Marshall Amplification JCM800 User Manual

CATS-00131

Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes MK1 1DQ

Official Marshall website: www.marshallamps.com

Whilst the information containedherein is correct at the time of publication, due to our policy of constant improvement and development,

Marshall Amplification plc reserve the right to alter specificationswithout prior notice.

from

Jim Marshall

As we see out the product of one year and welcome in the next, we are
proud to introduce our Product Catalogue for 2008.
This last year has been amazing, the launch of the JVM4 Series has been
widely accepted as the benchmark for others to follow and it has won a
number of awards including ‘Best Amplifier 2007’ by the Music Industries
Association, a very prestigious accolade. We would like to take this
opportunity to thank all the musicians and music retailers that voted in
favour of the JVM.
A great addition to the Signature Series in 2007 saw the introduction of the
2203KK, a beast of an amplifier that is proving extremely popular not only
with Kerry King, who has been using it for sometime, but also with many
other guitarists looking for that aggressive tone that only the KK can deliver.
With these successes in mind, it again demonstrates the dedication, the
talent and the commitment of our Research and Development team who
continue to design award-winning amplifiers that guitarists of all abilities
can enjoy playing.
So it is with a great deal of pride that we are able to share with you our
new products for this year’s catalogue. The JVM2 Series has been added
to the existing, award-winning JVM4 range, the design engineer having
included a selection of channels and produced a two channel version that
epitomises the tones and versatility of the JVM4, tones ranging from a
sweet clean to a punching high gain and all points in between. Of course,
we kept the same features as the JVM4, such as the memory footswitch
and the MIDI control, to produce an amplifier worthy of joining this
award-winning range.
We also set our Signature Series designer the task of researching two new
additions to this very exclusive range, asking him to honour two artists that
we have had the great pleasure of being associated with. The first is the
1959RR, based on the very amp that the late, great, Randy Rhoads
collected from our factory back in 1980.
We are confident that this will appeal to many guitarists, not just as a great
amplifier, but also, for many, it will be like owning a piece of history.
The second new Signature amplifier is in honour of a great friend of ours,
Lemmy Kilmister. I first met Lemmy in 1968 and have followed his career
from the beginning, before his time with Hawkwind through to the
worldwide success of his band Motorhead. He is not just an amazing
guitarist and frontman, he is also a good friend, so it is with a great deal of
pride that we introduce a Signature bass head this year, the 1992LEM.
I am confident that whatever your ability, whatever your genre, you will be
able to find an amplifier in the Marshall Product Catalogue that will give
you the tone and the sound you are searching for.
I wish you every success.

Picture: Dr Jim Marshall OBE and daughter Victoria (Managing Director)

Dr Jim Marshall OBE

19 62

JTM45

The History...

19 66

Model 1959

1975

Master Volume

1981

JCM800 (2203)

19 87

Jubilee Series (2555)

19 90

JCM900 (4100)

The Jim Marshall Story

With virtually no formal education behind him due to childhood
illness, Jim Marshall began work at the age of 13 in 1936.
During a succession of jobs with little or no prospects, Jim had
started tap dancing and later singing with bands in the evenings.
His natural talent for music further shone after he took over on the
drums when the band’s original drummer was drafted.
It wasn’t long before Jim found himself with regular work as a
drummer. In 1947 he began studying with the highly respected
drum teacher Max Abrams and by the early 1950s Jim had turned
professional. He became highly sought after as a drummer, led his
own band and was a highly successful drum teacher.
Jim’s success continued and by 1960 he had opened the first Marshall
shop, initially selling drums. However, due to popular demand he was
soon stocking guitars and amplifiers. By listening to the guitarists
coming into the shop, Jim realised that they required a sound that
wasn’t on the market at that time. With the aid of several engineers in
1962, after months of trials, the first Marshall amp was born and was an
instant success. Jim designed and built the matching speaker cabinet
and the rest, as they say, is history.

In the Beginning .. .

There was the JTM45 which was first unveiled in 1962 at Jim
Marshall’s music shop in West London. At that time, rock guitar
playing as we now know it was very much in its infancy and players
were constantly looking for new ways to redefine their tone. It
quickly became clear that the JTM45 was the perfect amplifier for
the task at hand! While it was capable of providing plenty of ‘clean’
power, the JTM45 also did all kinds of wild things when turned up all
the way. This was just what legendary rock ‘n’ roll pioneers like
Pete Townshend were looking for.

By 1965 it was Pete Townshend’s need for greater on-stage volume
which inspired Jim to build the first ever 100 Watt Marshall guitar
head. The Who’s guitarist also wanted bigger cabinets and, as a
single 8x12" cabinet (Pete’s original request!) proved to be totally
impractical, Jim came up with the idea of ‘stacking’ two 4x12"s, one
on top of the other. And that’s how that irrefutable icon of rock
amplification, the ‘Marshall Stack,’ came into being.
The fact that so many legendary guitarists from that all-important era
of the late ’60s/early ’70s, chose Marshall as their backline was no
accident. These players all had their own distinctive style and each
one was complemented perfectly by the dynamics and feel that the
Marshall 1959 Super Lead ‘Plexi’ amplifiers offered. This was
personified by the late, great, Jimi Hendrix who created sounds
through these Marshall amps which had never been heard before
and arguably, have never been matched since.

