Marshall Amplification JCM 2000 TSL60, JCM 2000 TSL601, JCM 2000 TSL6021, TSL60, TSL 602 User Manual

TSL60,

TSL601 & TSL602

Valve Amplifiers

ESPAÑOL

DEUTSCH

FRANÇAIS

JAPANESE

ENGLISH

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From Jim Marshall

I would like to personally thank you for selecting one

of our JCM2000 Triple Super Lead valve amplifiers.

Since I started Marshall Amplification in 1962 I have
witnessed some incredible breakthroughs and advances
in amplifier design technology, such as master volume
amps, switchable channels, reverb, MIDI technology,
speaker emulation and digital effects processing, to
name just a few. These may seem like every day
features nowadays but this certainly wasn’t always the
case. However, the same values that were present in the
first Marshalls are still here today. That is, solid
workmanship, reliability, stylish looks and above all
great Marshall tone.

The TSL60, TSL601 and TSL602 are our latest all valve
amplifiers and as such are really direct descendants of
our classic all valve amps. Combining all of the
aforementioned values plus a few extra attributes such
as versatility, switchable channels, reverb, a big sound
and of course, I am proud to say, all of the magical
Marshall tone that you could want. The JCM2000 range
is truly a testament to the Marshall legacy of great guitar
products.

I would like to wish you every success with all of your
musical endeavours and also your new Marshall
JCM2000 Triple Super Lead valve amplifier, which I am
sure you will find a pleasure to play for many years to
come.

Yours Sincerely,

Pages 1 - 6

Pages 7 - 12

Pages 13 - 18

Pages 19 - 24

Pages 25 - 30

Pages 1 - 6

Pages 7 - 12

Pages 13 - 18

Pages 19 - 24

Pages 25 - 30

TSL60, TSL601 & TSL602

Valve Amplifiers

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✪ User Hint - where you see text starting with this
sign, we have described some slight technical
paraphenalia in order for you to understand what is
going on inside your amp and we hope will help
you in creating the tone that is best for you and
your amp.

1. Input Jack

As most manuals state, plug your guitar in here.
✪ User Hint - Amusement aside, it is worthwhile

remembering that you should use a high quality
guitar lead to achieve optimum performance. If
you are unsure what constitutes a high quality lead
then most good music stores should be able to
give you good advice, but remember, it may not be
the cheapest one going!

It is also worth pointing out here that how an amp
sounds is VERY dependent on the type of guitar
you use. For instance, a guitar with humbucker
type pick-ups is not going to sound as open and
clean as one with single coil type pick-ups, yet will
provide that great mid range bark that we are
accustomed to for rock playing.

2. Clean Gain

This controls the preamp level of the clean channel,
at lower settings the sound will be very clean and
at higher settings the sound will start to ‘Crunch’
up in a traditional blues sort of way. In between,
around midway, depending on what type of guitar
you are using, you will find some great semi­clean/semi-crunch tones, just like those great
vintage amps that had minimal features, but great
tone.

✪ User Hint - there is a capacitor across the gain
control that brightens up the tone when set to
lower levels. This helps to ‘cut’ through at low
volumes and adds ‘twang’ to the tone. As you
bring up the gain control the effect of this
decreases and the tone becomes fatter. If you find
the tone too thin with the gain control down either
take some of the high end off with the treble
control, or alternatively, bring the clean gain
control up until you achieve the depth of tone you
want and then control the volume of the amp with
the ‘master volume’ control.

3. Clean Treble, Mid, Bass

These controls vary the E.Q. and voicing of the
Clean channel.

✪ User Hint - These controls are early on in the
amplifier chain and as such not only control the
tone of the Clean channel, but also how the clean
channel reacts ‘gain’ wise. For instance, if the mid

control is advanced (especially with higher gain
control settings) the sound will become more
‘singing’ in a blues/traditional rock kind of way.
But if the mid control is backed off towards (or
even) zero the gain emphasis is placed on the
treble and bass controls and gives more to work
on, especially on cleaner, lower gain settings, as
would be the case for country, jazz, or good old
chord strumming.

