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

JCM2000 DSL Amplifiers

DSL100 Head•DSL50 Head•DSL401 Combo

Allison Robertson

(The Donnas)

“No matterwhereI go,whatever thecircumstances, beita
tiny smoky rock club or a recording studio, myJCM2000 is
consistently loud and heavy. Don’tbejealous.”

Larry Hibbitt

(Hundred Reasons)

“The louder theyare the betterthey sound.”

The formidable family of JCM2000 valve amps was born
when we launched the DSL100 and DSL50 heads to an
unprecedented wave of critical and public acclaim in 1997
with a design that gave guitarists virtually any amp sound
from ‘Nashville Clean’ to jaw-dropping hi-gain crunch, we
knew these heads were destined to take their place in line
with the other great Marshall amplifiers. With each
subsequent JCM2000 product introduction, glowing
accolades continued.
The final addition to the line came when we unleashed the
baby of the family – the EL84-powered DSL401 combo.
Once again, the reception it received was overwhelmingly
positive and its inclusion in the line made the JCM2000
Series the most comprehensive range of valve amplifiers in
the illustrious 40 year history of Marshall.

DSL100 & DSL50 Heads

Countless hours of R&D and, of course, listening went into the creation of
the 100 Watt DSL100 and 50 Watt DSL50 heads. As DSL is an acronym for
‘Dual Super Lead’, it should come as no surprise that each amp has two
footswitchable channels – Classic and Ultra. Furthermore, each of these
channels boasts two modes: the Classic channel offers a Clean/Crunch
option while the Ultra offers Lead 1 or Lead 2. Instead of merely offering a
variation in gain level to the two channels, each one of these four modes
has been individually voiced as an amp in its own right.
The tremendous tonal versatility of these amps, coupled with a 100%
pure valve signal path, dual Reverb controls, Tone Shift switch (which
‘scoops out’ the mids) and a Deep switch (which adds a tight, low end
boost), caused the guitar world to sit up and take notice right from the
outset. As soon as you play one, you’ll hear and feel why so many of the
world’s foremost players and journalists were quick to dub the DSL

heads as “the best Marshalls ever!” It also won’t surprise you when you
learn that this dynamic duo of JCM2000 amps have become the
company’s best selling all-valve heads to date.

DSL401 Combo

Weighing in at 40 Watts and housing two independent, footswitchable
channels, the compact, EL84-powered DSL401 1x12" combo is the
smallest model of the impressive, eight member JCM2000 family.
Don’t let the relatively small size fool you though, it packs a powerful
punch. In fact, the DSL401 made such a big impression on Art
Thompson, the technical editor of Guitar Player magazine, that he felt
compelled to write the following: ‘Their tight, punchy tones are Marshall

through and through, these new combos are the mightiest minis that
Marshall has ever made.’

Like its bigger brothers, the Clean channel of the DSL401 produces a
wide array of crystal clear yet complex, clean sounds. It also gets
big ‘n’ bluesy when the channel’s Gain control is cranked up. As
Mr Thompson so aptly put it in his Guitar Player review: ‘The clean

channel yields sparkling tones at low settings and increasing levels of
fat grind as you turn up the gain. With the Gain knob maxed, you get a
throaty lead sound that cleans up nicely when you roll down your
guitar volume. Strats and Teles sounded particularly rich and
aggressive.’

Sticking with Art’s much-respected eloquence, here’s how he described
the Overdrive channel of this amp in his rave review: ‘Depending on how

you set the highly interactive Gain and Volume controls, you can dial in
anything from pert overdrive to perpetual sustain and beyond.’

The DSL401 boasts the following rear panel attributes: dual speaker
jacks (with an 8 Ohm/16 Ohm impedance selector switch) for driving
external cabinets and an optional Reverb on/off footswitch jack. The most
significant ‘extra’ of them all though is this, the DSL401 has three
footswitchable sounds – Clean, OD1 & OD2! The difference between
OD1 and OD2? A massive 20dB boost which is instantly accessible with
a mere tap of your foot on the supplied 2-way (Clean/OD, OD1/OD2)
LED footswitch.

AMPLIFIER SPECIFICATION

FEATURES DSL100 DSL50 DSL401

Head No

Combo No No 
Output (RMS) 100 Watt 50 Watt 40Watt
Channels 223
Modes per Channel 22None
Reverb Control  (per Ch)  (per Ch) 
Tone Shift No
Deep Switch   No
SeriesFX Loop No
Parallel FX Loop No No 
Pre-Amp Valves 4 x ECC83 4 x ECC83 4 x ECC83
Power Amp Valves 4 x EL34 2 x EL34 4 x EL84
Footswitch (supplied) PEDL-10001 PEDL-10001 PEDL-10013
Dimensions (mm) 750 x 310 x 215 750 x 310 x 215 575 x 485 x 265
Weight (kg) 19 18 20

From left to right:

DSL401 Combo

DSL50 Head
1960A Cab

DSL100 Head
1960A Cab
1960B Cab

18 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 19

JCM2000 TSL Amplifiers

TSL100 Head

•

TSL122 Combo

Sean Martin

(Hatebreed)

“The reasonI’m drawn towards Marshallamps is simple –
they’re thebest for what I do in Hatebreed, in fact, you
couldn’t ask foranythingbetter.They’re heavy as hell and
the JCM2000 Series amps havesomething that a lot of high
gain amps lack – actualtone!To putit simply,they rule!”

Philip Sneed

(Story of the Year)

“For tone we need versatility and balls.Thanks
for consistentlystrong balls Mr Marshall.”

From left to right:

TSL122 Combo
TSLC212 Cab

TSL100 Head
1960A Cab
1960B Cab

When we launched the DSL100 in the late ’90s, the world’s
guitar press unanimously hailed it as ‘the best Marshall
ever’. As a result of this, the pressure was truly on when
we introduced the next two members of the JCM2000
family, the 100 Watt, Triple Super Lead (TSL) twins:
the TSL100 head and TSL122 2x12" combo.
How did the critics react? ‘It does everything my old

Marshalls do and more . . . the TSL is far more versatile
than any other valve Marshall out there, and offers many
ways to “tweak” your tone. The TSL100 has taken the lead

as the best sounding Marshall amp available today.
Marshall’s sound engineers have outdone themselves this
time. It’ll be tough for them to top this one,’ is how
Guitar Shop magazine put it. We’re delighted to report that

this rave review was the global norm.

TSL100 Head & TSL122 Combo

What makes the TSL100 and TSL122 so special? Great tone combined
with a myriad of mouth-watering facilities that make them incredibly
versatile.
The Triple Super Lead’s three completely independent, footswitchable
channels (Clean, Crunch and Lead) effectively give you three different
classic amps in one casing. Each channel has its own controls for Gain,
Volume, Treble, Middle and Bass. The Clean channel also has a Mid
Boost switch, while the Crunch and Lead channels each have their own
Tone Shift switches that ‘scoop’ out the mids.
When it comes to how these 100 Watters sound, Tom Beaujour put it like
this in his review for Guitar World magazine: ‘The Clean channel’s

smooth, elastic tone was a welcome surprise . . . with the Mid Boost
engaged it was easy to conjure the warm sparkle of an old F*nder twin.
‘Cranking the gain on the Clean channel yielded biting Hendrixian tones.

The TSL100’s Crunch channel lived up to my expectation and proved
stunningly malleable too. For those who live for gain galore, the TSL’s
lead channel delivers singing sustain and filthy grunge, and with the aid
of the well-voiced tone controls, it’s easy to sculpt an almost infinite array
of tones.’

The TSL100 and TSL122 both boast the same valve configuration of
4 x EL34 output valves and 4 x ECC83 pre-amp valves. They also share
the following features:

• Footswitchable Accutronics Spring Reverb with dual controls

(one for Clean, one for Crunch/Lead).

• Individual Presence controls and Deep switches for Clean and

Crunch/Lead channels.

• Two Parallel FX Loops (footswitchable).

• XLR DI output featuring Marshall’s acclaimed speaker emulation,

allowing direct connection to recording or PA mixing desks without the
need for microphones or DI boxes.

• A Power Amp Mute facility for silent recording via the built-in DI.

• A ruggedly built, 5-way LED footcontroller that gives you the ability to

switch between the three individual channels, plus switch the Reverb
and FX Loops on/off.

• An innovative Virtual Power Reduction (VPR) switch which, when

engaged, emulates the sound and feel of a 25 Watt valve power amp.
VPR was described in Guitar World magazine by Tom Beaujour as
follows: ‘The usefulness of the VPR feature cannot be over estimated.

Beyond allowing you to avoid nasty eviction notices, it will make you the
best friend of every soundman in the world.’

Speaker Talk

To maximise its already superior sonic powers, the TSL122, 2x12" combo
has been fitted with two different 12" speaker types – a Marshall/Celestion
Vintage and a Marshall/Celestion Heritage. By combining the unique
characteristics of this pairing, optimum tone and performance is ensured.
A 2x12" extension cabinet for the TSL122, the TSLC212, is also available.
This 16 Ohm cabinet features the exact same speaker combination to
make it the perfect match for the combo, both sonically and visually.

AMPLIFIER SPECIFICATION

FEATURES TSL100 TSL122

Head  No

Combo No 
Output (RMS) 100 Watt 100 Watt
Channels 33
Independent Tone Networks per Ch. 
Mid Boost on Clean Channel 
Deep Switches (Clean & Crunch/Lead) 
Tone Shift Switches (Crunch & Lead)  
Virtual Power Reduction 
Output Mute 
SpringReverb with Dual Controls 
Emulated Line Out 
Two Footswitchable FX Loops 
FX Mix Controls 
Pre-Amp Valves 4 x ECC83 4 x ECC83
Power Amp Valves 4 x EL34 4 x EL34
5-Way LED Footcontroller (supplied) PEDL-10021 PEDL-10021
Dimensions (mm) 750 x 310 x 215 690 x 510 x 265
Weight (kg) 22.5 30.5
Speakers No  (x 2)

CABINET SPECIFICATION

FEATURES TSLC212

Speaker Configuration 2 x 12 ”

Power (RMS) 150 Watt

Impedance 16 Ohm

Dimensions (mm) 673 x 478 x 260

Weight (kg) 24

20 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 21

JCM2000 TSL Amplifiers

TSL60 Head

•

TSL601 Combo•TSL602 Combo

Bruce Kulick

“Marshall ampshave always been a partof

mysound.From clean to massive crunch
tones and everything in between – when
itcomes toamps,as always, Marshall
means business.”

Steve Mazur

(Our Lady Peace)

“Iuse Marshall amps becausethey give me the
powerand punch that I need as well asbeing
extremely warm and versatile.”

This trio of triple channel, 60 Watt, tone monsters are
proud members of the critically-acclaimed JCM2000
Series. In keeping with their rich family heritage, they
each boast a 100% pure, all-valve signal path
(4 x ECC83 pre-amp valves, 2 x EL34 power valves)
and a host of ‘guitarist-friendly’ features.
The three units that make up the TSL60 Series are: the
TSL60 head, the TSL601 1x12" combo and the TSL602
2x12" combo.
In terms of amplifier attributes, they’re identical triplets –
in fact, the only difference between them is the size of
the cabinet in which they each dwell and the fact that the
TSL601 and TSL602 combos obviously drive straight
into their own internal, custom-voiced Celestion
speakers.

Common Ground

As TSL stands for Triple Super Lead, logic dictates that the TSL60s have
three footswitchable channels: Clean, Crunch and Lead. Add to this a
footswitchable Spring Reverb with dual controls (one for Clean, one for
Crunch/Lead), a footswitchable Parallel FX Loop with Mix control, an
XLR DI Output featuring Marshall’s acclaimed speaker emulation, plus a
Deep switch and you have an impressive range of highly flexible,
professional amps.
The Clean channel has its own controls for Gain, Treble, Middle, Bass
and Reverb. Like their bigger brothers, the 100 Watt TSL100 head and
TSL122 combo, each of the TSL60 triplets is capable of a wide range of
harmonically rich, clean tones – from warm, round jazz to bright country
twang. Furthermore, when the Gain control is cranked, their so-called
Clean channel produces a wonderfully authentic, bluesy crunch . . . just
like those vintage amps of yesteryear.

