Marshall Amplification JCM SLASH User Manual

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

England

Tel: [phone]

Fax: [phone]

Whilst the information contained herein is correct at the time of publication; due to our constant

improvement and development, Marshall Amplification plc reserve the right to alter specifications

without prior notice.

M0211/12/95

LIMITED EDITION

From Slash’s Snakepit...

“This is the amp that has made six pretty successful albums, done countless
sessions, survived two riots, three world tours and my inflexible approach to a
particular sound. It's been flawless the entire time and I wouldn't even consider
trying anything else - something that consistent you just don't **** with.

“A lot of people are constantly trying to shove different amps down my throat
and I'm like ‘don't even bother.’ It’s good exercise for them to carry ’em around
though, I suppose.”

Introduction:

This amp is an authentic reissue of the classic 2555 Jubilee head that was released in 1987 to celebrate
two memorable landmarks in Marshall Amplification's history: Jim's 50th year in the music business and
also the 25th Anniversary of his company - hence the use of the term ‘Jubilee.’

This handwired, all-valve amp (3 x ECC83s, 4 x EL34s) was instantly hailed as a classic by guitarists the
world over and for good reason: it successfully married the legendary roar of our 800 Series power-stage
with a highly versatile preamp that boasted a footswitchable ‘Lead Master’ control - effectively making the
2555 a two channel head. By beefing up the pre-amp's gain when activated, this neat feature enables the
user to instantly switch between rhythm and lead tones with a mere tap of the foot. The amp's versatility is
further enchanced by a Series Effects Loop and a push/pull function on the Input Gain control which, when
pulled out, injects a subtle but effective distorted edge to the amp's rhythm tone. A High Output
(100 Watts) / Low Power (50 Watts) switch adds even further to the amp's flexibility and already
wide tonal palette.

★ LIMITED EDITION ★ LIMITED EDITION ★ LIMITED EDITION ★ LIMITED EDITION ★ LIMITED EDITION ★ LIMITED EDITION ★

Please read the following list carefully.
ALWAYS fit a good quality mains plug conforming

to the latest B.S.I. standards where necessary
(UK only).

ALWAYS wire the plug according to the colour
code attached to the mains lead.

NEVER under any circumstances operate the
amplifier without an earth.

NEVER attempt to by-pass the fuses or fit ones of
the incorrect value.

NEVER attempt to replace fuses or valves with the
amplifier connected to the mains.

DO NOT attempt to remove the amplifier chassis,
there are no user serviceable parts.

ALWAYS have this equipment serviced or repaired
by competent qualified personnel.

NEVER use an amplifier in damp or wet conditions.
DO NOT switch the amplifier on without the

loudspeaker connected and always ensure that any
extension cabinets used are the correct impedance.

DO NOT obstruct airflow around amplifier.
PLEASE read this instruction manual carefully

before switching on.
WARNING this unit must be earthed.

2

From the Managing Director

Congratulations on buying the new JCM Slash Signature model amp - the first
ever Marshall to bear a signature other than mine in our 34 year history! This amp
is based on the Marshall that Slash has sworn-by since day one - the Jubilee 2555
head of 1987.

Over the past 34 years countless great guitarists - including the late great, Jimi
Hendrix - have chosen Marshall Amplification to deliver their all-important tone.
One player I've been particularly aware of over the last decade is Slash of Guns 'n'
Roses and Slash's Snakepit fame. His highly emotive yet fiery style is, in many
ways, timeless. It draws on influences from the sixties and seventies but is played
with a thoroughly modern attitude.

In addition to being a truly great guitarist, Slash personifies the true spirit of
rock 'n' roll. Whenever he's not on stage or in the studio with his own bands, he
can always be found jamming with someone else - from recording ‘I Don't Live
Today’ with Billy Cox and Buddy Miles (Band Of Gypsys) for the ‘Stone Free - A
Tribute to Jimi Hendrix’ album to performing live with Michael Jackson at the 1995
MTV awards. In addition to appearing on Michael's last two LPs, Slash has also
recorded with Carole King, Lenny Kravitz, Gilby Clarke, Iggy Pop, Paul Rodgers and
our old friends Spinal Tap! And, if all that's not enough, on October 27th, 1995,
blues legend, BB King, personally invited Slash to jam with him at his 70th birthday
concert in Memphis, Tennessee, USA.

I've always maintained that one of the main reasons for Marshall's success is our
close contact with guitarists of all styles and levels - from beginners to chart topping
pros. We've always made it a point to listen very carefully to what each and every
player has to say about their gear. This continual feedback is of paramount
importance to us because it enables us to design new products that will give
guitarists the flexibility, features and sounds they want. One name that is constantly
brought up in these conversations as a reference to great tone is Slash.

Slash and I finally met the day before Slash’s Snakepit performed in front of
70,000 people at the 1995 Donnington Festival in England - a gig he was personally
invited to play by the event's headliners, Metallica. After discussing his amp of
choice, the 2555, and his genuine love for Marshall in general, I decided it was time
to reissue this great head. The result is the Limited Edition JCM Slash Signature
amp. This unit will only be custom built during 1996 and features specially selected
quality components plus a hand built inter-leaved output transformer.