A good starting point is to set these three controls
to their ‘midway’ position and by experimenting
with the ‘feel’ of how they interact with the amp,
build up a wide palette of tones for future use.

4. Channel Switching

The channels of your TSL60 range amp can either
be switched from the front panel, or via an external
footswitch - connection of the footswitch is
described later.

The front panel switching arrangement consists of
three LEDs (Green = Clean, Yellow = OD1, Red =
OD2) and two pushswitches, marked CLN/OD and
OD1/OD2. To select Clean the switch marked
CLN/OD must be released to its out position
(Green LED will be on). To select either OD1 or
OD2, push the CLN/OD switch in and select either
OD1 or OD2 by pushing or releasing the switch
marked OD1/OD2 and the appropriate Yellow or
Red LED will illuminate. To revert back to Clean,
release the CLN/OD switch once more. Do not
worry, you do not have to go through OD1 to reach
OD2, these channels can be pre-selected.

✪ User Hint - The supplied foot controller allows
instant access to all three channels, but for proper
operation both front panel switches must be
pushed in.

5. Crunch Channel Gain
(OD1 - Yellow LED)

This controls the amount of gain drive available for
the crunch overdrive channel, from mildly almost
clean crunch to saturated overdrive, depending
where this control is set, i.e. lower is less and
higher is more. Wherever this control is set is
going to give you a wide palette of tones to work
with, depending on the type of guitar, EQ settings,
how hard you push the power amp, etc.

✪ User Hint - For the more traditional Rock tone
of driving the power amp hard, use less of this
control and turn the Volume control up higher.
Experiment and you should hear the differences in
tone, then choose what is best for you.

Introduction

With the introduction of the Marshall JCM2000 range of Dual and Triple Super Lead heads and combos,
from 20 watts through to 100 watts, the quintessential definition of ultimate tone and usable features has
been rewritten. This range of great amps has now been completed with the 60 watt range of Triple Super
Lead amps, the TSL60 head, the TSL601 1x12” combo, and the TSL602 2x12” combo. They will cover any
playing situation, from studio to full concert stages, whilst maintaining excellent portability.

The TSL60 range offers three channel functionality, covering Clean, Crunch, and Lead, plus all points in
between thanks to the overlapping sound spectrum of each channel. Added to that are dual reverb controls
for the long spring ‘Sound Enhancements’ Reverb, Parallel FX loop with level, and remote switching plus Mix
control, Emulated D.I. output with silent recording facility, also Deep and Presence controls. Not to mention
the unmistakable warmth and TONE of an all valve Marshall amp

.

TSL60, TSL601 & TSL602 Front Panel Features (pages 32 - 35)

WARNING! - Important safety instructions

WARNING: This apparatus must be earthed!

A PLEASE read this instruction manual carefully before switching on.
B ALWAYS use the supplied mains lead, if a replacement is required please contact your authorised Marshall

Dealer.

C NEVER attempt to by-pass the fuses or fit ones of the incorrect value.
D DO NOT attempt to remove the amplifier chassis, there are no user serviceable parts.
E Refer all servicing to qualified service personnel including replacement of fuses and valves. Servicing is

required when the apparatus has been damaged in any way, such as when 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.

No objects filled with liquids should be placed on the

apparatus. When cleaning, only use a dry cloth.

G ALWAYS unplug this apparatus during lightning storms or if 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.

➲ 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 Low Voltage directive in the E.U.

➲ EUROPE ONLY - NOTE: The Peak Inrush current for the TSL60, TSL601 & TSL602 is 33 amps.
➲ CAUTION: Any changes or modifications not expressly approved by the party responsible for compliance may

void the user’s authority to operate the equipment.