The Crunch and Lead channels each have independent controls
for Volume and Gain while sharing controls for Treble, Middle, Bass
and Reverb. They also share a front panel Tone Shift switch which,
when activated, reconfigures the mid-range to produce a chunky,
‘scooped’ sound. This is perfect for producing modern, high-gain
crunch tones and also for beefing up your sound when playing at low
volumes.
In keeping with its impressive TSL lineage, the Crunch channel’s Gain
control will take you from a mild, almost clean crunch, all the way
through to a saturated overdrive, perfect for aggressive rhythm work
and even soloing. Then, as you’d expect from any amp worthy of
sporting the noble JCM2000 badge, the Lead channel goes a step
(or four!) further and is capable of producing some of the highest levels
of distortion ever found in a Marshall. More importantly, it does this in a
highly musical way so your notes remain clear and well-defined, even
when the gain is cranked to the max and you’re blazing away at the
speed of light!
In addition to a Master Volume control and the aforementioned dual
Reverb controls, the Master Section has an FX Mix control for the rear
panel mounted Parallel FX Loop, a Master Presence Control and a Deep
switch. The latter provides a tightly focused, resonant bass boost that
will fatten-up your sound dramatically at any volume. To round off this
neat little package, all the TSL60s come supplied with a 5-way, LED
footcontroller. This sturdy device not only allows you to switch between
the amp’s three channels, but also gives you on/off control of the Reverb
and FX Loop.

TSL60 Series Speakers

The TSL601 and TSL602 combos feature a custom-voiced speaker
designed by our R&D department in conjunction with Celestion. This
12" speaker was specifically developed with the TSL601 and TSL602
combos in mind and we’re so delighted with its sheer tonality, attitude
and power that it has earned the title the ‘Wolverine’. Why? Because, like
the animal after which it is named, this beast of a speaker delivers a
mighty, tone-filled bite that belies its diminutive size!

AMPLIFIER SPECIFICATION

FEATURES TSL60 TSL601 TSL602

Output (RMS) 60Watt 60 Watt 60 Watt

Number of Channels 333
Two Tone Networks (Clean & Crunch/Lead) 
Deep Switches 
Tone Shift Switch (Crunch/Lead) 
SpringReverb with Dual Controls 
Emulated Line Out 
FX Mix Control  
Footswitchable FX Loop 
Pre-Amp Valves 4 x ECC83 4 x ECC83 4 x ECC83
Power Amp Valves 2 x EL34 2 x EL34 2 x EL34
5-Way LED Footcontroller (supplied) PEDL-10021 PEDL-10021 PEDL-10021
‘Wolverine’Speakers No  (x 1)  (x 2)
Dimensions (mm) 750 x 310 x 221 575 x 485 x 265 680 x 510 x 270
Weight (kg) 18 25 30

From left to right:

TSL601 Combo

TSL60 Head
1960A Cab
1960B Cab

TSL602 Combo

22 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 23

Mode Four Amplifier

MF350 Head

•

MF280A/B Cabs•MF400A/B Cabs

John 5

“I want to use thebest amps in the world.
That’s why I’ll be with Marshall forever!”

Dave Navarro

(Jane’s Addiction)

“My Marshall hasenabled me to do away with half of
what I usedtouse on the floor.You’ll find thatyour old
distortion and boost pedals willmake great gifts.”

From left to right:

MF350 Head
MF400B Cab

MF350 Head
MF280A Cab
MF280B Cab

Attitude, stunning good looks and an incredible
350 Watts of brutal yet toneful power set the Mode Four
apart from all other amps. Add to this an arsenal of great
sounds, a wide range of professional features plus
groundbreaking, state-of-the-art hybrid technology and you
have a Marshall like no other.

MF350 Head

A great many amplifiers have claimed to offer both classic and modern
tones but, in truth, have fallen well short of the mark. The Mode Four
boasts a true ‘Two Amplifiers in One’ design. Not only do AMP 1 and
AMP 2 have totally separate valve pre-amplifier circuits, each housing an
ECC83 valve, the MF350’s power amp section completely reconfigures
itself depending on the AMP selected. Each AMP type having two
footswitchable modes further enhances flexibility. AMP 1 offers CLEAN
and CRUNCH, while AMP 2 has OD1 and OD2.

AMP 1

AMP 1 is the ‘Classic’ side of the Mode Four. Whenever it is selected, the
power amp reconfigures to recreate the unmistakable sound and feel of
our world-renowned 100 Watt valve power stage. Using this as a sonic
foundation, AMP 1 produces Marshall’s legendary open roar. While
AMP 1’s CLEAN mode produces incredibly dynamic, three-dimensional
clean and bluesy crunch sounds, selecting CRUNCH unleashes the
unbridled aggression and bite of a 2203, but with levels of gain never
imagined in 1981 when the much-lauded JCM800 series was first
launched.

AMP 2

In terms of sheer gain, AMP 2 takes over from where AMP 1 leaves
off, with OD2 mode offering more gain than any other Marshall
before! Thanks to the Mode Four’s radical design, the player retains

maximum control while searching for the ultimate high-gain signature
sound. Whenever AMP 2 is selected, the Mode Four’s power section
reconfigures itself so it can create the deep, dark-sounding, loose
low-end that has proven so popular with many modern players who
either detune regular 6-strings, or use 7-string or detuned Baritone
guitars.

The Power to Deliver

Due to the unique design and the incredibly high headroom the
Mode Four’s 350 Watt power stage possesses, AMP 2’s impressively
wide bottom-end not only has the sound and feel of an all-valve amp,
it also doesn’t lose definition at high stage volumes – a problem that
many other similar sounding, all-valve systems suffer from.

Fully Loaded for Professional Use

The Mode Four was created with the professional guitarist in mind and
boasts a host of carefully thought out features that have been designed
to give you the ultimate in flexibility and control. These include:

• Separate controls for Gain, Volume, Bass, Middle and Treble for

AMP 1 and AMP 2.

• Individually voiced Scoop switches for AMP 1 and AMP 2.

• AMP 2 has a 3-way Tone Matrix control, enabling you to dramatically

reconfigure the all-important mids, while leaving the Bass, Middle and
Treble controls fully interactive with each other.

• Footswitchable, built-in Digital Reverb with separate controls for AMP 1

and AMP 2.

• Parallel to Series FX Loop with individual FX Level controls for AMP 1

and AMP 2.

• Footswitchable Solo Level control that gives a level increase across all

four modes of up to 6dB (i.e. twice the volume).

• Master controls for Resonance, Presence and Volume.

• Tuner Out jack with a front panel Tuner Mute switch for ‘silent’ tuning.

• XLR and 1/4" jack Emulated Line Outputs.

• Load Protection Circuitry.

• 6-way LED Footcontroller supplied.

MF280 & MF400

As you’d expect from the company that invented the ‘stack’, the
Mode Four Series 4x12"s benefit from our forty years of cabinet
expertise. The MF280 (280 Watt) and MF400 (400 Watt) cabinets
are specially engineered to reproduce the balanced mid range
and huge bottom end that are a pre-requisite for modern
rock/metal sounds, and being 3 inches taller than standard 1960
cabinets a Mode Four stack is truly a sight to behold!
We recommend the MF280A (angled) and B (base) for a full
stack and the MF400A or B for a half stack.

AMPLIFIER SPECIFICATION

FEATURES MF350

Output (RMS) 350Watts into 8 Ohms

‘Two Amps in One’Design 

Number of Footswitchable Modes 4
Independent Tone Network (per Amp) 

Scoop Switches  (x 2)

Tone Matrix (AMP 2) 

Footswitchable Solo Boost 

Footswitchable Digital Reverb 

Series/Parallel FX Loop 

Emulated Line Out (XLR & 1/4”jack) 

Tuner Output 

Tuner Mute 

6-Way LED Footcontroller (supplied) PEDL-10032

Footcontroller Extension Lead (not supplied) CBLA-00043

Dimensions (mm) 750 x 310 x 215

Weight (kg) 24

CABINET SPECIFICATION

FEATURES MF280A&B MF400A&B

Speaker Configuration 4 x 12” 4 x 12”

Power (RMS) 280 Watt 400 Watt

Impedance 16 Ohm 8 Ohm

Dimensions (mm) 768 x 820 x 365 A - 762 x 820 x 365

Weight (kg) 42.5 41.5

B - 766 x 820 x 365

24 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 25

2203KK Kerry King Amplifier

2203KK Signature Head

Kerry King

(Slayer)

“

The 2203KK is my main head and always will be!

”

Right:

2203KK Head
MF280A Cab
MF280B Cab

Thunderous, dark and thumping metal tone, the Kerry King
JCM800 2203KK Signature amplifier is part of our
on-going commitment to our loyal artists. Marshall, in
partnership with Kerry King, is proud to have
developed a personalised version of the legendary
2203 based on Kerry’s own amplifier nicknamed
‘The Beast’.

2203KK Head

The original JCM800 2203, initially launched in March 1981, proved
incredibly popular with rock guitarists in the ’80s and beyond, with its
distinctive roar and larger than life ‘edge’ it became, and still remains, the
standard that all other rock amps are judged on.
It was during this time that Kerry King, guitarist with Slayer (considered
one of the greatest metal bands in the world) picked up his golden child
‘The Beast’. Knowing that he wanted his guitar tone to be as individual as
he is, he added an EQ and pushed the mids, creating “a frown not a
smile”. Alongside this he added a noise gate to keep things quiet and
accentuate his staccato playing style. Used in countless shows and
records over many years, the combination of ‘The Beast’ and this
outboard equipment powered the sound of Kerry King until the day he
received the first 2203KK.
Kerry has used Marshall amplifiers throughout his hugely successful
career, to this day proudly bearing the Marshall logo when he performs
with a wall of 30 Marshall cabinets behind him. Marshall felt it only fitting
to produce a Signature amplifier for him.
With ‘The Beast’ and Kerry’s stage equipment in the safe hands of the
R&D team, they worked closely with Kerry to develop the tone, feel and
look of a great Marshall amp that defines the true attitude and power of
Kerry’s sound. Kerry’s hands-on approach to the project resulted in
numerous visits to the Marshall factory and putting the prototypes
vigorously through their paces, road testing each one and using three of
them every night of his 2006 and 2007 tours.

The 2203KK is a 100 Watt single channel, Master Volume, all-valve
UK made head. At its heart is a classic mid-’80s 2203 drawing on the
power and dynamics of ‘The Beast’ to take the sound further and placing
it at the cutting edge of modern rock tone. Additionally, its power stage
features four KT88 valves, adding extra warmth and girth to the sound.
With the amplifier, Kerry uses Mode Four MF280B cabinets, taking
advantage of their taller size to provide balanced mids and a huge
bottom end.
‘The Beast’ button engages Kerry King’s signature tone. Recreating the
sound of his original outboard equipment, it features a studio quality ultra
fast noise reducer, riding the signals dynamics but still maintaining the
natural sustain and very fast decays for staccato rhythms and short
pauses, the switch lights red when the circuit activates and green when
the signal is passed without attenuation. A custom-voiced control
focusing a gain boost on the mids has been specifically tuned to Kerry’s
specification. The gate and assault provide control over the guitar signal
allowing you to vary its threshold and intensity, truly capturing the ferocity
and force of Kerry’s sound.
The 2203KK features artwork inspired by Kerry’s many iconic tattoos.
Marshall has developed new techniques to allow designs to be printed
directly onto the fret cloth, allowing this distinctive design to leave the
front panel and expand over the amp’s baffle. The tribal tattoo motif trails
over the brushed gold panel pointing to ‘The Beast’ switch and the style
of the panel’s text is taken directly from one of Kerry’s tattoos. The motif
and text are used across the whole design.

Included with the amplifier are:

• A heavy duty dustcover featuring custom artwork

• Five Kerry King Signature plectrums

• An A4 colour handbook with handwritten notes from Kerry and
featuring exclusive photographs

Leaving the last word to Kerry:

“. . . the 2203KK is now my main head and always will be. Crank it up
and enjoy the best amp on the planet!!!”

AMPLIFIER SPECIFICATION

FEATURES 2203KK

Head 

Output (RMS) 100Watt

3 Band EQ 

Pre-Amp Valves 3 x ECC83

Power Amp Valves 4 x KT88

Dimensions (mm) 750 x 310 x 215

Weight (kg) 21.5

26 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 27

100JH Jimi Hendrix Amplifier

Super 100JH Limited Edition Head

•

1982AJH/1982BJH Cabs

Jimi Hendrix

“I love myMarshallamps:I am nothingwithout
them!”

Right:

Super 100JH Head
1982JHA Cab
1982JHB Cab

“Jimi Hendrix was my greatest ambassador without any
doubt at all,” states the Guv’nor, Jim Marshall. “In my
book his playing is still the best ever and his showmanship
was fantastic. I can still remember him scaring the living
daylights out of all the big name English guitarists
because they’d never seen or heard anything like Jimi –
no one had.”