Please read this handbook fully to ensure that you get the most from your new
Marshall. I know this amp will give you many years of great tone. I'd like to wish
you the very best of luck in all your musical endeavours and sincerely hope that you
enjoy them.

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WARNING!

Front Panel Features

1. Power Switch

This switches on the mains power to the amp, allowing
heaters to warm-up the valves ready for use. This normally
takes approximately 30 seconds.

2. Standby Switch

This governs the high voltage supply to the valves. When
the amp is first powered-up we recommend that you wait for
30 seconds before switching this control on. This will allow
the valves time to reach their operating temperature. Once the
valves are warmed up, putting the amp ‘on standby’ (i.e.
turning this switch off) shuts the amp down but keeps the
valves at operating temperature, ready for instant use. This is
a great feature just before a show, between sets or while
you're changing guitars.

3. Low Output/High Output Switch*

This controls the output configuration of the power-stage.
When switched to the High Output setting the EL34 power
valves operate in pentode mode and will deliver a full 100
Watts. When Low Power is selected the valves are switched to
triode mode and the amp's power is halved to 50 Watts. This
allows you to drive the power valves hard at a lower overall
volume. This facility is particularly useful at small club gigs,
rehearsals and in certain recording situations (Important Note:
50 Watts of power isn't ‘half as loud’ as 100 Watts - the laws
of physics that apply here don't work that way! Typically,
switching from High Output to Low Output will result in a 3dB
drop in power).

*Important Operation Note:

When switching Output Power the Standby Switch should

always be switched off.

Tone Talk:

In addition to changing the output power of your amp, this
switch also offers some useful tonal variations. When EL34s
are driven hard* in pentode mode (High Power) the resulting
tone is big, fat and ‘in your face.’ When pushed hard

* in

triode mode (Low Power) however, their tone becomes
somewhat warmer. For this reason many blues players will
opt for the latter setting while hard rockers with sheer brutality
in mind tend to prefer pentode!

*Note:

When an output valve like an EL34 is driven hard (i.e.: the
amp is cranked!) it adds desirable compression and harmonic
distortion, making the tone big, fat and warm. That’s why an
all-valve amp like this one sounds at its very best when the
Output Master Volume is turned up quite high.

4. Presence

This affects the very high frequencies in your sound.
Turning this control up makes your tone sharper and more
cutting.

5. Bass

This controls the bottom frequencies of your sound. Turning

it up adds more low end definition and punch to your guitar.

6. Middle

The ‘mids’ are the frequencies that have the most dramatic
effect on your tone. Increasing them adds fatness and body.
Many exponents of ‘thrash’ and ‘grunge’ get their vicious
rhythm tone by turning the Middle control ‘off’ (i.e. fully
anticlockwise) or nearly ‘off.’ Doing this literally ‘scoops’ out
the ‘mids’ - hence the term ‘scooped tone.’

7. Treble

This affects the high frequencies and turning this control up
adds brightness to your sound.

8. Output Master/Pull Channel

This push/pull knob has two functions: it controls the
overall (i.e. Output) volume of the amp and also acts as a front
panel switch between your Rhythm and Lead settings. As
stated in the introduction to this section, this feature
effectively makes this a two channel amp.

When this switch is pulled out you're in Rhythm mode and
when you push this switch in the Lead Master control is
activated - kicking in more gain and also a different volume
level which is determined by where you set the Lead Master
control. This switching can also be done via the supplied
P801 footswitch.*

*Important note:

For the footswitch to operate, this control must be pushed

in.

9. Lead Master LED

When this LED glows red it tells you that you’ve switched to
your lead setting.

10. Lead Master

This control allows you to set the volume of your lead sound
relative to that of your rhythm work.

11. Input Gain/Pull Rhythm Clip

Just like the Output Master knob, this push/pull rotary
control serves two purposes. Firstly, it dictates your input
gain which affects both the volume/distortion level of the
Rhythm channel and also the distortion in the Lead channel.
Secondly, pulling the switch out adds extra crunch to your
Rhythm setting, a feature which adds to the flexibility of this
channel.

12. Input Jack

Plug your guitar in here! We strongly recommend that you
use a high quality guitar cable - it’ll sound better and will help
prevent unwanted feedback and interference noise.

Rear Panel Features

1. Footswitch Jack

Plugging the supplied P801 footswitch in here allows you to
switch between clean/crunch Rhythm sounds and distorted
Lead tones.

Effects Loop

This series effects loop allows you to connect certain
external effects devices in the optimal position in the signal
path - between the preamp and power-amp sections of the
amp. Generally speaking, time based effects such as Chorus,
Flange, Delay & Reverb sound best when used in an effects
loop.

For most people though, Distortion, Overdrive, Fuzz and Wah
pedals sound best when used before the amp. Having said
this, remember - there are no rules! So, experiment and let
your ears decide what you like most.

Important note:

Always use high quality patch leads when using the Effects
Loop.

2. Effects Send Jack

For connection to the input of an external effects unit.

3. Effects Return Jack

For connection from the output of an external effects unit.