The Next Stage

As rock guitar playing evolved, Marshall continued to successfully
create new amplifiers that offered exactly what players were looking
for. In 1975, the first Master Volume (MV) amps provided a higher
level of distortion than ever before and also did so at a much more
controllable volume. This breakthrough was exactly what many
guitarists of that era were looking for.
By the time the ’80s rolled along, the MV species had evolved into
the JCM800 Series. The unmistakable roar of these amps, which
shaped the tone of that decade, is still favoured by many of today’s
cutting-edge guitarists such as Kerry King of Slayer and Zakk Wylde.
The JCM800 family also featured more flexible models with
switchable channels and built-in reverb.
As increased gain became the order of the day, Marshall launched
its Jubilee amplifiers in 1987. This no-nonsense, superb sounding

amp became the firm favourite of Slash of Guns ‘n’ Roses fame and
was later re-issued in 1996 as the limited edition Slash Signature
amp. As the ’80s gave way to the ’90s, players demanded even
greater flexibility and gain levels from their amps. Marshall, of
course, responded in a timely fashion with the JCM900 Series, the
30th Anniversary amps, the best-selling Valvestate line and the
‘industry standard’ JMP-1 MIDI pre-amp. These products delivered
exactly what players needed and took centre stage for much of
that decade.

Right Here, Right Now. ..

Recognising that today’s guitarist demands a high level of versatility
while still craving Marshall’s now legendary, valve-driven tone, we
launched the JCM2000 Series in the late ’90s. This strong line of
all-valve heads and combos offers both the tone and flexibility that
players such as Jeff Beck and Gary Moore demand . . . and
countless others too.
We also took hybrid amp technology to new heights with the release
of the AVT (Advanced Valvestate Technology) line of amps, which
successfully blend our valve expertise with digital effects and
cutting-edge solid-state power amp circuitry that emulates the
sound and feel of a valve power stage. The result? A flexible and
affordable alternative to all-valve amps which opened the Marshall
door to the next generation of guitar greats.
Fully understanding that guitar players on a budget, or that are just
starting out, deserve the best possible tone and features at an
affordable price, we launched our new MG Series. This
award-winning range of nine combos and a head redefined what
players can expect from inexpensive amplification.
Continuing our policy of listening to the needs of today’s guitar
players has led to the creation of the Mode Four. Attitude, striking

looks and above all incredible power set the Mode Four and its
matching cabinets apart. Combine this with an arsenal of great tone
and features, delivered through state-of-the-art technology and you
have a Marshall like no other that has already won awards and a
host of converts.
Due to overwhelming public demand, in 2004 we launched the
first two models in our brand new Handwired range, the 1974X
and 2061X. This was followed by the much-anticipated 1959HW
in 2005 and the limited run of JTM45/100 heads made to
celebrate the 40th Anniversary of the now iconic Marshall stack.
The Handwired range is an ongoing series of meticulously
accurate, handwired re-issues of classic Marshalls from
yesteryear, including the Super 100JH Jimi Hendrix stack.
Reviewers and users alike are unanimous in their acclaim of our
point-to-point perfection. 2007 saw the introduction of the
award-winning JVM4 range and the 2203KK Signature Series
Kerry King head.

New for 2008

2008 is just as exciting with the launch of the JVM2, a two channel
amplifier very much in the same vein as the JVM4 and complete
with a 4-way programmable footswitch, this range is destined to be
as successful as the JVM4.
This year also sees two new additions to our Signature Series with
the launch of the 1959RR, in honour of the late, great, Randy
Rhoads, a stunning 100 Watt head that delivers a slightly different
tone than the standard 1959 – a must for any Randy Rhoads fan.
Last, but certainly not least, is the very first Signature bass head, the
1992LEM, in honour of our good and loyal friend Lemmy from
Motorhead, a monster of an amplifier that epitomises Lemmy’s
iconic style.

The Story Continues...

19 92

30thAnniversary (6100)

2

19 97

JCM2000 (DSL100)

2000

VS2000 (AVT50H)

2006

Vintage Modern

2007

JVM4 Series

2008

JVM2 Series

3

ROLL

of

HONOUR

Slash

“

I’ve said it before,and I’ll say it
again:I won’t even consider trying
anything else – somethingthat
consistent youjust don’t f**k with.”

Jeff Beck

“The Marshall sound is the balls.
It’s the bigdaddy and it hasthat
growl that no other amp has.”

Angus Young

(AC/DC)

“

I’ve experimented with different makes
of ampbut came to the conclusion that
the Marshall100Wattstack was the
best rock amp.