Super 100JH Head

In close conjunction with Authentic Hendrix, the family company
established by Jimi’s father, the late James Al Hendrix, and after many
months of painstaking research, we are proud to announce the limited
edition, handwired ‘Super 100JH’ 100 Watt stack. This is the latest
addition to our ongoing series of handwired re-issues. It celebrates the
40th Anniversary of our world famous association with the late, great
Jimi Hendrix and pays homage to the legendary guitarist.
“Anyone who truly knew Jimi was well aware of how seriously he took his
instruments and equipment,” states Janie Hendrix, the President/CEO of
Authentic Hendrix. “To achieve the sound he heard playing inside, he
had to have the right tools. Gauging from his performances, he clearly
embraced Marshall amps. We too, embrace Marshall because it allowed
us to hear Jimi as we never would have before, with the truest sound and
most feeling. We are happy to see the past reborn in the form of this
Jimi Hendrix amp stack. It is our pleasure to partner with Marshall
Amplification in giving volume to the legacy of Jimi.”
After hearing and then playing through a Marshall stack for the first time
while in London during the Autumn of 1966, Jimi Hendrix wanted to meet
the man who created these amplifiers and coincidentally shared his first
and middle names – James Marshall! Thus, in October of that year, the
guitarist visited Jim’s shop in Hanwell and a lasting friendship and
association was immediately struck. “Despite his somewhat wild
appearance and his incredible, larger-than-life on-stage persona, Jimi
was a very softly spoken and extremely polite young man with a fantastic

sense of humour,” Dr Marshall recalls. “We hit it off right away and
became good friends.” On leaving Jim’s shop, Jimi had secured an order
for his 100 Watt Marshall stacks and, as the saying goes, the rest of the
story is now history . . .
“Meeting Jim was beyond groovy for me,” Jimi was quoted as saying
about his visit to the Marshall shop in Hanwell. “It was such a relief to talk
to someone who knows and cares about sound. Jim really listened to me
and answered a lot of questions. I love my Marshall amps: I am nothing
without them!”
The Jimi Hendrix stack consists of the Super 100JH head, the angled
1982AJH 4x12” and the extra-tall, straight-fronted 1982BJH 4x12”
cabinets. The original versions of this iconic, tall, pinstriped stack were
built in 1966 and the Super 100 head was the immediate successor to
Marshall’s first ever 100 Watt head – the famous dual output transformer
JTM45/100.
Extensive research and discussions with technicians and roadies of the
period has indicated that Hendrix’s Super 100 Marshall heads were
completely stock except for tonal enhancements requested by Jimi
himself. Slight circuit modifications in our main reference’s tone stack
support this. The limited edition Super 100JH head is a meticulous and
totally authentic handwired re-issue of these heads, complete with the
aforementioned modification which adds slightly more treble and bass.
The Super 100JH is an extremely straightforward amplifier. Its two
channels – High Treble and Normal – each have two inputs (High and
Low sensitivity) and separate Loudness (Volume) controls. Both channels
share the amplifier’s four tone controls: Treble, Middle, Bass and
Presence. It contains three ECC83 (12AX7) valves in the pre-amp and a
quartet of KT66 valves in the power amp, the latter being standard issue
in mid-sixties Marshall Amplifiers. The all-important transformers are built
by the original manufacturer Drake.
The Super 100JH stack’s two 4x12” speaker cabinets – the angled
1982AJH and straight 1982BJH – have been reintroduced to complete
the majestic look of the original pinstriped stacks that Jimi used. The
1982BJH is nearly 7” taller than a standard Marshall 4x12”, adding
further to the impressive look of the stack. Both JH cabs are loaded with

Celestion G12C 25 Watt speakers, which have been specially developed
by Marshall and Celestion to duplicate the sound of the original speakers
found in authentic reference cabinets from that era.
A limited run of 600 Super 100JH Jimi Hendrix stacks will be available
worldwide. Each head is individually numbered and comes with an
exclusive certificate, personally signed by Dr Jim Marshall OBE. The
certificate and handbook will come housed in a unique presentation
folder. Also included are a full set of heavy duty ‘script logo’ dust covers.
Each head and cabinet set bears the official Authentic Hendrix logo.

AMPLIFIER SPECIFICATION

FEATURES Super 100JH

Head 

Output (RMS) 100Watt

Channels 2

4 Band EQ 

Pre-Amp Valves 3 x ECC83

Power Amp Valves 4 x KT66

Dimensions (mm) 741 x 270 x 210

Weight (kg) 22

CABINET SPECIFICATIONS

FEATURES 1982AJH 1982BJH

Speaker Configuration 4 x 12” 4 x 12”

Power (RMS) 100Watt 100 Watt

Impedance 16 Ohm 16 Ohm

Dimensions (mm) 754 x 741 x 355 754 x 914 x 355

Weight (kg) 36.4 41.5

28 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 29

19 92LEM Lemmy Amplifier

1992LEM Superbass Signature Head

Below:

1992LEM Superbass Head

Not many can claim the ‘Living Legend’ status, but

Motorhead frontman Lemmy Kilmister is most certainly

deserving of the title. He also happens to be one of

Marshall’s most ardent fans, a relationship that we are

proud to say stretches back over three decades.

To honour this unique partnership, the Marshall team

has created a Signature Series amplifier that takes its

inspiration from Lemmy’s very own modified 1992

100 Watt Super Bass unit, ‘Murder One’. The result is

an amp that delivers sublime tone combined with

shear volume and crushing power, all wrapped up in a

rugged, over-sized cab. The 1992LEM is no mere

re-issue, this is a celebration of an iconic amplifier and

its masterful owner, this is Murder One MKII.

Best of British Bass

To produce an authentic reincarnation of the original, ‘Murder One’
itself was placed in the more than capable hands of the engineers
in our Research and Development Department. Voltages were
measured, transformers examined and circuitry scrutinised to
establish the winning formula that has made Lemmy’s 1992 Super
Bass such a formidable piece of kit. To ensure that the end product
would be exacting in its tone and performance, every effort has
been taken to source components from their original suppliers
and/or manufacturers. The results have enabled the team at
Marshall to create a bass amp with real pedigree. Internally,
Murder One’s circuitry has been modified, effectively creating a
hybrid amplifier by merging the characteristics of a stock 1992
Super Bass with elements of a Super Lead, the outcome is a bass
amp with incredible sonic depth and unbelievable tonal range.

The changes to the circuitry allow you, the player, to achieve a far
brighter, tighter sound whilst the inherent grit and raw strength of an
un-modded 1992 model can still be found in abundance when
called for. The power section is driven by four EL34 power valves
that produce 100 watts of unrelenting, mind-numbing volume
and tone.
The front panel contains a range of simple to use, but highly
effective, features that any bass player will appreciate. Your tone
can be fine tuned by way of the three stage equalisation controls –
Bass, Middle and Treble – while Volume controls for both channels
1 and 2 enhance the usability of the amp as a whole.
A separate Presence control allows you to adjust the power section
of the amp and adds higher frequencies to your tone. This, in turn,
creates more bite in your sound, allowing those crucial bass lines to
cut through and be heard in all their thundering glory.

Customise Corner

The attention to detail that has been lavished on the 1992LEM’s
internals has also been applied to the unique styling and distinctive
look of the amp itself. The original ‘Murder One’, when made in
1976, had been finished in red vinyl until, at some point, it was
painted jet black. When one of the black protective corners was
accidently knocked off, it revealed the original covering underneath,
leaving one corner of the unit in red. Additional customisation came
with two ornate carved wooden crests that Lemmy acquired whilst
on a tour of America. These were painted gold and when paired
with matching five point stars, a truly unique symbol was created,
further adding to the character and personality of ‘Murder One’.
With all this in mind the Marshall team have recreated this look to a
tee. A specially made red protective corner has been added to the
amplifiers to mimic that of its forerunner, while the Marshall script
logo and brushed gold aluminium front panel are flanked by
replicas of those iconic golden emblems. Signatures from Lemmy
and Dr Jim Marshall, along with Motorhead and Ace Of Spades
logos complete the back panel.

Finished with white piping, chrome sockets and a hard-wearing
handle, this amp continues Marshall’s proud history of creating
products of the highest order, both in terms of tone, performance
and build quality.
Improving on the sonic capabilities and extraordinary durability of
‘Murder One’ was always going to be a huge challenge. Due to
much improved construction methods and good old-fashioned
craftsmanship the new 1992LEM lives up to the expectations set
by its predecessor and then some. Lemmy has toured with his new
Signature Series amp to ensure it was up to the challenge, and
we’re happy to report that it most definitely was. So, with all boxes
ticked, and official approval from the man himself, its time for
‘Murder One’ to step aside and for the 1992LEM to create it’s own
rock legacy.

AMPLIFIER SPECIFICATION

FEATURES 1992LEM

Head 

Output (RMS) 100Watt

Channels 2

3 Band EQ 

Pre-Amp Valves 3 x ECC83

Power Amp Valves 4 x EL34

Dimensions (mm) 750 x 310 x 215

Weight (kg) 21.5

30 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 31

1959RR Randy Rhoads Amplifier

1959RR Signature Head

Randy Rhoads

“I went to the Marshall factory andordered my ownamps,
I hadthem beefed upand modified there, I gotthem in white!”

Right:

1959RR Head
1960AW Cab
1960BWEG Cab

Throughout our history we have strived to build strong
relationships between ourselves and the artists who fly the
flag for Marshall. Sometimes, tragically, this partnership is
ended prematurely. Cited by countless guitarists over the
years, Randy Rhoads remains hugely influential in the
world of rock ‘n’ roll and continues to inspire new
generations to pick up the guitar. As a rock icon who’s
reputation as a technical wizard with a unique sense of
style precedes him, we felt it fitting to honour this
ambassador of Marshall with his own Signature amp.
We are proud to present the 1959RR Head.

In the Beginning

When it came to choosing which amp to associate with Randy, there
was a clear and obvious candidate that had always stood out from
his backline of Marshall stacks. After a visit to the Marshall factory in
1980, Randy took ownership of a specially customised amplifier that
had already earned itself a formidable reputation amongst the
guitarists of the era. The JMP 1959 100 Watt Super Lead, finished in
white, was totally bespoke to Randy and featured on the Ozzy
Osbourne albums Diary of a Madman and Blizzard of Ozz. This
legendary amp, complete with matching 1960 4x12” cabinets, also
accompanied Randy on mammoth tours of the USA, UK and Europe
until his untimely death in 1982. With the kind permission of his
family, a Marshall engineer was allowed exclusive access to
examine, photograph and catalogue Randy’s 1959 JMP which had
been kept in secure storage since the early ’80s. The information
gathered proved crucial in attaining those incredible ‘beefed up’
tones and one-of-a-kind styling only to be found with this particular
Marshall amplifier. This allowed the team at Marshall to create a truly
honest and detailed representation of a piece of rock history and, in
turn, do justice to the memory of a guitar legend.

What’s inside?

Internally, the circuitry has undergone modification to the signal
path to allow the amp to produce a breathtaking, overdriven, yet
beautifully full sound, essential for attaining those sort-after
‘Randyesque’ tones. This adjustment, called the Cascading Gain
Stage, makes it possible to control the extra gain that is generated,
affording you complete control over your sound. Components,
including the transformers, have been sourced from the original
suppliers and over 50% of parts are loaded into the circuit by hand.
Every individual wire is soldered into place manually and all
remaining connections are meticulously constructed and fixed into
position at our UK factory. It’s this care and attention to detail that
ensures that the 1959RR is as solid and reliable as the nerve
tingling tones it produces.
Cosmetically the amp retains the distinctive, anodised gold front
panel of the original 100 Watt head while Randy’s iconic image and
signature adorn the back plate. Covered in brilliant white ‘elephant
grain’ vinyl and protected with black corner caps, the whole unit is
topped of with an over-sized, black Marshall logo, a feature that
Randy had added to the original when he visited the factory. If that
wasn’t enough, contained within the handbook are never before
published photos plus exclusive essays and quotes, all celebrating
the life and music of the man himself.
A combination of traditional electronic craftsmanship, modern
construction methods and a passion for creating the most inspiring
guitar amplifiers in the world mean the 1959RR is a true replica of
that infamous amp that left the factory with Randy Rhoads almost
three decades ago. Still revered to this day by many in the music
industry, we at Marshall are honoured that the 1959RR will be
testament to Randy’s longevity and natural talent for good old
fashioned rock ‘n’ roll. This addition to the Signature Series, with its
warm sonic depth and unique majestic style, will no doubt prove its
self worthy of the legendary guitarist it pays homage to.