➲ NOTE: It is recommended that all audio cables, with the exception of the speaker lead, used to connect to the

TSL60, TSL601 & TSL602 are of a high quality screened type. These should not exceed 10 metres in length.
Always use a non-screened Marshall approved speaker lead when connecting an extension cabinet to these
units.

➲ WARNING: Do not obstruct ventilation grilles 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 is provided for your safety. When the provided plug does not fit into your outlet,
consult an electrician for replacement of the obsolete outlet.

FOLLOW ALL INSTRUCTIONS AND HEED ALL WARNINGS

KEEP THESE INSTRUCTIONS !

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6. Crunch Channel Volume

This control adjusts the level of sound coming out
of the overdrive preamp channel and allows you to
balance it against the Clean channel.

7. Lead Channel Gain (OD2 - Red LED)

As 5 above but controlling the Lead channel gain,
and making even more saturated tones available.

8. Lead Channel Volume

As 6 above, this control balances the output of the
Lead channel.

✪ User Hint - When using the less gain/more level
way of driving the power stage, keep the overdrive
gain low and use this volume control to drive the
power amp.

9. Overdrive Treble, Middle, Bass

As opposed to the ‘Clean’ channel, these controls
are placed after the distortion generating circuitry
of your amp and as such affect the texture of the
tone, rather than the gain of the channel, especially
when using high levels of preamp gain.

✪ User Hint - Although many textures are available
from this relatively simple configuration, a good
starting point (again) is to set everything midway.
For a more modern ‘heavy’ tone, turn the mid
control down and boost the treble and bass. For a
more classic ‘rock’ tone bring back the mids and
bring the treble and bass down a bit.

✪ User Hint - When using the less gain / more
volume approach, the tone controls can be used to
help ‘push’ the power amp for a more refined tone.

10. Overdrive Tone Shift

Pushing in this switch reconfigures the
components used in the tone forming circuit. By
doing this the Mid frequency is shifted and
deepened, which, depending on how you set up
the tone controls will help you get a modern
‘scooped’ rock sound, i.e. cutting the Mid control.
Even though this may not be your ‘thing’, the range
of tones available can be very expressive in other
ways. As always, experiment.

11. Master FX Mix

This controls the balance of the return from the
parallel FX loop (see rear panel details for
connection) with the amps direct signal.

✪ User Hint - As the FX loop is of the parallel kind,
this is where you should use time delay effects (i.e.
echo, reverb, pitch shifting, chorus, etc.). For
optimum use the direct signal in your processor
should be turned to zero so that only the effect

signal is returned to the amp, this way the tone
integrity of the direct amp signal is unimpaired.

12. Clean Reverb

This controls the level of the internal spring reverb
circuitry from a slight shimmer to a cavernous
depth for the Clean channel only.

13. Overdrive Reverb

Controls the reverb depth for both the Crunch and
Lead channels.

Remember that the Reverb has an on/off function
on the foot controller.

14. Master Presence Control

This works on the power amp circuit, and enables
you to brighten up the sound, especially useful
when the room acoustics of where you are playing
are very dead sounding.

15. Deep Switch

Pushing in this switch activates a unique Marshall
circuit that expands the resonance of the speaker
system used, and thus gives a very deep and
resonant depth to the bass of your sound.

16. Master Volume

This controls the overall volume level of the total
amplifier, thus allowing you to set up the tone and
balance of all three channels, and then setting the
required suitable level for your requirements with
just one control. Additionally, using this control
allows you to turn up the gain of the clean channel
for a warmer, crunchier sound, without having to
have the full power of the amp blasting away.

✪ User Hint - As the (rear panel mounted) speaker
emulated D.I. output is derived from this circuit
you can balance the sound coming out of the
loudspeaker from zero to full, whilst maintaining a
constant level out of the D.I. output - ideal for
silent recording, direct to the desk.

17. Standby Switch

This turns the high voltage feed to operate the
valves on and off.