”

Zakk Wylde

(BLS, Ozzy Osbourne)

“What does a Marshall sound like?
Strength, warmth, commitment, beauty
anddestruction. . . all wrappedup in a
giantf**kin’wrecking ball!”

Dave Murray

(Iron Maiden)

“What’s my secret weapon?Well,
asidefromsheer volume (laughs), I’d
have to say my Marshalls,because
they’re really great for whatI do.”

Lemmy

(Motorhead)

“Old Marshallsnever die – they

just blow your f**king head off!”

Janick Gers

(Iron Maiden)

“They are simply the best, mostsolid
sounding,dependable and toughest
touring amps in theworld!”

Dave Mustaine

(Megadeth)

“Whenmy tonesounds andfeels right,
somethinghappens thatmakes me feel
alive. That’s why I useMarshalls.”

Paul Weller

“I canmake myMarshall go from a
screamingloud tone to a beautiful
clean,warm, bassy sound witha
mere flick of a pick-up switch.”

Eric Johnson

“EvenwhenI experimented with other
heads, I still ranthem throughMarshall
4x12”s.Marshall amps have become an
integral partof my tone.”

Peter Frampton

“Bought my first 100Watt Marshall stackin
the ’60sand I have never found anything
that comes close.Marshall is my sound.
From The Herd,through Humble Pie to this
day. I’ma Marshall lifer!”

Ace Frehley

“Marshall’s the best rock ‘n’rollamp in
the business. Nobody hastopped them
sincetheywere first madein ’62.”

KK Downing

(Judas Priest)

“Millionsof musicians all around the
world use them, theycan’t all be
wrong can they!”

4

Matt Bellamy

(Muse)

“We use Marshall because when we
jump on them they still work, and
they sound good . . . real good!”

Yngwie Malmsteen

“I plugged into a Marshall 25 years ago and
from myfirst crunchy riffs to mylatest
screamingleads,my Marshalls werealways
rightbehind me,lot’s of them! There will
always be imitations,but in the endthere can
only be one, theonlyone,Marshall!”

Marshall Amplification Product Catalogue

Steph Carpenter

(Deftones)

“I’ve beenplaying guitarfor 19 years and
have used Marshalls thewhole time . . .
there’s no reasonfor anyother amp.”

Photos: Chad Lee: Slash. Dave Maud: Angus Young. Bob Thacker: Janick Gers, Dave Murray, Lemmy. Mickey Rose:Paul Weller. Denis O’Regan: Peter Frampton.

Marshall Amplification Product Catalogue 5

Mick Box

(Uriah Heep)

“Plugin and enter theworld of
vintage heaven, just howit should be.
It just makes you want to play, and
you can’t say any better than that.”

Al Pulford: ZakkWylde, Steph Carpenter. Gene Kirkland: Dave Mustaine. Chris Gill: Ace Frehley. Mickey Rose: Matt Bellamy. Rob Wyatt: Kerry King.

Kerry King

(Slayer)

“To me,Jim Marshall is the ultimate rock star
because he made allof us better!It’s an
incredibly unique honourto havemy
signature on an ampright next to his.
Plus, it’s just f**kin’cooland flatteringthat
Jimthinks enough of me to roll withmy own
head.”

JVM2 Series Amplifiers

JVM210H Head•JVM205HHead•JVM205CCombo•JVM210CCombo•JVM215CCombo

Joe Hoare

(Orange Goblin)

“Just when I thought I’d never findmy ultimatesound,
I found theMarshallJVM Series.”

From left to right:

JVM205C Combo

JVM210C Combo

JVM205H Head
1960A Cab

JVM210H Head
1960A Cab
1960B Cab

JVM215C Combo

Introducing the JVM2, the latest range of all-valve amplifiers
from the award-winning JVM Series. Designed to
complement the versatility, tone and power of the JVM410H
and JVM410C, these new additions broaden the range
without compromising the flexibility and sonic spectrum that
has made its bigger brothers a universal success story.
From the inception of the JVM Series, its goal has been to
provide the modern guitarist with “an amp for all seasons”,
delivering crystal clean notes through heavy crunch and on
to the brutal gain expected of a Marshall, and all from one
amp! When it comes to the two channel versions we find all
the qualities and grandiose of the JVM4 focussed and
streamlined into one incredible piece of professional kit.

Along with two new 100 Watt amplifiers in the shape of the JVM210H
head unit and the JVM210C combo, the series now serves the guitarists
who prefer the sound and colour delivered by 50 Watts of power. The
JVM205H, JVM205C and the JVM215C bolster the range with a 50 Watt
head plus double and single speaker combos respectively. The result is
the most comprehensive range of amplifiers in Marshall's illustrious
46 year history.