* The Randy Rhoads Signature amplifier is based on the white 1959 head used by Randy
between January 1980 and April 1982 by kind permission of Mrs Dolores Rhoads.

AMPLIFIER SPECIFICATION

FEATURES 1959RR

Head 

Output (RMS) 100Watt

Channels 2

3 Band EQ 

Cascade Gain Stage 

Pre-Amp Valves 3 x ECC83

Power Amp Valves 4 x EL34

Dimensions (mm) 750 x 310 x 215

Weight (kg) 21.5

32 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 33

Effects Pedals

Regenerator

•

Reflector

•

Echohead

“All of these Marshall pedals tick theright boxes, both in terms
oftheir truly impressive build qualityand, most importantly,
the sheer variety and quality of each pedal’s effects leaves
very little to be desired.” Tim Slater, Guitar Buyermagazine.

From left to right:

RG-1 Regenerator

RF-1 Reflector

EH-1 Echohead

For over 46 years the Marshall name has been

synonymous with the greatest guitar tones in all forms of

rock music. Our R&D department has gone to great

lengths to ensure that our pedals all exude that essential

ingredient – the ‘Marshall Sound.’

Now eight-strong, our range of effects pedals offer the

opportunity to augment classic Marshall tones or add

Marshall character to any guitar set-up.

In keeping with our world-renowned heads, cabinets and

combos, all Marshall pedals have been thoroughly road

tested and stomped on countless times to ensure optimum

performance and reliability.

Presenting the RG-1, RF-1 and EH-1. In addition to

possessing their own unique features, each of the three

new pedals boast the following: six digital modes, three

parameter controls per mode, passive bypass, stereo

outputs and optional control pedal input.

RG-1 Regenerator

The Regenerator is a chorus, a flanger and a phaser all in one sturdy
shell. This stereo modulation pedal offers six different modes for you to
explore:
Vintage Chorus – A classic chorus, adding mellow sweeps to high speed
vibrato and everything in-between to your sound.
Multi Chorus – Based upon Marshall’s classic Supervibe pedal, its unique
sweeping pattern allows you to create simple sweeps through to
complex ensemble sounds.

Vintage Flanger – The versatile vintage effect let’s you go deep and
detune your sound to extremes. Turning up the Regen control causes the
effect to soar across your sound, while turning it down creates natural
flange effects.
Phaser – A rich phasing effect making your sound swell with energy,
creating fluid waves which wash around your tone.
Step Phaser – Adding a crystal staircase to the phaser allowing you to
trip around its sweeping textures.
Vintage Vibe – A subtle vibration that swirls around your playing, bringing
back memories of a classic sound not yet forgotten.
The Regenerator will entwine itself around your tone while leaving you in
full control. It’s every modulation pedal you’ll ever need.

RF-1 Reflector

The cavernous Reflector reverb pedal projects your sound into the third
dimension. Six reverbs add diffuse trails to your playing without ever
swallowing your tone. It’s stereo outputs create reverbs with wide
spacious fields. Connecting an expression pedal to the RF-1 allows you
to open up the sound as you play.
Hall – A large, lush reverb, adding smooth diffuse trails to your tone
without ever drowning it.
Plate – Recreating the sound of a high quality studio plate reverb,
bringing space and presence to your tone.

Room – A small reverb, wrapping a subtle presence round your sound.
Spring 1 – Recreates the classic sound of a Spring Reverb with its

characteristic pulse and resonant ambience.
Spring 2 – This mode takes the sound of springs and infuses it with a
lush reverb that only a digital pedal could, providing you with the perfect
combination of old and new.
Reverse – The Reverse mode creates ghostly textures as your notes spill
backwards out into space before rushing up to your face.
With controls for Reverb Time, Damping and Level for each mode, you’ll
easily find the sound you’re looking for.

EH-1 Echohead

Create pulsing tones and add dense rhythmic textures to your sound.
The Echohead features a maximum delay time of 2000ms, stereo outputs
and a Tap Tempo input which allows you to externally control the delay
time with a simple tap of your foot. In addition to controls for Delay Time,
Feedback and Level, the EH-1 offers you six versatile modes.

Hi-Fi – A solid delay line throwing out crystal clear repeats of the input.
Analogue – Filters shape the echoes, adding a subtle tone and

recreating the sound of the guitar cascading through old analogue delay
circuits.
Tape Echo – The narrow bandwidth and unstable whir of a tape delay
inspired these ‘old school’ degenerating echoes. The random wow and
flutter of an old motor adds a warm organic chorus to the dark textured
delays.
Multi Tap – Multiple echoes pulse out of the pedal providing a dense
rhythmic sound.
Reverse – Sucking the sound out backwards, the Reverse mode trails out
a series of hypnotic repeats creating psychedelic textures.
Mod Filter – Sweeping across your sound, synced to your delay time, a

modulating filter adds movement and depth to the echoes.
The dual outputs offer the choice of using a passive bypass for the main
signal path to ensure complete tonal integrity or to allow your pedal to
spill-over, permitting your echo to naturally die away.

PEDAL SPECIFICATION: RG-1/RF-1/EH-1

FEATURES RG-1 RF-1 EH-1

Passive Bypass 

On/Off Indicator 
Mono/Stereo SSS
Mode Select 
Speed  No No
Depth  No No
Regen  No No
Reverb Time No  No
Damping No  No
Delay Time No No 
Feedback No No 
Level No 
Expression Input No
Tap Tempo Input No No 
Weight (kg) 510g 510g 510g

34 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 35

Effects Pedals

Compressor

•

Jackhammer

•

Guv’nor Plus

•

Bluesbreaker II

•

Vibratrem

Charlotte Hatherley

(Ash)

“It’s whateverywomanneeds!”

From left to right:

ED-1 Compressor

JH-1 Jackhammer

GV-2 Guv’nor Plus

BB-2 Bluesbreaker II

VT-1 Vibratrem

Dan Fisher

(The Cooper Temple Clause)

“Kicking in the Bluesbreaker pedal is a bit like
creeping up behind oldladies andpopping a
balloonbehind their heads to scare them.
Dark,thickandsatisfying.”

Boutique amps and effects pedals can cost an

absolute fortune. However, with our range of effects

pedals the need for those specialist and expensive

units is at an end. Each one has been carefully

designed to give you the best possible range of

performance and maximum amount of control for the

minimum of cost.

Equally important, when you press the ‘off’ button,

your sound will return to being 100% pure and

untouched thanks to their completely passive bypass.

ED-1 Edward the Compressor

Add sustain to solos, even out attack and get rid of unwanted peaks
and troughs. For liquid leads, funky clean chords or choppy yet
consistent chicken pickin’, call on Edward the Compressor.
In addition, target the frequencies you want to compress with the
Emphasis control, which means that you can, for example, tighten up
or compress your bass notes and let your treble notes ring out.
Features: Controls for Emphasis, Volume, Attack and Compression.
Solid metal construction and passive bypass.

JH-1 Jackhammer

This metallic monster boasts two modes (O/D and Dist), each of which
is loaded with ungodly gain plus all the tonal control you need to push your
guitar’s sound straight over the edge. From cranium-crushing crunch and
scooped modern metal mayhem to savage slamming solos, it’s unique
dual-control contour section gives you fearsome flexibility across the
mid-range, allowing you to focus your tone. The JH-1 is the most extreme
distortion pedal on the planet.
Features: Selector switch for O/D and Dist modes, controls for Gain,
Master Volume, Contour, Contour Frequency, Bass and Treble. Solid metal
casing and passive bypass.

36

GV-2 Guv’nor Plus

Shedloads of gain and loads of level, the GV-2 has all the power and
tone of our original, much-loved Guv’nor pedal – and beyond!
The GV-2’s expanded Gain structure allows you to steer your guitar tone
through many different styles and adding one to your set-up is just like
adding another Marshall amp to your rig.
Features: Controls for Gain, Bass, Middle, Treble, Deep (for a tight and
resonant low-end rumble) and Master Volume. Passive bypass and solid
metal construction.

BB-2 Bluesbreaker II

This bluesy bruiser is effectively two pedals in one – a tonally transparent
booster that gives your solos that extra lift, and a truly valve-like overdrive
that’s so rich in second order harmonics it’ll make your guitar gently weep.
Blues Mode is reminiscent of the tonal and distortion characteristics of our
non-Master Volume amps such as the classic Bluesbreaker combo from the
1960s. If that’s not enough, the BB-2’s completely passive bypass means that
you don’t lose any of your guitar’s pure tone when the pedal’s not in use!
Features: Mode switch to select Blues or Boost. Controls for Drive,
Tone and Volume. Solid metal casing and passive bypass.

Marshall Amplification Product Catalogue

VT-1 Vibratrem

Take a step back in time to the British amps of the early sixties with the
Vibratrem’s authentic vintage effects. Its wave-shaping control allows you
to melt between two modulation pattern options, offering you everything
from groovy, trembling tremolos to psychedelic quasi-vibratos. The VT-1 is

PEDAL SPECIFICATION: ED-1/VT-1

FEATURES ED-1 VT-1

Passive Bypass *

On/Off Indicator 
Mode Select No  Vibrato/Tremolo
Mono/Stereo MS
Emphasis  No
Volume  No
Attack  No
Compression  No
Speed No 
Depth No 
Wave No No
Filter No No
Shape No 
Weight (kg) 510g 510g

* Main (Mono) Signal Path

Marshall Amplification Product Catalogue 37

as authentically retro as you can get and its passive bypass ensures that

your all-important guitar tone remains unaffected when you’re not taking a

Vibratrem trip. Features: Mode switch to select Vibrato or Tremolo.

Controls for Speed, Depth and Wave Shape. Second output for stereo

spread. Solid metal casing and passive bypass.

PEDAL SPECIFICATION: JH-1/GV-2/BB-2

FEATURES JH-1 GV-2 BB-2

Passive Bypass 

On/Off Indicator 
Mode Select OD/Distort No  Boost/Blues
Mono/Stereo MMM
Volume 
Gain Drive
Bass   No
Middle No  No
Treble No
Contour  No No
Contour Frequency  No No
Deep No  No
Tone Control No No 
Weight (kg) 510g 510g 510g

Speaker Cabinets

1960 4x12”Cabs (A/B& AV/BV)

•

1960 ‘Greenback’ loaded 4x12”Cabs(AX/BX, TV)

Steve Harris

(Iron Maiden)

“Marshall are theONLY cabs I have used
for as longas I can remember!”

Left to right:

1960A Cab
1960B Cab

1960TV Cab

1960AX Cab
1960BX Cab

Jeff Hanneman

(Slayer)

“Iuse Marshall because it’s themost intense amp
ever.I would notplay anything else. If I had to play
anything elseI’d setit on fire anddestroy it.”

The only choice for serious musicians. Nothing compares
to Marshall cabinets in terms of awesome tone and
projection. Both visually and aurally, Marshall cabs are
indeed ‘the business!’ Roadworthiness is a vital
prerequisite in the world of relentless touring and as our
46 years of cabinet building attests, Marshall cabinets are
definitely built to stand the test of time!

The Marshall Stack

Nothing personifies the image of rock ‘n’ roll more completely than a wall
of Marshall stacks. Though often imitated, nothing compares to the
original. The world’s first ever 4x12" cab was designed and built by
Jim Marshall in 1962, and with it a legend was born. Since then we have
made countless thousands, which have appeared on stages all over
the globe.
Following close on the heels of the immediate success of the Marshall
4x12", came the first ever stack – namely, an angle-fronted cab on top of
a straight-fronted cab, with an amplifier head placed on top. This came
about after discussions with Pete Townshend of The Who. Pete asked
Jim to build him an 8x12" cab with an angled front – the Guv’nor agreed,
but warned the guitarist that the cab would be extremely difficult to move.
Nevertheless, Pete insisted, so six of these awesome cabinets were built.
After being bombarded with complaints from his road crew, Pete
returned to Jim to look for a more practical approach to building this
wonderful sounding behemoth. ‘We’ll cut the cab in half,’ was Jim’s
immediate reply, and thus, the legendary Marshall stack came into being!
What happened to the six 8x12" cabs we hear you ask? Well, two went to
Pete Townshend, two went to John Entwhistle (The Who’s bassist) and
the remaining pair went to the Small Faces.
Public reaction to the impressive look and equally impressive sound of
the Marshall stack was incredible from the start and, not surprisingly, it
has stayed in production ever since. As a result, this immediately
recognisable rock ‘n’ roll icon can be found anywhere and everywhere
that electric guitar is played! As we invented the stack, Marshall 4x12"s
are the only true originals – everything else is merely an imitation.

