what you will, there are many
textures to discover.

6. Master Section Controls

As with the Clean channel the Reverb, FX mix, Presence, and Deep
functions can be adjusted independently of the Clean channel but
remember these controls are also used in conjunction with the Lead
channel.

CRUNCH CHANNEL

(Please refer to diagram B, Page 7)

CLEAN CHANNEL

(Please refer to diagram A, Page 6)