4. DI Jack

For connection to recording gear or a PA system.

5 & 6. Loudspeaker Jacks

Plug you speaker cabinet(s) in here. For optimum sound
and performance always use high quality speaker cables and
never use guitar cable(s) to connect this amp to your speaker
cab(s). Also, always ensure that the amp is connected to a
load (i.e. speaker cabinet(s) or a ‘dummy load’ device (such as
the Marshall SE100) and is set to the correct impedance.
Failure to do so will damage your amp (see item 7 for more
details).

7. Output Select Dial

As already mentioned, when using this amp you should
always ensure it is connected to a load. furthermore, it is
vitally important that the Output Selector is set to the correct
impedance for the speaker cabinet(s) being used. Damage to
your amp will result if either of these issues are ignored.

The Output Select dial allows you to select 4, 8 or 16 Ohms.
The standard Marshall 4x12 is rated at 16 Ohms in mono.*
Therefore, when using one such cabinet, set the amp to 16
Ohms. When using two 16 Ohm cabinets their combined
impedance is halved to 8 Ohms. So, when using two 16 Ohm
cabs set the amp's Output Selector to 8 Ohms. If you are
unsure of the impedance rating of a cabinet, you should
measure it will a multi-meter. If you don't know how to, ask
the help of someone who does. It's always best to be safe
than sorry!

8. Mains Select Dial

The Mains Select Dial allows you to easily and quickly adjust
your amplifier to match your country’s operating voltage. You
should always ensure that this is set correctly as you will
damage your amp otherwise.

*Important Note:

All Marshall mono/stereo 4x12 cabinets - i.e. 1960A, 1960B,
1960AV & 1960BV or the specially produced Slash Signature
Cabinets, the 1960ASL and 1960BSL- have two input choices
when set for mono operation: 4 Ohms and 16 Ohms. Please
be careful not to use the wrong input by mistake.

9. Mains Input

For connection to mains. Always use a good quality mains
lead and always ensure that the plug is wired in accordance
with your country’s regulations.

10. Mains Fuse

For 110V/120V. supply, use 4A slow blow fuse only. For
220V/240V. supply, use 2A slow blow fuse only.

11. H.T. Fuse

Replace with a 1A slow blow 250V. fuse only.

Trouble Shooting Guide

If you have a problem with your amplifier, it is always best to
let a fully qualified approved technician check it over. Regular
servicing should prevent any major breakdowns and is an
extremely beneficial long term precaution.

Often it is the simplest thing that needs attention and it may
not be possible to get technical assistance. In this case you
may be able to keep the amp running at least until the end of
the show. The greatest care should be taken before removing
the back panel, that all mains power is disconnected. Also
remember that even after short periods valves will become
very hot.

The following list outlines some of the most obvious
problems and causes.

Problem & Cure

Valves and Pilot Light On but No Sound

1. Check to see if HT fuses are blown. If they are, replace
them with the same value fuse. If they blow again replace all
the power valves if possible.

2. Check standby switch.

3. Check Guitar & Speaker Connections

Constantly Blows HT Fuses

Check the output valves; If they need replacing use matched
sets and replace all power valves if possible. Have a service
centre check the bias on the output valves. If it’s too low the
amp will not ‘clean up.’ If it’s too high it will stay too clean no
matter how loudly you play.

3

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High Pitched Whistle At Hi Gain Setting

Most likely this is a microphonic pre-amp valve. Replace if

necessary.

Rattling Noise From Head or Chassis

99% of the time this is caused by the spring output valve
retainers jangling against the valve. Gently bend the spring
holders out a fraction.

No Sound, Lights, Hum, etc.

1. Check mains fuse, but never with the amp plugged in.

2. Make sure the amp is plugged in.

Quick Hint

Someday, probably at a most inconvenient time, you will
blow a fuse or your valves will go. This is no reflection on any
amp, valves have a definite lifespan. Always make sure you
have replacements, just like you carry spare strings, or you
could be left stranded. Always thoroughly check speaker leads
to ensure that (A) they are properly connected and (B) they are
fully working. Also, use good quality guitar leads and check
them regularly.

Slash's Backline

Like his unique playing style, Slash's live set-up is quite
individual. He uses four Marshall 4x12 cabinets, two angled
cabs stacked on top of two straights - all loaded with 70 Watt,
Marshall /Celestion ‘Vintage’ speakers. The top two cabinets
are driven by two separate JCM Slash Signature amps
dedicated to his clean sound. Likewise, the bottom two cabs
are driven by a further pair of Signature heads set for his
distorted Rhythm and Lead tones. He also has a fifth 2555
solely for use with a talkbox.

Slash's Settings

Below are the settings Slash uses to obtain his revered Clean
and Dirty tones.

Clean Tone

Dirty Tone

(With Output Master control pushed in).

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Front Panel

Back Panel

V1 V2 V3

V4 V5 V6 V7

Choke

Smoothing
Capacitors

Power Valves

Feeds Tone

Network

Phase Invertor

(Drives Power Valves)

Output

Transformer

Mains

Transformer

1st & 2nd

Stage of
Pre-Amp

Smoothing

Capacitor

5