Speaker’s Corner

To satisfy the increasingly diverse tastes of the modern guitarist, Marshall
1960s are available with three different types of Celestion speakers:

a) Standard 75 Watt ‘G12T-75’ speakers (1960A/B).
b) The warm sounding 70 Watt ‘Vintage’ speakers (1960AV/BV).
c) Re-issue 25 Watt Greenbacks, ‘G12M-25’ (1960AX/BX & TV).

Each speaker type has its own individual character, so we urge you to try
all three flavours before making your final decision. The 1960AX/BX and
1960TV cabs are loaded with 25 Watt ‘Greenback’ speakers. In order to
recreate the classic looks as well as the classic tones of yesteryear, the
AX and BX sport a smoother ‘Levant’ covering and chequered fret cloth.
The 1960TV is finished with the earlier style ‘EC’ fret cloth and is three
inches taller than a standard 4x12" – hence the ‘TV’ in its name which is
an acronym for ‘Tall, Vintage.’

Features

All our cabinets share the same high quality of design and craftsmanship.
Our highest quality woodwork includes the ‘finger locking’ of each and
every joint. This helps give our cabinets the incredible strength and
durability which has become as legendary as the Marshall sound itself.
A godsend to all gigging guitarists and roadies are the heavy duty
castors fitted as standard on all 1960 cabinets ensuring that they’re ready
to roll without rocking.

CABINET SPECIFICATION

FEATURES 1960A/B 1960AX/BX 1960TV 1960AV/BV

Cabinet Type – Angled (A) (AX) (AV)

Cabinet Type – Base

Speaker Type G12T-75 G12M-25 G12M-25 G12 Vintage (70 Watt)

Speaker Configuration 4 x 12

Power (RMS) 300 Watt 100 Watt 100 Watt 280Watt

Selectable (Mono/Stereo)

Mono Impedance 16/4 Ohm

Stereo Impedance

Dimensions (mm) 770 x 755 x 365 760 x 830 x 365 770 x 820 x 365 760 x 830 x 365

Weight (kg) – Type A 36.4 37.7 39 40.6

Weight (kg) – Type B 37 38.2 N/A 41.4

(B) (BX) No (BV)

"

 No No 

8 Ohm N/A N/A

4 x 12

"

16 Ohm 16 Ohm

4 x 12

"

4 x 12

16/4 Ohm

8 Ohm

"

38 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 39

Speaker Cabinets

MC412 4x12”Cabs (A/B)•MC212 2x12” Cab

Kerry King

(Slayer)

“IfI stand in front of my rig,if my nuts ain’t
shakingthen I ain’t satisfied. . . andthe only
stuff thatcan do thatis my Marshalls!”

•

1912/1922/1936/1936V Extension Cabs

Corey Beaulieu

(Trivium)

“I’veplayed a lot of guitar cabs and the
1960BV hasall the power andtone I’vebeen
lookingfor. Marshall is by farthe bestthereis
and theonly companyI trust to give me the
crushing toneI need.”

Below:

MC412A Cab
MC412B Cab

MC212 Cab

MC Series: MC412A, MC412B & MC212

The sonic power and iconic presence of a full stack has been the dream
of many guitarists. New for 2007, Marshall fulfils those dreams and
presents the MC cabinet series – A series of entry level cabinets that for
the first time puts a real Marshall full size 4x12" stack in reach of many.
Made at our UK factory and loaded with Celestion speakers, our
engineers have worked hard to ensure that these are the most affordable
full size Marshall cabinets available, while still providing the sonics and
build quality that are more than worthy of the badge they wear. The
MC412s 200 Watts of power, combined with the same flexible
Mono/Stereo switching of our 1960s, means it will handle any Marshall
guitar head with ease. We recommend using 4 Ohms for getting full
power out of the MG and AVT heads, while the 16 Ohms setting is
preferrable for use with our valve heads. Completing the series is the
MC212 130 Watt 2x12".

Compact Cabinets

Although all our Stereo/Mono 4x12"s are perfect for use with stereo rack
systems, we also produce a range of smaller, Celestion-loaded 2x12"
and 1x12" cabinets, ideally suited for use with such set-ups or as
extension cabinets for combos. The compact, but full sounding,1912
150 Watt 1x12" can be used as an extension cab for a 1x12" combo or
with another 1912 to create a highly portable stereo rack set-up. The
1922 2x12" cab has Mono or Stereo options and is ideal for a rack
system or as an extension cabinet for a 2 x12" combo. The larger 1936,
also has Mono/Stereo options and is great for a larger rack system. It fits
a full size Marshall head perfectly too, giving you a compact 2 x12" stack.
Whatever your rig, with our unrivalled sound and construction
techniques, Marshall offers a wide range of cabinets that are not only
perfect for your needs . . . they will also last you a lifetime.

MC212 2x12"s also have a non-switchable stereo option.
Due to demand, we have made the 1936 cabinet available with
Marshall/Celestion ‘Vintage’ 70 Watt speakers. Named the 1936V, this
2x12" cabinet has the same portable dimensions as the standard 1936,
while offering you the option of that warm ‘Vintage’ speaker tone.

Touring Pro Series Covers

To ensure your cabinet stays looking as new as the day it left the Marshall
factory, we offer professional padded touring covers for added
protection.

CABINET SPECIFICATION: 19 12 / 1922/1936/1936V

FEATURES 19121922 1936 1936V

Cabinet Type – Base 

Speaker Type G12B-150 G12T-75 G12T-75 G12Vintage

Speaker Configuration 1 x 12

Power (RMS) 150 Watt 150 Watt 150 Watt 140 Watt

Selectable (Mono/Stereo) No

Impedance (Mono)

Impedance (Stereo)

Dimensions (mm) 510 x 465 x 290 675 x 515 x 260 740 x 600 x 305 740 x 600 x 305

Weight (kg) 14.6 19 24.6 24.6

"

2 x 12

"

2 x 12

"

2 x 12

8 Ohm 8 Ohm 8 Ohm 8 Ohm

No



16 Ohm 16 Ohm 16 Ohm

"

CABINET SPECIFICATION: MC412A /B & MC212

FEATURES MC412A/B MC212

Cabinet Type – Angled  (A) No

Cabinet Type – Base

Speaker Type Platform 50 Platform 65

Speaker Configuration 4 x 12

Power (RMS) 200 Watt 130 Watt

Selectable (Mono/Stereo)

Impedance (Mono) 16/4 Ohm

Impedance (Stereo)

Dimensions (mm) (A & B) 770 x 755 x 365 745 x 530 x 310

Weight (kg) – Type A 34.0 23.0

Weight (kg) – Type B 34.0 n/a

From left to right:

1922 Cab

1912 Cab

1936 Cab

1936V Cab

 (B) 

"



8 Ohm

2 x 12

4 Ohm

8 Ohm

"

Mono/Stereo Switching

To ensure the ultimate in flexibility, six of our standard 4x12"s are
switchable between Mono (4 or 16 Ohms) and Stereo (8 Ohms per side).
The cabs in question are the 1960A (angled), 1960B (straight), 1960AV
(angled), 1960BV (straight), MC412A (angled) and MC412B (straight).
The two Mono impedance options (16/4 Ohms) provide extra amp
matching capabilities, while the cabinets’ stereo capability makes them
ideal for rack systems which typically run in stereo. The 1922,1936 and

40 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 41

MG Series Amplifiers

MG10CD

•

MG15CD

•

MG15CDR

•

MG15DFX

•

MG30DFX

From left to right:

MG10CD

MG15CD

MG15CDR

MG15DFX

MG30DFX

The MG Series raises the standard for what can be
expected from a value-for-money range of guitar amplifiers
and defines a new benchmark. All of the guitar combos
boast FDD (Frequency Dependent Damping) – a radical
new feature that is exclusive to Marshall Amplification and
accurately mimics the way an all-valve amplifier interacts
with a loudspeaker. As a result of FDD, your amp will give
you a sound and feel never before thought possible in such
an affordable, non-valve amp.

MG10CD Combo

The mammoth roar of this 10 Watt, twin channel, mini monster has to be
heard to be believed! Coupled with great features like FDD (see above),
a CD input, Emulated Headphone jack and Emulated Line Out, this
sturdy 1x6
it’s great for backstage warm-up too.
Features: Twin channels, controls for Clean Volume, Overdrive Gain and
Volume plus a Contour control which sweeps the mids, Speaker
Emulated Headphone and Line Out, CD input and FDD.

MG15CD Combo

Armed with two channels, a three-band EQ, FDD and 15 Watt RMS of
real Marshall power, the 1x8" MG15CD combo delivers superb tone –
from pristine clean to out and out filth! The ultra-flexible Contour control
allows you to fine-tune the all-important mids from woody and warm to
scooped and slammin’ . . . and all points in-between.
Features: Twin channels, controls for Clean Volume, Overdrive Gain and
Volume plus Bass, Contour and Treble tone controls, Speaker Emulated
Headphone and Line Out, CD input and FDD switch.

MG15CDR Combo

Already hailed a classic, the MG15CDR adds a natural sounding Spring
Reverb to all the outstanding features and tonal flexibility of the MG15CD.

1

/2" combo is the perfect entry-level practice amplifier . . . and

Features: Twin channels, controls for Clean Volume, Overdrive Gain and

Volume plus Bass, Contour and Treble tone controls, Speaker Emulated

Headphone and Line Out, CD input, Spring Reverb and FDD switch.

MG15DFX Combo

This twin channel, 1x8" combo is the most affordable Marshall to ever

house Digital Effects (DFX). Its impressive array of Reverb, Chorus,

Flange and Delay effects are easy to dial-in and sound incredibly natural.

With CD input plus Speaker Emulated Headphone and Line Out jacks,

this feature-laden package is hard to beat!

Features: Twin channels, controls for Clean Volume, Overdrive Gain and

Volume plus Bass, Contour and Treble tone controls, Speaker Emulated

Headphone and Line Out, CD input, DFX and FDD switch.

MG30DFX Combo

30 Watts of power and a custom-voiced 10" speaker gives the MG30DFX

all the girth and grind of its bigger brothers in a compact, rugged

package. Footswitchable Clean and Overdrive channels with

independent tone controls add to its already impressive features.

Features: Twin, footswitchable channels (footswitch optional) – Clean and
Overdrive. Clean channel has its own Volume, Bass and Treble controls,
Overdrive channel boasts controls for Gain, Bass, Contour, Treble and
Volume plus Speaker Emulated Headphone and Line Out, CD input,

Lessons Online: www.marshallamps.com

For those of you just starting to play guitar, we offer a free ten lesson
tuition course within our website. This also covers basic maintenance
and gives ‘setting-up’ tips.

DFX, FDD switch and a custom-voiced 10" speaker.

AMPLIFIER SPECIFICATION

FEATURES MG10CD MG15CD MG15CDR MG15DFX MG30DFX

Output (RMS) 10 Watt 15Watt 15 Watt 15 Watt 30 Watt

Channels 22222

Footswitchable Channels No No No No
CD Input  
Emulated Line Out 
Emulated Headphone Jack  
SpringReverb No No  No No

Digital FX No No No
FDD 

Speaker 1 x 61/2

Dimensions (mm) – Made in China 300 x 310 x 190 383 x 376 x 206 380 x 375 x 205 380 x 375 x 205 480 x 420 x 245

Weight (kg) 5 7.2 7.2 7.2 9.6

"

1 x 8

"

1 x 8

"



1 x 8

"

1 x 10



"

42 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 43

MG Series Amplifiers

MG50DFX Combo

•

MG100DFX Combo•MG100HDFXHead•MG250DFX Combo•MG412A/B Cabs

Wayne Static

(Static-X)

“Ilove theold MG100RCD head but the newMG100HDFX is
even better – it hasa bigger, tighter low-end and even more
gain,making it perfectfor the crunchy,detuned rhythmsI do.
The ‘magic button’(theFDD switch), is a bigselling point as
well – it allows theHDFX to sound greatat anyvolume
becauseit maintains tightness and bite.Thebuilt-ineffects are
nice too,they sound greatand it’s reallyeasy to dial themin.”

From left to right:

MG250DFX Combo

MG50DFX Combo

MG100HDFX Head
MG412A Cab

MG100DFX Combo

Packed with tone and loaded with features, each and
every one of the solid-state MG Series amplifiers gives you
the unmistakable sound quality, dynamic feel and high
performance that has made Marshall the number one
choice for guitarists all over the globe for the past four
decades.