Equipped with the same groundbreaking technology as found in the
JVM4 channel, the JVM2 Series comes loaded with an impressive array
of features. Contained within the amp is a studio quality Reverb
specifically developed for the JVM, two Effects Loops to further enhance
your sound and separate presence/resonance controls to shape the tone
of your playing. All this, not to mention the dual Master Volume controls,
MIDI switching and the unique patent-pending technology found in the
JVM2's 4-way footswitch, is where the JVM comes into it’s own. This fully
programmable unit not only connects via a standard guitar lead, it also
allows single front panel switching or whole amplifier configurations to be
stored in its memory. Essentially, this enables the guitarist to either call
upon individual features such as Channel/Mode, Reverb and
Effects Loop as and when needed or recall a collection of JVM front
panel options at the stomp of the foot. The multi-coloured LED’s housed
in the footswitch indicate the status of each channel and mode, a real
godsend whether rehearsing in the bedroom or rocking out to the
masses on a dimly lit stage.
Every JVM2 is produced at the Marshall factory in England using tried and
tested construction techniques coupled with the latest technology. Every
amplifier chassis and combo speaker is loaded into strong, durable
cabinets made from the finest raw materials and finished to the highest
standard. Both the JVM210C and JVM205C combo are fitted with a
combination of Celestion Heritage and Vintage speakers to achieve an
amazing depth of tone. The JVM215C comes with a 12” Celestion G12B
speaker that delivers exactly what the amp, and you, expect from it.

AMPLIFIER SPECIFICATION

FEATURES JVM210H JVM205H JVM210C JVM205C JVM215C

Head No No No

Combo No No

Output (RMS) 100Watt 50 Watt 100Watt 50 Watt 50 Watt

Speakers No No 1 x Vintage, 1 x Heritage 1 x Vintage, 1 x Heritage 1 x G12B

Pre-amp Valves 4 x ECC83 4 x ECC83 4 x ECC83 4 x ECC83 4 x ECC83

Power Amp Valves 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 2 x EL34

Footswitch (supplied) PEDL-00045 PEDL-00045 PEDL-00045 PEDL-00045 PEDL-00045

Dimensions (mm) 750 x 310 x 215 750 x 310 x 215 690 x 510 x 265 690 x 510 x 265 605 x 510 x 265

Weight (kg) 22 17.5 34.5 29.5 26.5



Modes of Tone

The JVM4 channel amplifiers are synonymous
with versatility and flexibility thanks to the three
modes assigned to each channel, and the JVM2
range is no exception. Both channels –
Clean/Crunch and Overdrive – have green,
orange and red modes, each one creating a
unique, yet complimentary, tone to the previous.
This means that a total of six bespoke sounds
can be called upon at any one time from the
intuitive footswitch. From a bright, clean and
honest tone produced from the Clean/Crunch
channel in green mode, through to the
thunderous, uncompromising distortion
unleashed through the red moded Overdrive
channel, the sonic scope of the JVM2 is
astounding. This truly is the evolution of guitar
amplification.

6 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 7

JVM4 Series Amplifiers

JVM410HHead•JVM410C Combo

Jason Hook

(Alice Cooper)

“The JVMis onekick assamp! NowI haveall my
favourite Marshall tones in onebox!”

From left to right:

JVM410C Combo

JVM410H Head
1960A Cab

JVM410H Head
1960A Cab
1960B Cab

The all-valve, 4 channel, 100 Watt JVM Series:

• 5 x ECC83 and 4 x EL34 valves

• Four totally independent channels

• 12 footswitchable modes

• Vast tonal versatility

• Insane amounts of gain

• Two footswitchable Master Volumes

• Studio quality, footswitchable digital reverb with controls
for each channel

• Two FX Loops, one footswitchable

• Revolutionary 6-way footswitch with memory

• Built-in switch memory for each of its 12 modes

• 28 front panel controls and eight switches, yet,
is incredibly intuitive to use

• MIDI controllable

• Built in England

Versatile, Revolutionary, Unrivalled

JVM410H Head & JVM410C 2x12” Combo

The JVM Series 100 Watt, valve-driven power stage is built on the
classic design responsible for the legendary Marshall roar found in
the JCM800 2203 and “Plexi” Super Lead amplifiers – a timeless
foundation for countless classic rock and metal guitar tones for over
four decades.
Each of the JVM’s four channels: clean, crunch, OD1 & OD2 has
three modes – green, orange and red – providing 12 totally unique,
yet complimentary amplifier topologies, making it 12 amps in one.
As a result, the Series offers an amazing array of instantly
switchable tones – from the cleanest clean to the highest gain ever
found in a Marshall and all points in-between.

The JVM front panel is simple and uncompromising; dedicated
Gain, EQ, Volume and Reverb are present for each of the four
channels. Add to this a Master section with dual Master Volumes,
Resonance and Presence and you have a clear, concise layout that
makes the JVM easy and intuitive to use. With seamless switching,
perfect memory, and MIDI, onboard logic not only ensures
switching is swift and silent, but also remembers the position of
each front panel switch in all 12 modes.
Every JVM is made at our Marshall factory in England using
time-tested, traditional methods of craftsmanship and construction,
combined with the latest advances in modern manufacturing
technology, ensuring world class build quality and roadworthiness.
Internally, the JVM circuitry and layout has been kept to a minimum,
ensuring the integrity of the guitar tone and an incredibly low noise
floor – this, coupled with meticulous valve selection and high
tolerance along with quality components adds to the all-important
reliability factor that is synonymous with the Marshall legend.
The JVM Series also includes the JVM410C 2x12” combo which
boasts two different speaker types – Celestion Vintage and a
Celestion Heritage – allowing the combo to deliver spacious, rich
tones backed-up with a solid low-end thump.