✪ User Hint - This switch should be used for (a)
allowing the amp to warm up before turning the
Standby on (at least a minute - preferably 2/3
minutes if possible) and (b) turn the Standby
switch off when taking a break (rather than turning
off the whole amp), thereby keeping your amp at
the ‘ready’, without waiting for it to warm up again.
Remember to do these two simple rules and your
valves will love you for it and should last an awful
lot longer before replacement is needed.

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18. Power Switch

This turns the mains electricity that feeds your
amp on and off. As stated before, turn this switch
on for at least a minute or two before turning the
Standby on, to allow your amp to warm up.

✪ User Hint - For environmental reasons at least,
if leaving your amp for more than a normal gig
type break or so, turn your amp off at this switch,

it will save electricity. Also, if leaving your amp
unused for a long time, always remember to
disconnect your amp’s power cord from the mains
supply, at the very least it will prevent someone
else accidentily turning it on without realising.

1. Footcontroller DIN Socket

This socket is used to connect the 5-way foot
controller to the amplifiers control circuit.

The footcontroller allows you to immediately
switch between all three channels, turn the reverb
on or off, and also the FX loop on or off.

2. Loudspeaker Output Select

This switch selects the output impedance of the
amplifier for either 8 or 16 ohm use, to match to
alternate speaker systems. Although more on this
will be covered later, it is important to remember
that the internal loudspeaker(s) on the TSL601 and
TSL602 combos is 16 ohms and that the amp
must be set to match that (16 ohms). Of course
the TSL60 head does not have any in built
loudspeakers, but the impedance matching rule
still applies

3. Loudspeaker Output Jacks

These are identified by having RED jack socket
nuts, and connect the amplifier output to either the
internal, or, external loudspeaker system.
WARNING! At no time must the amplifier be
allowed to run with no loudspeaker (or appropriate
loudspeaker type load) connected to its output.
Otherwise serious and expensive damage may
occur.

4. FX Loop Send Jack

Connects the TSL amp to the input of the external
FX processor.

5. Loop Level Switch.

This switch alters the signal level present in the FX
loop, allowing the connection and use of differing
makes and standards of FX units. The nominal
levels available are +4dBm (switch out) or -10dBv
(switch in).

6. FX Loop Return Jack

Connects the output of the external FX processor
back into the TSL amp circuit.

7. Speaker Emulated D.I. Out XLR.

Line level, balanced, emulated output signal for
connection into PA or recording Mixing Desks etc.

8. H.T. Fuse - See specifications for
correct value

This fuse protects your amp in the case of a fault
occurring with any of the high voltage circuitry.
The usual reason for this to blow is when an
output valve has become faulty.

9. Mains Input

Use the supplied power cord to connect your amp
to the mains supply.

10. Mains Fuse - See specifications for
correct value

This fuse provides overall safety protection in the
case of your amplifier developing a major electrical
fault.

✪ User Hint - The fuses fitted to your amp are
there to provide you with safety protection in the
case of a fault developing. If they blow it means
something is wrong, usually a valve is getting old,
but under no circumstances fit a fuse of a different
value to stop it from blowing, as this could be very
expensive in terms of safety and cost. Remember,
if a fuse blows, it has blown for a reason.

LOUDSPEAKER SYSTEMS

The TSL601 and TSL602 combo amps are each
fitted with exclusive Marshall 12” ‘Wolverine’
loudspeakers. The 601 having one 16ohm
loudspeaker, and the 602 having two 8ohm units
wired in series for 16ohm use.

TSL60, TSL601 & TSL602 Rear Panel Features (pages 32 - 35)

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These great sounding loudspeakers have been
especially developed to work with your amp to
produce the great tone that you expect from a
Marshall amp. The 1x12” format makes for a very
highly portable package that works great in most
circumstances, whereas the 2x12” format gives
even more coverage, but by neccesity, is obviously
larger and heavier. However, if you require a
bigger sound, or just a different one, there are
numerous cabinets manufactured by Marshall that
will interface with your TSL combo, with ultimate
ease.