MG50DFX Combo

Delivering 50 Watt RMS of Marshall power through its custom-designed
12" speaker, the twin channel MG50DFX delivers the goods both at
home and on stage. Each footswitchable channel has its own set of tone
controls for maximum flexibility. In addition to producing great clean
sounds, when you crank up the Clean channel’s Gain control you get a
raunchy, blues-tinged crunch. As you’d expect from a Marshall, the
Overdrive channel has gain to spare and also boasts the now legendary
Valvestate-style Contour control which allows you to ‘scoop out’ or ‘fill in’
the all-important mids.
The specially-voiced DFX section offers Chorus/Delay, Delay, Chorus and
Flange effects, plus a natural sounding digital Reverb with its own
individual Level control. Add to this our revolutionary FDD, footswitchable
channels, a Series Effects Loop and Speaker Emulated Headphones
and Line Out plus a CD input, which allows you to plug in a CD or
cassette player and jam along with your favourite artist or band and you
have an unbeatable package for the price.

modes – Clean/Crunch on the Clean Channel and OD1/OD2 on the
Overdrive Channel. Each channel has independent tone controls for
Bass, Middle and Treble, and the Overdrive Channel also features
our critically-acclaimed Contour control to ensure that all-important
tonal versatility.
Higher Gain settings on the Clean Channel will yield a healthy, bluesy
overdrive, especially when the ‘Crunch’ mode is selected. This said,
when in Clean mode, this channel has bags of headroom which makes
high levels of clean performance easily attainable. The Overdrive
Channel’s OD1 mode is reminiscent of the throaty drive that has made
our vintage amps famous, while OD2 is brimming with modern, high
gain aggression.
The MG100DFX’s specially-voiced footswitchable DFX section offers
Chorus/Delay, Delay, Chorus or Flange effects plus a natural sounding
digital Reverb with its own individual level control.
Add in our revolutionary FDD technology, a Parallel Effects Loop (with
switchable level and Effects Mix control), custom 12" speaker, CD input,
Speaker Emulated Headphones and Line Out plus a Master Volume
control and you have a world-beating combo.

MG100HDFX Head

Boasting the same impressive features and staggering versatility of the
MG100DFX combo, this awesome, 100 Watt head will drive any cabinet
from the Marshall range, but is best suited to the Celestion-loaded
MG412A (angled) and MG412B (straight) 120 Watt 4x12" cabinets.
Unbelievable tone, feel and projection come as standard.

AMPLIFIER SPECIFICATION

FEATURES MG50DFX MG250DFX MG100DFX MG100HDFX

Output (RMS) 50 Watt 100 Watt (2 x 50 Watt) 100 Watt 100 Watt

Channels 2222

Separate EQ per Channel 

Clean/Crunch Switch (Ch 1) No No 

OD1/OD2 Switch (Ch 2) No No 

Contour Control (Ch 2) 

Footswitchable Channels 

CD Input 

Emulated Line Out 

Emulated Headphone Jack 

Digital FX (footswitchable) 

Digital Reverb 

FX Loop 

FX Loop Level & Mix Control No No 

FDD Switch 

Speaker 1 x 12

Footswitch (supplied) PEDL-90004 PEDL-90004 PEDL-90004 PEDL-90004

Dimensions (mm) 520 x 500 x 285 675 x 500 x 285 595 x 540 x 270 595 x 250 x 270

Weight (kg) 16 22 22.4 12.8

"

2 x 12

"

1 x 12

"

No

MG250DFX Combo

Double the power of the feature-loaded, versatile MG50DFX and you get
the MG250DFX with its stereo, 50 Watt + 50 Watt power amp driving
2x12" custom speakers – awesome!

MG100DFX Combo

This compact, gig-ready, 100 Watt, 1x12" combo is a powerhouse of

CABINET SPECIFICATION

FEATURES MG412A MG412B

Speaker Configuration 4 x 12” 4 x 12”

Power (RMS) 120 Watt 120 Watt

Impedance 8 Ohm 8 Ohm

Dimensions (mm) 695 x 675 x 360 695 x 675 x 360

Weight (kg) 24 24

killer tone. Its two footswitchable channels offer a pair of selectable

44 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 45

Rack Power-Amp Products

EL84 20/20

•

EL34 50/50•EL34 100/100

Jerry Horton

(Papa Roach)

“Marshall have alwaysbeen the best. . .
and they still are.”

Phil Campbell

(Motorhead)

“It’s therack fromhell which needs earplugs.”

Nothing beats the musical roar of a British valve power

amp – and nothing roars with more tuneful power than a

Marshall.

Our expertise in making full use of the tonality offered by

valves has led to our valve-driven power amps becoming

revered by musicians the world over and as a result all

three models in our power amp range will breathe new

life back into the sound of your rack.

EL84 20/20 Valve Power Amp

For the player who wants portability coupled with great Marshall
valve tone, we offer the EL84 20/20. This compact, single space,
rack-mountable power amp packs 20 Watts + 20 Watts of Marshall
valve power. Its quartet of EL84 power valves offers impressive clean
headroom, in addition to the magnificent overdriven tones it exudes.
A unique Deep switch brings in state-of-the-art, resonance circuitry
which works with the speaker cabinet(s) being driven and results in a
tight, low-end boost which can’t be mimicked via pre-amp EQ. The unit’s
Presence control and Line Level outputs add further to the flexibility of
the EL84 20/20’s superb natural tone. Surprisingly loud, the fan-cooled
EL84 20/20 is ideal for both studio and live work where valve-driven,
harmonically rich tone is a must.

that each side (channel) of the stereo amplifier operates as a
completely independent unit.
Each channel features its own Gain and Presence controls and our
highly specialised ‘True Differential Inverter’ circuitry, ensures that the
maximum integrity and pureness of their valve tone is maintained at
all times. Each channel also boasts a remotely switchable ‘Voice’
switch which takes you from ‘traditional’ (Voice A) to ‘modern’
(Voice B) and will allow you to cut through any mix. The EL34 50/50
and EL34 100/100 – professional, all-valve power amps that sound
as good as they look!

POWER AMP SPECIFICATION

FEATURES EL84 20/20 EL34 50/50 EL34 100/100

Output (RMS) 20 + 20 Watt 50 + 50 Watt 100 + 100 Watt

Volume Control 1 x Stereo 1 per Channel 1 per Channel

Presence Control 1 x Stereo 1 per Channel 1 per Channel

Voicing Options Resonance A/B A/B

Remote Resonance Switching  No No

Remote A/B Switching No 

Impedance Selection  

Line Level Output  No No

Link Output No 

Power Amp Valves 4 x EL84 4 x EL34 8 x EL34

Pre-Drives 1 x ECC82 2 x ECC83 2 x ECC83

Phase Inverters 2 x ECC83 2 x ECC81 2 x ECC81

Footswitch (not supplied) PEDL-10008 PEDL-10008 PEDL-10008

Dimensions (mm) (270mm Deep) (330mm Deep) (330mm Deep)

Weight (kg) 5 19 20.5

1U Rack 3U Rack 3U Rack

From top to bottom:

EL84 20/20

EL34 50/50

EL34 100/100

EL34 50/50 & EL34 100/100 Valve Power Amp

Marshall 50 Watt and 100 Watt, EL34-driven, valve power stages are,
in the minds of many, the ‘industry standard’. As soon as you hear
our EL34 50/50 (50 Watt + 50 Watt) and EL34 100/100 (100 Watt +
100 Watt) valve power amps, you will immediately understand why.
Both of these eye-catching units are packed to the brim with
Marshall valve tone. Just like expensive hi-fi amps, both the EL34
50/50 and EL34 100/100 are Dual MonoBloc amplifiers – meaning

46 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 47

Acoustic Amplifiers

AS50D Combo

•

AS100D Combo

Pierre Bensusan

“Aboveall I like thesound, whichhas never been
soclosetothe acoustic specs of my guitar. I love
the idea ofbringing it to the gigor to a rehearsal
insteadof my massive rack.”

Aziz Ibrahim

“Picture this, Me, myguitar,a wallofMarshall
AS100Ds. Ohyeah,andone veryangry looking
frontofhouseengineer.Heaven!”

When designing amplifiers for acoustic guitar, while many

of the functions and features may differ from their electric

guitar counterparts, the same appreciation of tone is

essential, as is listening to customer feedback. As a direct

result, innovative features, clear and natural tone plus

stylish looks are what our acoustic combos are all about.

The AS Series acoustic amplifiers allow you to express

your emotions with passion.

AS50D Combo

The AS50D is a 50 Watt combo housing 2x8" custom voiced speakers
and a single high fidelity soft polymer dome tweeter as used on the
AS100D, a combination which allows for clear and detailed sound
reproduction across the entire range. This compact and highly portable
combo features two channels, each of which has its own independent
volume and tone controls. A variety of inputs give the AS50D the ability to
handle all-comers: the high impedance input on Channel 1 is perfect for
piezo or magnetic pickups. Channel 2 boasts RCA phono inputs plus a
balanced phantom powered XLR type input in addition to its jack input,
making it the perfect host for voice, instrument or even backing track.
The AS50D also contains a high quality digital effects section featuring an
adjustable Chorus which is assignable to either or both channels.
The studio quality natural sounding digital Reverb and the parallel Effects
Loop can be balanced between the two channels.
One of the most difficult aspects of amplifying certain acoustic
instruments is feedback. Therefore, anti-feedback controls include a
Phase switch and a frequency controllable Notch Filter. Another useful
AS50D feature is an internal Limiter which allows you to drive the
maximum level from the 50 Watt power stage, yet remain distortion free.
Neat and affordable, flexible and portable, the AS50D is ideal for the
acoustic musician who wants an amp which is perfectly suited to
intimate gigs.

AS100D Combo

For the acoustic player who wants it all, we offer the comprehensively
featured and powerful AS100D – a 50 Watt + 50 Watt, 2x8" combo with
two high fidelity polymer dome tweeters. The AS100D has been
specially created for use with a variety of acoustic instruments and now
boasts new and improved speakers conceived by our design experts
in conjunction with Celestion. Between its four channels, this combo
has the flexibility to handle instruments with piezo transducers or
magnetic pick-ups, plus microphones, for both vocal and instrument
reproduction. For those using two pick-ups via a single stereo jack, the
two main Acoustic Channels (1 and 2) can be linked together via a
‘Link’ switch, affording you independent Volume and EQ controls for
each pick-up.
The other two channels are a dedicated Microphone (Ch.3) and an
Auxiliary (Ch.4), the latter of which has phono (RCA) stereo inputs
specifically for use with external audio equipment. The AS100D also
houses an internal limiter to ensure you can achieve maximum output
while your sound remains distortion free.
Even though the AS100D’s 50 Watt + 50 Watt stereo configuration offers
more than enough power for many typical acoustic music venues, a
stereo pair of balanced XLR DI Outs and Line Outs allow you to connect
directly to an external PA system for larger venues. When playing live,
one of the most difficult aspects of amplifying acoustic instruments is
unwanted feedback. To help eliminate this, the AS100D features several
anti-feedback controls. These include an individual Phase switch on
channels 1, 2 & 3 plus two frequency controllable Notch Filters with
selectable extra depth for channels 1 & 2.
The superb quality of the sixteen built-in, adjustable stereo digital effects
(10 Reverbs, Delay, Chorus and more) adds an entirely new dimension to
the already wide range of sounds this professional combo has to offer.
Additionally, there is also a stereo Parallel Effects Loop, complete with
Level Control, on the rear panel.
Compact and portable, the stylish AS100D offers great flexibility and is
the ideal amplifier for the acoustic player who wants the highest quality
performance with absolutely natural tonal reproduction.

Right:

AS50D Combo

Bottom:

AS100D Combo

AMPLIFIER SPECIFICATION

FEATURES AS50D AS100D

Output (RMS) 50 Watt 100 Watt Stereo (50 Watt per side)
Channels 24
Volume Control (1 per channel) 
Independent Tone Network per Channel  Ch.1, 2 & 3
Microphone Input  Ch. 2 & 3
Phase Switch  Ch. 1, 2 & 3
Phantom Power Ch.2 Ch.2 & 3
Phono Inputs Ch.2 Ch. 4
Anti-Feedback NotchFilter  Ch.1 & 2
Digital FX 
Master Volume 
Digital Reverb 
FX Loop Mono Stereo
D.I. Outputs Mono Stereo Balanced
Line Out Mono Stereo Unbalanced
Polymer Dome Tweeter 12
Speakers 2 x 8” 2 x 8”(Celestion)
Dimensions (mm) 550 x 415 x 255 605 x 530 x 270
Weight (kg) 16 21

48 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 49

VBA Bass Amplifiers

VBA400 Head

•

VBC412 Cab

•

VBC810 Cab

Mani

(Primal Scream)

“Real trouser flapping power with great
tonal qualitytoboot!”