Ultimate Control & Connectivity

Every JVM is supplied with a 6-way, fully programmable footswitch.
This revolutionary, UK patent-pending technology allows single front
panel switches or entire set-ups (Channel, Mode, Reverb, FX Loop
and Master Volume switch settings) to be simply assigned to any
foot switch. The footswitch’s group of multi-coloured LEDs reflect
every front panel switch status ensuring, in the heat of a
performance, that you know exactly where you are with no need to
see the amp. To add to it’s already impressive ‘guitarist friendliness,’
the JVM footswitch connects to the amplifier via a standard guitar
lead, making it easy to replace with any length you may need.
Additionally, the JVM’s MIDI In and Thru connection means it can
easily be integrated in a MIDI switching set-up, allowing you to
store and recall 128 complete amplifier set-ups. With its built-in
memory and switching options, the JVM’s possibilities are endless.

AMPLIFIER SPECIFICATION

FEATURES JVM410H JVM410C

Head  No

Combo No 

Output (RMS) 100 Watt 100 Watt

Speakers No 1 x Vintage, 1 x Heritage

Pre-Amp Valves 4 x ECC83 4 x ECC83

Power Amp Valves 1 x ECC83, 4 x EL34 1 x ECC83, 4 x EL34

Footswitch (supplied) PEDL-00044 PEDL-00044

Dimensions (mm) 750 x 310 x 215 690 x 510 x 265

Weight (kg) 22 34.5

8 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 9

Vintage Modern Amplifiers

2466 Head•2266 Head•2266CCombo•425A/425B Cabs

Ray Toro

(My Chemical Romance)

“The Vintage Modernisraw,classic tone.
Pure and simple.”

From left to right:

2266C Combo

2466 Head
425A Cab
425B Cab

2266 Head
425A Cab

Paul Mahon

(The Answer)

“The most responsive amp I’veever played, when you crank up the
gain the clarityremains andwhen the solo boost(Dynamic boost)
kicksinyoubetter runforcoverasthis beast really cooks!”

Launched in 2006, the Vintage Modern Series is a range of
UK manufactured all-valve amplifiers that caters for the
guitarist who likes to primarily control their sound from
playing dynamics and their instruments volume and tone
controls. These amplifiers have 100% mid ’60s to early ’70s
vintage British blues rock tone with the ability to switch to a
hot rod mode to find those ‘modded’ sounds of the harder
rock bands of that era. The KT66 Power Amp section and
power supply are taken from the Super 100 models made
from 1966 to 1968, while the pre-amp has been optimised
to provide greater flexibility in setting the sound to
complement specific instruments and styles and ultimately
achieve your own signature tone. Inherently less aggressive
in the treble region than the later EL34 loaded amps, but
fatter in the low mid and mid region, the sound is instantly
recognisable as classic early Marshall power driven tone!

2466, 2266 & 2266C

The 2466 100 Watt head, 2266 50 Watt head and 2266C 50 Watt 2x12”
combo are all-valve single channel amplifiers offering a choice of two
‘dynamic ranges’ selectable by footswitch. The Low range equates to the
performance you would come to expect from a stock vintage Marshall
amplifier in terms of tone and available gain. The High range adds an
extra pre-amp valve into the signal path, facilitating those classic hard
rock tones of the Seventies. Add to this, the ability to optimally interface
with your instrument’s Volume and Tone controls and the experience
translates into a truly expressive and organic feel in performance.
Two ‘frequency selective’ Pre-amp Volumes (Gains) – Body and Detail –
facilitate greater flexibility of tonal shaping for individual guitars and
styles, while the power amplifier is from some of the earliest 100 Watt
Marshall amplifiers to be produced, with KT66 output valves yielding that
substantial fat and smooth tone, four on the 2466 and two on the

2266 & 2266C. A Mid Boost switch on the front panel fattens the tone
even more, while a traditional Marshall tone control circuit enables fine
tuning of your sound.
A Master Volume has been included in order to practically manage the
output levels at all venues. This is implemented after the ‘phase splitter’ in
order to fully exploit maximum pre-amp drive when the master is turned
down low. A Reverb level control mixes the on-board ‘plate’ reverb with
the direct signal to whatever degree the player chooses. The Reverb can
be toggled on and off via the footswitch. A series FX Loop is provided for
those players who wish to use outboard effects to further enhance their
sound. Loop levels of -10dB and +4dB are catered for via a rear panel
switch as well as the option to completely bypass this feature if it’s not
required. Additionally, the 2266C combo comes fitted with two Celestion
G12C 25 Watt Greenback speakers with the facility to use an extension
cabinet if required.