The TSL60 series are fitted with two parallel wired
loudspeaker jack sockets and a selector to switch
between 16 ohms or 8 ohms. As the TSL601 and
602 combos have the internal speakers wired for
16ohms, the selector should be set for 16ohms as
standard. If an extension speaker system is used
in conjunction with the internal speakers then this
should be of 16ohms impedance and the selector
set for 8ohms. Obviously, if the internal
loudspeakers are disconnected, then the selector
should be set to match the connected speaker
system. With the TSL60 head, obviously any 8 or
16ohm loudspeaker system can be used, providing
it is properly matched to the amplifier output. For
optimum use we recommend one of the Marshall
range of cabinets, in particular the 1960 range of
4x12” cabinets. These being available with
differing speaker options for varying tonality, see
your dealer for advice.

i.e.
1 x 16 ohm speaker = 16 ohm output
2 x 16 ohm speaker = 8 ohm output
1 x 8 ohm speaker = 8 ohm output

WARNING! Never operate your TSL valve amp
without a loudspeaker, or suitable loudspeaker
type load, connected to the output, even when
using the output Master Volume set to zero for
silent recording. Otherwise expensive damage
may occur!

USING EFFECTS SYSTEMS

Your TSL combo amp is fitted with a parallel FX
Loop, this is placed after the gain and distortion
parts of the preamp and is the ideal place for
inserting time varying effects, such as delay,
digital reverb, chorus, pitch shifting, etc. By being
a parallel loop, this means that the direct signal is
kept within the TSL’s circuit and therefore your
tone is not degraded by sending it outside the amp.
To use the loop connect your effects processor
(rack type units are better at this job) as described
earlier, turn the effects units direct signal path off
(the FX units manual will tell you how to do this),
set up the unit to give you the effect you require
and then balance your direct sound and effected
sound using the FX MIX control on the front of
your amp. Easy!

Floor type effects stomp boxes are designed to
work in between a guitar and the input of an amp
and should not be used in a parallel loop,
otherwise some very weird and undesired effects
could occur. For their best use, use them where
they are designed to go.

ESPAÑOL

De Jim Marshall

Me gustaría agradecerte personalmente el haber
elegido uno de nuestros amplis JCM2000 Triple Super
Lead a válvulas.

Desde que comencé Marshall Amplification en 1962 he
sido testigo de muchos avances e innovaciones increíbles
en la tecnología y en el diseño de los amplificadores,
tales como la inclusión de controles de volumen Master
de salida, canales conmutables, reverb, tecnología MIDI,
simulación de altavoces y procesadores digitales de
efectos, por nombrar unos pocos. Hoy en día éstas
pueden parecer prestaciones muy cotidianas, pero desde
luego no lo fueron en su momento y su aparición supuso
un gran paso adelante. A pesar de ello, los valores
primordiales de los primeros Marshall permanecen en la
actualidad. Estos valores son sólida construcción,
fiabilidad, impresionante aspecto y, por encima de todo,
el tremendo sonido Marshall.

Los TSL60, 601 y 602 son nuestra última generación
de amplis de válvulas y, como tales, son descendientes
directos de nuestros clásicos. Combinan todos los
valores antes mencionados con algunos atributos extra
como versatilidad, canales conmutables, reverb, un gran
sonido y, por supuesto -lo cual me enorgullece-, toda la
magia del Factor Sonoro Marshall que le quieras pedir.
La gama JCM2000 es el nuevo legado de los Grandes
Equipos de Guitarra Marshall.

Quiero desearte éxito en todos tus proyectos musicales
y felicitarte por tu nuevo Marshall JCM2000 Triple Super
Lead, que estoy seguro que te acompañará muchos años.

Un cordial saludo,