Stan

(Faithless)

“We are talking SEISMIC bass!”

From left to right:

VBA400 Head
VBC412 Cab

VBA400 Head
VBC810 Cab

When it comes to designing and producing valve
amplification, nobody does it better than Marshall. Hence
the logical extension to the Marshall range of valve
products to include a high-powered, professional valve rig
for the bass player. Valves bring with them a unique tone,
feel and response and these attributes are just as attractive
to bassists as they are to guitarists. The warm, deep tone
of our VBA bass rig, not only expands and enhances the
sound of your bass in the live situation, it also adds a
unique, 3-D quality to recordings. This stunning bass
set-up has won many converts since its introduction –
here’s an insight into what has made it so popular.

400 Watt Valve Bass Amp

The Marshall name, together with our famous scripted logo, has always
been synonymous with world-class, valve-driven tone. In keeping with
this tradition, our 400 Watt, all-valve VBA400 bass head is being hailed
by players and press alike as another true classic.
Designed with the serious bass player in mind and drawing from our
many years of valve ‘tone crafting’ experience, the VBA400 boasts a
staggering 8x6550 power valves, plus 3xECC83 and 1xECC82
pre-amp valves.
One of the main things that makes this amp special is the sheer vastness
of pure valve power on tap from the twelve valves it houses.
Consequently, we didn’t want to dilute any of this natural purity by
incorporating unnecessary features and controls. For this very reason,
only the essential front panel controls have been included.
This said, the VBA400’s 3-band passive EQ network for Bass, Middle and
Treble has been designed so that it offers you all the tonal adjustment
you’ll need. Furthermore, this tone network can be totally changed by
means of the 3-position Contour switch which reconfigures the mid range
as follows:

Contour Position 1 – drops the low mids and creates a rounder, fuller,
fat bottom end.
Contour Position 2 – boosts the mid range, giving greater edge and
aggression to your sound.
Contour Position 3 – moves the mid range higher than you would
normally expect on a bass amplifier. This adds an aggressive twang
while leaving the essential body of your tone intact, making it ideal for
percussive styles such as slap bass.
Further tone control is provided by Deep and Bright switches.
Engaging the Deep switch increases low-end thud without losing
definition while the Bright option adds extra high-end brilliance and bite
to your sound.
Other essential features include Active and Passive inputs, an XLR DI
Output, complete with switches for Earth (ground) Lift and pre/post EQ
selection, a Series FX Loop and a High/Low Fan Speed switch to
ensure the valves are kept at a safe operating temperature.
Another very practical ‘bassist friendly’ addition is a Tuner Mute facility
which, when activated, mutes the signal to both the loudspeakers and
the DI Output, enabling the user to tune ‘silently’ in the live situation –
providing a tuner is hooked up of course!

VBC412 & VBC810 Cabinets

Specially designed, heavy duty, matching cabinets for the VBA400 head
are available in 4x12" and 8x10" formats. Built as only Marshall knows
how, both feature separate sealed chambers (four in the VBC810 and
two in the VBC412) which help to prevent unwanted cabinet resonance
while adding to the structural integrity of the units. They are also lined
with sound absorbent wadding to further help dampen internal
resonance.
Both cabs are loaded with custom designed loudspeakers which have
been specially voiced to handle the power of the VBA400’s output while
giving you superb, professional performance. Both cabinets operate at
4 Ohms impedance and have been designed to perfectly complement
the VBA400. As the amplifier will accept a load of 2 Ohms, combinations
of the two cabinets can be used to create an awesome bass rig.

Clad in Marshall’s trademark, heavy duty
black vinyl, the 400 Watt VBC412 and 640
Watt VBC810 each boast roadworthy, high
grade fittings. The VBC810 also features a
recessed handle on the bottom for easy
lifting, castors and an aluminium kick plate for
easy tilt and roll capability plus aluminium
edge protectors.

AMPLIFIER SPECIFICATION

FEATURES VBA400

Active/Passive Inputs 

Gain Control 
3 Band Rotary EQ 

3 Position Mid Contour 
Deep Switch 

BrightSwitch 

Master Volume 
Tuner Output 
Tuner Mute Switch 

DI Pre/Post Switch 

DI XLR with Earth Lift Switch 

FX Send & Return 

Fan Speed Selector 

Impedance Select Switch 

Output Valves 8 x 6550

Pre-Amp Valves 3 x ECC83 & 1 x ECC82
Dimensions (mm) 685 x 275 x 330
Weight (kg) 36

CABINET SPECIFICATION

FEATURES VBC412 VBC810

Speaker Configuration 4 x 12” 8 x 10”

Power Handling (RMS)
Impedence 4 Ohm 4 Ohm

Dimensions (mm) 775 x 760 x 395 675 x 1260 x 425

Weight (kg) 49 72

400 Watt 640 Watt

50 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 51

MB Bass Series Amplifiers

MB15 Combo

•

MB30 Combo

•

MB60 Combo

•

MB150 Combo

•

MB4210 Combo

Lemmy

(Motorhead)

“Ifithas Marshall written on it you can buyit without
even a testdrive, they arethat good.”

Left to right:

MB15 Combo

MB60 Combo

MB30 Combo

MB150 Combo

For the aspiring bass player we offer our
comprehensive MB Bass Series which offers two
channels throughout the entire range. The Classic
channel presents gain worthy of the greatest rock bass
player and the heavy tone that is expected from a
Marshall amp. The Modern channel hits those super
crystal clean notes when clarity is a must. The higher
wattage amplifiers contain an ECC83 pre-amp valve
on the Classic channel and all amps have a Limiter to
prevent the power amp from clipping. Scoping the
complete bass playing spectrum the MB Bass Series
has an amp to suit the beginner, intermediate or
professional player.

MB15 Combo

At just 15 Watts, the MB15 combo punches well beyond its
expected weight. The 1x8” speaker packs the power warranting the
Marshall name, making this a perfect practice amp or smaller stage
amplifier. This compact workhorse has two channels, Modern and
Classic, with a shared 3-band passive tone network, featuring a mid
Voice control. The Modern channel has a switchable compressor
with variable level control.
Features: Two channels, Emulated Line Out, Limiter, CD input and a
Headphones socket.

MB30 Combo

Next in the MB range is the 30 Watt, 1x10”combo. The MB30 takes
the budding bass player a step further to hitting the stage with
aggression and growl. Like the 15 Watt combo the MB30 has two
channels (Modern and Classic) with a shared 3-band passive tone
network, featuring a mid Voice control with three modes.

The Modern channel has a switchable compressor with variable
level control. Both channels are selectable via an optional single
footswitch.
Features: Series Effects Loop, Emulated Line Out, Limiter, CD input,
Headphones socket and Footswitch socket.

MB60 Combo

The portable MB60 Watt, 1x12” combo packs a mighty bottom-end
punch making it ideal for the rehearsal room or the pub gig. Again,
the combo has two channels (Modern and Classic) with separate
EQ for each. The Modern channel features Bass, Treble, parametric
Mid and switchable compressor with variable level control. The
Classic channel with its ECC83 pre-amp valve includes a Boost
switch and has a 3-band passive tone network featuring a mid
Voice control with three modes. Both channels will be selectable via
the supplied single footswitch.
Features: Series Effects Loop, balanced Line Out with switchable
modes (pre and post), External Speaker Output, Limiter, CD input
and a Headphones socket.

MB150 Combo

With 150 Watts of sheer bass power behind it, the MB150 houses a
1x15” speaker that can only mean one thing – you mean business!
This combo in the series offers the tone and versatility required by
any professional bass player. Yet again, the combo has two
channels (Modern and Classic) with separate EQ for each. The
Modern channel features Bass, Treble, parametric Mid and a
switchable compressor with variable level control. The Classic
channel with its ECC83 pre-amp valve includes a Boost switch and
has a 3-band passive tone network featuring a mid Voice control
with three modes. The channels are selectable via the supplied
single footswitch.
Features: Series Effects Loop, balanced Line Out with switchable
modes (pre and post), External Speaker Output, Limiter, CD input
and a Headphones socket.

MB4210 Combo

For those wanting to leave a lasting impression with not only the
audience, but also fellow band members, our higher wattage
combo’s are just what the doctor ordered. The MB4210 will send
booming bottom-end signals thudding through the chest of
everybody within a 200 yard radius! The 450 Watt, 2x10” combo
with HF horn has two channels (Modern and Classic) with separate
EQ for each. The Modern channel features Bass, Treble, a
parametric Mid and a switchable compressor with variable level
control. The Classic channel with its ECC83 pre-amp valve includes
a Boost switch and has a 3-band passive tone network. The
MB4210 also lets you select a blend of the two channels, either from
the front panel or via the supplied two-way footswitch. The overall
volume of the blend is adjustable in addition to the balance between
the two channels.
Features: Series Effects Loop, balanced Line Out with switchable
modes (pre and post), external jack and Speakon
CD input, Limiter, Master Volume and a Headphones socket.

®

speaker outputs,

AMPLIFIER SPECIFICATION

FEATURES MB15 MB30 MB60 MB150

Power (RMS) 15 Watt 30 Watt 60 Watt 150 Watt
Impedance n/a n/a 4 Ohms 4 Ohms
Speaker Configuration 1 x 8” 1 x 10 ” 1 x 12” 1 x 15”
Limiter 
DI Line Out Emulated Jack Emulated Jack XLR (Pre & Post) XLR (Pre & Post)
FX Loop No 
Footswitch No 1 Way (optional) 1Way (included) 1Way (included)
2 Channels 
Compressor 
ECC83 Pre-amp Valve No No 
Boost Switch No No 
Mid Voices 1333
Dimensions (mm) 390 x 380 x 240 440 x 410 x 260 535 x 505 x 325 580 x 585 x 355
Weight (kg) 12 14.8 23 30

* with extension cabinet

52 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 53

MB Bass Series Amplifiers

MB450H Head

•

MB4410 Combo•MBC115/MBC410/MBC810 Ext Cabs

Paul Brewis

(Blitzkrieg)

“The MB gives me all I needto lock downmy bass lines,
power, tone and reliabilityaswell as great looks.”

Left to right:

MB450H Head
MBC410 Ext Cab

MB4410 Combo

MBC4210 Combo
MBC115 Ext Cab

MB450H Head
MBC810 Ext Cab

As with all our products proudly wearing the Marshall badge,
quality and tone are of utmost importance to ensure our
amplifiers remain unrivalled within the music industry. The
Marshall R&D team have worked relentlessly in the design of

Features: Series Effects Loop, balanced Line Out with switchable modes
(pre and post), external jack and Speakon

®

speaker outputs, CD input,
Limiter, Master Volume and a Headphones socket. The Modern channel
has a switchable compressor with variable level control. The Classic
channel includes a Boost switch.

our most comprehensive bass range ever offered by
Marshall Amplification. We asked bass players what they
wanted and have catered to their demands with new features
and various speaker configurations within the combo’s and
speaker extension cabinets.

MB4410 Combo

The daddy of the combo’s has to be the MB4410. The 450 Watt houses
4x10"speakers and HF horn. Big enough to sound monstrous, yet
transportable enough to fit in the car, the combo booms with low
frequency bottom-end. The MB4410 features two channels (Modern and
Classic) including a separate EQ for each. Modern features include
Bass, Treble, parametric Mid and switchable compressor with variable
level control. The Classic channel with its ECC83 pre-amp valve includes
a Boost switch and has a 3-band passive tone network. Like the
MB4210, you can mix the two channels either from the front panel or
from the supplied two-way footswitch. The overall volume of the blend is
adjustable in addition to the balance between the two channels.
Features: Series Effects Loop, balanced Line Out with switchable modes
(pre and post), external jack and Speakon
Limiter, Master Volume and a Headphones socket.

MB450H Head

This powerhouse of a head wallops a massive 450 Watts of total bass
power when connected to two extension cabinets. All that’s left to do now
is choose your preferred choice of cabinets so you can plug in and rock!
The two channels (Modern and Classic) are both present, each with
separate EQ. Modern features Bass, Treble, parametric Mid and a
compressor. The Classic channel with its ECC83 pre-amp valve includes
a Boost switch and has a 3-band passive tone network with three
different voices. Like the higher wattage combo’s the MB450 has the
option of blending the two channels either from the front panel or via a
supplied two-way footswitch.