425 Cabinets

The 425A and 425B are the traditional 4x12” Marshall designed cabinets
that accompany this range. They have exactly the same dimensions as
the 1960A/B, but the speakers used in these mono/stereo switchable
100 Watt 4x12”s and in the 2266C combo are the brand new G12C
25 Watt Celestion Greenbacks. These were specifically developed for the
Limited Edition Jimi Hendrix Super100JH stack and are voiced to give
that rich and balanced harmonic timbre that complements vintage tone
and therefore the Vintage Modern Series perfectly.

CABINET SPECIFICATION

FEATURES 425A 425B

Cabinet Type – Angled  No

Cabinet Type – Base No

Speaker Configuration 4 x 12

Speaker Type G12C (25 Watt) G12C (25 Watt)

Power (RMS) 100Watt 100 Watt
Impedance:Mono 16 Ohms/4 Ohms 16 Ohms/4 Ohms

Stereo

Dimensions (mm) 770 x 755 x 365 770 x 755 x 365

Weight (kg) 36 37

"

8 Ohms/8 Ohms 8 Ohms/8 Ohms

4 x 12



"

AMPLIFIER SPECIFICATION

FEATURES 2466 2266 2266C

Head

Combo No No

Output (RMS) 100 Watt 50 Watt 50 Watt

Speakers No No 2 x G12C

Pre-Amp Valves 4 x ECC83 4 x ECC83 4 x ECC83

Power Amp Valves 4 x KT66 2 x KT66 2 x KT66

Footswitch (supplied) PEDL-00041 PEDL-00041 PEDL-00041

Dimensions (mm) 750 x 310 x 230 750 x 310 x 230 690 x 570 x 270

Weight (kg) 22.5 18 30

No



10 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 11

Handwired Amplifiers

1959HW Head•2061XHead•1974X Combo•1960AHW/BHWCabs•2061CX Cab•1974CXCab

Gary Moore

“Nothingelse is like a Marshall, you don’t just
hear the sound, you feelit!”

Bernie Marsden

“I wastoo young the first time, but I sure ’aint
missin’it the secondtime.”

From left to right:

1974X Combo

1959HW Head
1960AHW Cab
1960BHW Cab

2061X Head
2061CX Cab

The timeless tone of vintage handwired, all-valve Marshall
amplifiers have made them highly desirable to collectors
and sonic connoisseurs alike. Due to overwhelming public
demand we are proud to introduce meticulous, handwired
re-issues of three of our most sought-after amplifiers as the
first products in our new Handwired Series – a Series that
celebrates the company’s rich tonal heritage and revisits
the handcrafted traditions and skills that first launched the
Marshall legend.

1959HW Head & 1960AHW/BHW Cabinets

To the minds and ears of many, the mythical 100 Watt “Plexi” heads of
the late ’60s are considered the “Holy Grail” of great rock tone. Our
handwired 1959HW transports us back in time to that celebrated era and
the result is a breathtaking re-issue that’s authentic in every detail – from
those world-famous front panel legends to the oversized, custom-built,
“drop through” mains transformer that lies at the very heart of the beast.
Good looks and impressive specs aside, the 1959HW’s real beauty lurks
in its unique and highly responsive tone.
To complement the 1959HW’s sonic and visual majesty, we offer the
1960AHW (angled) and 1960BHW (straight) 4x12" cabinets that boast
Basket Weave fret cloth, metal handles, “100” logos and are loaded with
Celestion’s highly-acclaimed G12H-30 (55Hz) re-issue speakers.

2061X Head & 2061CX Cabinet

An authentic, handwired re-issue of the original 20 Watt 2061 head
(1968-1973), this compact, twin-channel, all-valve beauty houses
2 x ECC83 valves in its preamp and a pair of cathode-biased EL84s in its
power stage. The 2061X features a solid-state, silicon diode rectifier and is
a very aggressive and surprisingly modern sounding amplifier, while still
possessing that unmistakable and highly desirable, vintage all-valve tone.
Just like the original, the 2061X boasts a point-to-point, handwired,
tagboard circuit, a mild-steel chassis and Dagnall transformers.

As the perfect sonic and visual partner for the 2061X, we offer the
2061CX – a compact, angled-front 2x12", 60 Watt cabinet loaded with
Celestion’s renowned G12H-30 (75Hz) re-issue speakers.