54 Marshall Amplification Product Catalogue

®

speaker outputs, CD input,

MBC115, MBC410, MBC810

After listening to bass players requirements, we made the decision to
give you options of the most favoured and asked after extension cabinets
to complement your bass head or combo.
Firstly, the MBC115 is a 300 Watt, 4 Ohm bass cabinet. Sturdily built and
more than ready for life on the road, this speaker cab contains one
15" speaker with an HF horn. Next in the line is theever-popular 4x10"
cabinet. Containing four colossal sounding 10" speakers, you are guaranteed
to get clear low-end tones roaring through the club. This 600 Watt, 4 Ohm
speaker cabinet has an HF horn.
The bigger brother of the 4x10", the MBC810, not only sounds the part,
it also looks the part. The mighty 1200 Watt, 4 Ohm beast contains
8x10" speakers with an HF horn.

AMPLIFIER SPECIFICATION

FEATURES MB4210 MB4410 MB450H

Power (RMS) @ 4 Ohms 300 Watt 300 Watt 300 Watt
Power (RMS) @ 2 Ohms 450 Watt* 450 Watt* 450 Watt
Speaker Configuration 2 x 10

HF Horn

®

Speakon

Connector 22 2

JackSpeaker Connector 22 2

Limiter

DI Line Out XLR (Pre & Post) XLR (Pre & Post) XLR (Pre & Post)

FX Loop

Footswitch 2 Way (included) 2 Way (included) 2 Way (included)
2 Channels  
Blend Control  
Compressor  
ECC83 Pre-amp Valve  
Boost Switch  
Mid Voices 33 3
Master Volume  
Dimensions (mm) 630 x 535 x 280 630 x 720 x 410 630 x 220 x 235
Weight (kg) 33 51 15

* with extension cabinet

"



 

 

4 x 10

" n/a

n/a

CABINET SPECIFICATION

FEATURES MBC115 MBC410 MBC810

Cabinet Type Bass Reflex Bass Reflex Bass Reflex

Speaker Configuration 1 x 15

HF Horn  

HF Horn Switch  

Impedance 4 Ohms 4 Ohms 4 Ohms

Power (RMS) 300 Watt 600 Watt 1200 Watt

Power (Program) 600 Watt 1200 Watt 2400 Watt

®

Speakon

Connector 11 1

Jack Connector 11 1

Dimensions (mm) 630 x 635 x 410 630 x 720 x 410 630 x 1250 x 410

Weight (kg) 32 42.5 70

Marshall Amplification Product Catalogue 55

"

4 x 10

"

8 x 10

"

Packages & Accessories

Rockbox•MG15MSII Microstack•Rockkit•MT-1Tuner

Right:

MG15MSII Microstack

Rockkit Package

Below:

MT-1 Tuner

Rockbox Package

Ever yearned for the adulation of thousands of screaming
fans as you take to the stage in a sell-out stadium? Have
you always felt that inside you there is a rock god just
waiting for the chance to prove his or her metal? Just one
problem though, you need the right kit to set you on your
road to super stardom. Luckily, Marshall can provide the
budding guitarist with all that is required to become a rock
legend, and then some. Both of our starter packages
include award-winning high quality amplifiers as you would
expect and a host of other must-haves for the apprentice
guitarist. The MG15MSII Microstack is ideal for all guitar
players from beginner to professional. It sounds just like a
Marshall should, full fat tones with a host of essential
features to boot. Add into the deal that fact it looks fantastic
and it’s safe to say that this is the perfect addition to any
guitarists amplifier arsenal.

Rockbox

All guitar players fantasise about playing in front of the iconic
Marshall script logo. Now the dream can come true thanks to our
affordable Rockbox starter kit. A perfect package for the
beginner/intermediate guitar player. The Rockbox features our
award-winning MG15DFX which includes twin channels, controls for
Clean Volume, Overdrive Gain and Volume and built-in DFX
(digital effects). It also contains a tutorial DVD with 10 easy steps to
help you learn your favourite guitar licks in the quickest possible
time. A Marshall MT-1 Tuner, a guitar cable, Marshall strings,
Marshall guitar strap and Marshall picks complete this awesome
package.

MG15MSII Microstack

The MG15MSII Microstack is a complete Marshall stack that will fit
into any room. The amplifier is based around the MG15CDR and

features two channels, Spring Reverb and Marshall’s proprietary
FDD (frequency dependant damping) technology. Supplied with two
1x10" speaker cabinets its looks and sounds great. The dream of
owning a Marshall stack has now become a reality!

Rockkit

All great guitar players have to start somewhere, and the Rockkit will get
you on the road to rock stardom. It’s an ideal starter package for any
aspiring guitarist. The package has everything you need to take you on
your journey from bedroom to stadium Rock. The package includes the
classic MG15CDR 15 Watt guitar combo which has 2 channels and
Reverb, a choice of guitars (Special or Deluxe), a Marshall gigbag,
guitar cable, Marshall strings, Marshall guitar strap, a bag of Marshall
picks and the MT-1 Marshall tuner.

Marshall MT-1 Tuner

Designed with ease of use in mind, the modern and compact
Marshall tuner is a must-have for the live gig or rehearsal room.
The tuner is suitable for both guitar and bass, tunes up to
5 semitones flat, supports baritone, 7-string and dropped tunings,
has a precision LCD needle meter, an auto power off and a built-in
mic for tuning acoustic guitars.

CONTENTS:

ACCESSORIES ROCKKIT ROCKBOX

MG15CDR Amplifier  No

MG15DFX Amplifier No 

Guitar (choice of two)  No

Tremolo Arm  No

Guitar Cable 

Marshall Tuner 

Marshall Strap 

Marshall Picks
Marshall String Winder No 

Marshall Strings 

Marshall Gigbag 

Marshall Tutorial DVD No 



56

Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 57

MG Specials

Zakk Wylde MG15MSZW Microstack•Kerry King MG10KK Combo

Kerry King

(Slayer)

“The MG10KK – heavier than a pair of
concrete boots!”

Zakk Wylde

(BLS, Ozzy Osbourne)

“The MG15MSZWsounds totally slamming –
the overdrive is crushing. . .”

Even the biggest of artists have uses for the smallest
of amps and Kerry King and Zakk Wylde are no
exception. Warming-up backstage, where space is
precious and volume must be sacrificed, is essential
for any professional guitarist wanting to nail those killer
licks and destructive riffs. All that’s required is a
lightweight amp with tonnes of tone and impressive
looks, thats why the MG15MSZW and the brand new
MG10KK fit the bill perfectly.
Don’t be fooled by their diminutive size however, as
these miniature Marshalls pack quite a punch.
Whether you’re about to rock to a sell-out crowd of
thousands or simply jamming along with your favourite
tunes in your bedroom, these MG specials deliver the
ideal solution!

Zakk Wylde MG15MSZW Microstack

If you’ve been longing after a full Marshall stack but space is at a
premium, it maybe that your prayers have just been answered.
Based on the MG15MSII Microstack, Zakk's longtime practice
amplifier of choice, the Zakk Wylde Microstack offers
Marshall-size tone in a compact form sharing the unmistakable look
of Zakk's trademark Marshall ‘Wall of Doom’ he uses whenever he
plays live.
Crammed in this incredible little amp are 2-channels (Clean and
Overdrive) delivering 15 Watts of power through two 1x10" speaker
cabinets, one angled and one base, creating that unmistakable
Marshall stack look. This mini Marshall also features three stage
equalisation, allowing complete control over your tone while the
Spring Reverb creates added depth to your sound. A Speaker
Emulated Headphone output means that the tone you would hear

from the speakers is exactly mimicked when practicing quietly to
yourself. Add into the mix a CD input and Marshall Amplification’s
own FDD (Frequency Dependent Damping) technology and you’ve
got one hell of a comprehensive practice amp.
The MG15MSZW features Zakk's trademark bullseye motifs on the
front panel along with authentic 1960TV grill cloth, gold piping and
gold-brushed Marshall logos on both the head and speaker
cabinets. Each amp is supplied with five Zakk Wylde plectrums, an
exclusive A3 poster and a handbook with a personal introduction
and suggested settings from Zakk himself.

Kerry King MG10KK Combo

Taking its inspiration from the recently released 2203KK head, the
new MG10KK is possibly the coolest looking practice amp on the
market. Used by thrash legend Kerry King himself to warm-up
before unleashing hell with Slayer, this little ‘Beast’ lives up to the
expectations that come with being a member of the award-winning
MG Series family. Styled in the same manner as the 2203KK, Kerry’s
tribal tattoo design spills over the blood red front panel which is
furnished with jet black switches, jack sockets and control knobs.
Squeezed into its small frame are two channels, Clean and
Overdrive, both with separate volume controls. The Overdrive
channel can be cranked up thanks to the Gain control to attain truly
astonishing tone while the whole sound can be moulded to your
liking with the Contour knob. The CD input allows you to rock along
with the best of them and the Speaker Emulated Headphone socket
leaves the rest of the house in peace while you thrash out some
awesome riffs. Add into the mix an invaluable line-out and Marshall
Amplification FDD technology, which simulates how an all-valve
amplifier interacts with the loud speaker, and you’ve got yourself
one hell of a mighty mini amp.
To complete this amazing package we have included an exclusive
‘Guitar Abuse’ DVD featuring Kerry King in the flesh. Learn all you
need to know from the ‘Master of Metal’ as he guides you through
the tips and techniques used to achieve his blistering fret work,
brutal rhythm sections and crushing tones – all demonstrated using
the MG10KK.

Above:

MG15MSZW front panel

MG10KK front panel

Right:

MG10KK

MG15MSZW Microstack

58 Marshall Amplification Product Catalogue

Marshall Amplification Product Catalogue 59

MS-2 & MS-4 Amplifiers

MS-2 Micro Amp

•

MS-4 Micro Amp

From left to right:

MS-2R Micro Amp

MS-2C Micro Amp

MS-2 Micro Amp

MS-4 Micro Amp

If you can’t leave your beloved Marshall at home, the

portable Micro stack will be right up your street! You can

now roam wherever you like without having to sacrifice

your Marshall tone. It’s perfect to clip to your belt or for

writing new material in the back of the tour bus.

Available in traditional black, vintage chequerboard and

red, the Micro Amp is also available as a full stack – You

will be amazed by the might of these Micro Marshalls!

MS-2 & MS-4 Micro Amps

The MS-2 is the ultimate in portable battery/mains operated micro

amps, packing full Marshall tone into a tiny case measuring just

14cm x 11cm x 6cm. This mighty micro Marshall has switchable Clean

60 Marshall Amplification Product Catalogue

and Overdrive modes. A single Tone control provides full focus of bass to

treble. For those players for whom a full stack is a must we’ve introduced

the MS-4 with separate Gain control. A full stack in miniature form

standing at 25cm x 11cm x 6cm.

Both the MS-2 and MS-4 have headphone output for those who want to

rock in private. This output can also be used to drive an external power

amp when your rambling is done.

The MS-4 is finished in traditional Marshall black, with white logo and

gold panel, while the MS-2 is available in three cosmetically different

versions: the standard MS-2, the MS-2R, and the MS-2C. The standard

MS-2 is finished in traditional Marshall black, with white logo and gold

panel. The MS-2R has the same features but is finished in striking red.

The MS-2C, or classic, features full vintage styling including chequered

fret cloth and gold Marshall logo – a combination of classic Marshall tone

with vintage Marshall elegance.

Photos: Rob Wyatt: Jim Marshall & Victoria Marshall, Jason Hook, Ray Toro, Kerry King (pages 26/27). Lee Edwards: Joe Hoare. Alyson Blanchard: Paul Mahon. Dave Maud: Gary Moore, Larry Hibbitt,

Charlotte Hatherley, Mani, ZakkWylde. Al Pulford: Bernie Marsden, CoreyBeaulieu,William J Brown, Stan, Lemmy (pages 52/53). Mickey Rose: Dave Navarro, Sean Martin, Dan Fisher, Simon Neil.

Wilson Lindsey: Jimmy Hendrix. Bob Thacker: Lemmy (pages 30/31), Phil Campbell, Steve Harris. Jay Banbury: Randy Rhoads. Darren Young: John 5. www.lisahuey.com: Philip Sneed.

Susan Barry: Bruce Kulick. Devin DeHaven: Jerry Horton. Jay Blakesberg: Steve Mazur. Dan Griffiths: Kerry King (pages 40/41), Aziz Ibrahim. Nick Bowcott: Jeff Hanneman. Tokio Uchida: PierreBensusan.