1974X Combo & 1974CX Extension Cabinet

The 1974X is an authentic re-issue of the fabled 18 Watt 1974 combo of
the late sixties (1966-1968). Just like the original, it boasts a
point-to-point, handwired, tagboard circuit housed in an aluminium
chassis, plus a valve-driven tremolo circuit. At the very heart of its simple,
but effective, two channel design can be found six valves: three ECC83s
in the preamp, an EZ81 rectifier and a pair of cathode-biased EL84s in
the power stage. The output and mains transformers are vital
components in any amplifier because they influence performance, sound
and feel, so we worked extremely closely with our associates at Dagnall
in order to duplicate the original, “off-the-shelf” transformers in all areas.
Another major contributing factor to the distinctive sound of vintage 1974
combos is the way the original 20 Watt, ceramic magnet, Celestion
Greenback T1221 loudspeaker’s tone has softened with age.
In order to recreate the gorgeously smooth tones of a 35-year-old
vintage Greenback, Celestion not only revisited the 1967 recipe for the
speaker, they also came up with a proprietary way of “aging” the
speakers so they sound and feel like the originals made in the late ’60s!
The same exact, exclusive “aged” T1221 Greenback speaker is also
found in the 1974CX, a 1x12" extension cabinet for the 1974X.

CABINET SPECIFICATION

FEATURES 1960AHW/BHW 2061CX 1974CX

Cabinet Type – Angled  (AHW)  No

Cabinet Type – Base

Speaker Configuration 4 x 12

Speaker Type G12H-30 (55Hz) G12H-30 (75Hz) G12M-20

Power (RMS) 120Watt 60 Watt 20 Watt
Impedance 16 Ohm

Dimensions (mm) AHW - 762 x 826 x 362 650 x 665 x 305 610 x 535 x 230

Weight (kg) 36.4 24 14

 (BHW) No 

"

BHW - 765 x 820 x 364

2 x 12

"

8 Ohm 16 Ohm

1 x 12

"

AMPLIFIER SPECIFICATION

FEATURES 1959HW 2061X 1974X

Head No

Combo No No 

Output (RMS) 100 Watt 20 Watt 18 Watt

Tremolo No No 

Speakers No No 1 x G12M-20 Special

Pre-Amp Valves 3 x ECC83 2 x ECC83 3 x ECC83

Power Amp Valves 4 x EL34 2 x EL84 2 x EL84

Valve Rectifier No No 1 x EZ81

Footswitch (supplied) N/A N/A PEDL-10034

Dimensions (mm) 744 x 305 x 210 510 x 225 x 210 610 x 535 x 230

Weight (kg) 22 10 19

12 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 13

Vintage Re-Issue Amplifiers

1959SLPHead•1987X Head•2245 (JTM45) Head

Yngwie Malmsteen

“Ilove everything about theamp, thetone,thecrunch, thesinging
sustains whencoupledwith my SignatureYJM DOD Overdrive
pedal. I could go on andon.”

From left to right:

1987X Head
1960AX Cab
1960BX Cab

2245 (JTM45) Head
1960TV Cab

1959SLP Head
1960AX Cab
1960BX Cab

Simon Neil

(Biffy Clyro)

“The 1959SLP headiseverythingyouneed from an
amp. It’s crisp and beefy as f**k. Whatmore could you
ask for in a rock band. It’s the most rocking guitar
sound I’ve ever had.”

The Vintage Series comprises the 100 Watt 1959SLP
head, 50 Watt 1987X head, the 30 Watt JTM45 head,
30 Watt 1962 ‘Bluesbreaker’ combo, the 100 Watt
JCM800 2203 head and the JCM900 4100 head.
All are faithful reproductions of the classic originals,
which helped shape the sound of the modern electric
guitar as we know it. The common characteristic of all
these amps is their simplicity of operation and superb
natural valve tone.
Due to high demand from users we have taken this
opportunity to add a sonically transparent Effects Loop to
the 1959SLP, 1987X and JCM800 2203 models. The
Loop has been designed to not colour the guitar sound in
any way, and a (true) Bypass switch gives you the option
of completely removing this circuitry if desired. The only
exception is the JCM900 4100 where the Series Effects
Loop has always been a pivotal part of this versatile
amp’s design. A loop Level switch on all these models
ensures compatibility with both rack processors and
stomp boxes.

1959SLP Head

THIS IS IT! The amp that defines classic rock – the Marshall 100 Watt
Super Lead Plexiglas head of the late ’60s, re-issued in all its glory. To
ensure tonal authenticity we searched for an amp from this period that
epitomised this model. We gave this amp to our guitar playing R&D
experts and they developed a replica that was so exact we couldn’t tell
them apart. As previously mentioned, the only modern concession made
was to add a tonally transparent Series Effects Loop with a true bypass
switching option for the purist.

1987X

Head

Though the 50 Watt 1987X shares the same front and rear panel features
as its big brother, the 1959SLP, it does have its own distinct personality.
Sweet, warm, singing sounds are the trademark of this great tone
machine. As is the case with the 1959SLP, the 1987X has fittings and
hardware as true to the originals as possible, to ensure an authentic
Marshall ‘vintage’ look, plus the addition of a Series Effects Loop with
Bypass and Level switches.

2245

(JTM45) Head

When Jim Marshall started manufacturing amps back in 1962, the first
one out of the workshop was the JTM45. This amp instantly became a hit
and launched a whole new generation of amazing guitar players. Since
then, connoisseurs of tone have searched high and low for original
examples of this beautiful amp. Now the search is over; the re-issued
JTM45 is full of glassy clean tone and fluid warm sustain.
By including GZ34 valve rectification, as found in the original, we have
ensured a faithful recreation of the JTM45’s signature sound. The GZ34
rectifier valve interacts with the rest of the valves causing subtle
harmonics to shift and smoulder beneath every note you play.

AMPLIFIER SPECIFICATION

FEATURES 1959SLP 1987X 2245

Head 

Combo No No No
Output (RMS) 100 Watt 50 Watt 30 Watt
3 Band EQ 
Tremolo No No No
Pre-Amp Valves 3 x ECC83 3 x ECC83 3 x ECC83
Power Amp Valves 4 x EL34 2 x EL34 2 x 5881
GZ34Valve Rectifier No No 
SeriesFX Loop No
Footswitch (supplied) No No No

Dimensions (mm) 750 x 310 x 215 665 x 265 x 205 665 x 265 x 205
Weight (kg) 20.5 15.3 14.6

14 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 15

Vintage Re-Issue Amplifiers

JCM800 2203 Head

•

JCM900 4100 Head•1962 ‘Bluesbreaker’Combo•PB100Power Break

Tim Skold

“Turnon, tune up,rock out!”

From left to right:

PB100 Power Brake

2203 JCM800 Head
1960A Cab
1960B Cab

1962 ‘Bluesbreaker’

4100 JCM900 Head
1960A Cab
1960B Cab

William J Brown

(The Ordinary Boys)

“Buy onenow!”

JCM800 2203 Head

The all-valve JCM800 2203 is one of the most highly respected 100 Watt
Marshall heads in the company’s long history. Evolving from the
legendary 100 Watt ‘Plexi’ head, it was one of our first amplifiers to
feature a Master Volume (MV) control.
The very essence of simplicity, the JCM800 2203 is a one channel,
all-valve amp with no reverb or built-in effects. Its foolproof interface,
distinctive roar and larger-than-life ‘edge’ immediately set the standard
by which all other rock amps were judged and it remained the ‘industry
benchmark’ throughout the entire decade of its production life.
Now it’s back by popular demand and, as with the 1959SLP and 1987X,
we’ve added a Series Effects Loop featuring a true bypass switch that
takes the loop completely out of the circuit, thus ensuring the original
tone isn’t compromised in any shape or form.

JCM900 4100 Head

Another player’s favourite, the JCM900 4100 all-valve 100 Watt Marshall
head is available once again. Known for its great tone and reliability, the
JCM900 range has won many fans with its incredible versatility.
Channel A has been voiced for a sparkling clean on lower gain settings,
building up to a raunchy crunch when driven hard. Channel B takes off
from where Channel A finishes and is perfect for any lead tone – from
silky smooth to searing saturation. As well as having separate Gain
controls, each channel has its own Master section containing controls
for Master Volume and Master Reverb.
A Series Effects Loop with Level switch allows you to use either floor
pedals or rack effects. Whatever style of rock you play the 4100 will
give you tonal flexibility without compromise.

1962 ‘Bluesbreaker’ Combo

After the huge success of the JTM45 amplifier, a 2x12" combo
version was released to satisfy popular demand and the now
legendary 1962 combo was born. Once again the use of a GZ34
valve rectifier is responsible for helping to achieve the famed output
stage compression and sustain exhibited uniquely by both the
JTM45 and 1962.

Though tonally similar to a JTM45, the 1962 combo is loaded with two
re-issue ‘Greenback’ 25 Watt speakers to re-create that classic sixties
tone. The 1962 ‘Bluesbreaker’ combo also comes with the addition of
a footswitchable Tremolo effect.

PB100 Power Brake

The Master Volume control on your valve amp makes it sound good at
low volume, but ALL, all-valve amps sound better cranked. This is a
scientific fact of life. Plus, what do you do if your amp doesn’t have a
Master Volume? The Marshall PB100 Power Brake power attenuator is
the answer.
There are other attenuators or load boxes available, but they don’t
provide the right type of inductive load that makes your amp think it’s
connected to a speaker. At best, these other devices cause your amp to
sound thin and feeble. At worst, they can blow your amp’s output
transformer – an expensive proposition. The Power Brake power
attenuator delivers great sound . . . safely!

AMPLIFIER SPECIFICATION

FEATURES 2203 4100 1962

Head No

Combo No No 
Output (RMS) 100 Watt 100 Watt 30 Watt
3 Band EQ 
Tremolo No No 
Speakers No No 2 x 12”
Pre-Amp Valves 3 x ECC83 3 x ECC83 3 x ECC83
Power Amp Valves 4 x EL34 4 x 5881 2 x 5881
GZ34Valve Rectifier No No 

SeriesFX Loop No
Footswitch (supplied) No No PEDL-10008
Dimensions (mm) 750 x 315 x 215 750 x 310 x 210 740 x 610 x 265
Weight (kg) 20.5 18.8 30.2

16 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 17