Marshall Amplification JMD1, JMD102, JMD501, JMD100, JMD50 Owner's Manual
Owners Manual
From
Jim Marshall
I
wouldlike to take this opportunityto personally congratulateyou on
choosing thisJMD:1 amplifier fromMarshall.
We pride ourselves on our ability to invent, innovate and createnew
ways for guitarists tofind their ownsound, whether thatbe through
all-valve, solid-state or hybrid technologies.
Firstreleased in 1992, theJMP-1 pre-amp offered guitarists unrivalled
flexibility, withtrue Marshall tone atits heart. Itproved to bea great
success! Eversince the JMP-1’s triumph, we have been eagerto see
how technology could be pushed evenfurther and,as a result, weare
pleased to introduce its successor,the JMD:1 Series.
The Marshall R&D team have always kept a keen eye (and of course
theirears) on new technologies, and have implemented themwhen they
were right for the product. Our number one rule - never sacrifice tone for
technology’s sake. Only now have all the components, state-of-the-art
technology andnearly 50 years of experience come togetherto create
this excitingamplifier range. The JMD:1 is the result of a unique
collaboration with our friends at Softube
T
M
, leading to a true digital
pre-amp, integratedinto a productthat I am proud to see the Marshall
name on. Partnered witha traditional Marshall valve poweramp, it
becomes the most flexible and first, totally programmable valve digital
hybridamplifier series wehave ever made. Neverbefore has such a
variety of great quality tone been available inone product.
I wouldlike to wish you everysuccess withyour new Marshall. Welcome
to the family.
Yours Sincerely,
Dr Jim MarshallOBE
1
Presenting theJMD:1 Series.
JMD100 100 Watt head
J
MD50 50 Watt head
JMD102 100 Watt 2 x 12"combo
JMD501 50 Watt 1 x 12" combo
I
mmenseversatility, extensive tonalcontrol and that
unmistakableMarshall sound is nowyours. TheJMD:1 is
quitesimply one ofthe most comprehensive and
s
ophisticatedamplifiersMarshall hascreated to date,
combining state-of-the-artdigital pre-amp technologywith
studioquality effects and sheer EL34 valve power. Working
i
n closepartnership with Swedish softwarehouse
Softube
TM
, the Marshall team havecrafted thelatest
evolutionarybenchmark inhybrid amplifiersthat picks up
wherethe renownedJMP-1 left off.
At the very heart of the JMD:1 Series is Marshall's
proprietary EL34 power amp section.A fundamental
element in manyof Marshall's professionalall-valve
amplifiers, this steadfast power stage designhas been
driving the Marshall sound fordecades. When it cameto
creating the all-new digital pre-amp,the Marshall engineers
knew ithad to lead rather thanfollow whathad come
before- that is to bethe first to offer truly greatvalve tone.
EnterSoftube
TM
and their patented Natural Harmonic
Technology
TM
, used for the very firsttime in a guitar
amplifier.This groundbreaking technology actuallymatches
the dynamic reactionsof the valve amplifier and theway it
behaves to the variousintensitiesof playing,just like their
analogue counterparts, and ensures that everynote feels
right.
Switching between theJMD:1's 16 pre-amp options also
affects the way in which the front panelcontrols respond to
user input, such as the EQsection which automatically
reconfiguresto match the originaltopology ofthe chosen
pre-amp. Thevalve power-amp’s analoguecircuitry is also
a
lteredto complement the different pre-amps, with
optimum resonance values automatically selected to
maximise the JMD:1's response. The selectable pre-amps
a
re divided into4 sections – ‘Clean’,‘Crunch’, ‘Overdrive’
a
nd ‘Lead’. Eachpre-amp hasbeen chosen for its
individual characterand its ability to complement, yet atthe
same time, differentiate itself fromthe others.
The digital nature of the pre-amp enables the JMD:1 to
houseboth modern and classic tonesfrom a variety of
M
arshall amplifiers,such as the 1959, JCM800, JCM2000,
JVM andof course theJMP-1. These and many others
have providedthe JMD:1 witha comprehensive collection
of tones, transcending the entire history of Marshall’s
heritage, particularly the EL34 years, due to the on-board
valvepower amp. Newsounds havealso been created by
combining amplifiertopologies,resulting intotally unique
Marshall tones, exclusive to this Series!
The JMD:1 also has the ability tostore complete pre-amp,
EQ and FXsettings.These presets can then be instantly
recalled at anytime from either thefront panel,the
supplied Stompware
TM
footcontroller or MIDI systemfor
maximum versatility. Further to the JMD:1's vast array of
features is a serial/parallelFX Loop, balanced XLR
Emulated LineOut, Pre-AmpOut, Line In and Headphones
socket.
The JMD:1 is thetotal standalone solution toany guitarist's
requirements, from live performanceand band rehearsal to
bedroom practice and silent recording. It’sall here in this
extremely powerful package;a real cuttingedge Marshall
amp forthose not bound by traditionand ready to embrace
a new eraof guitar amplification!
ENGLISH
Overview
NEVERuse your amp without a (speaker) load attached
when the Standby Switch(9) is in the ‘On’ position.
1. Makesure that thespeaker cabinets areconnectedto
the correct impedanceLoudspeaker jacks onthe rear
panel(9).
Referto the SpeakerOutput guide in thishandbook for
specifics regardingimpedance matching.When using an
extension cabinet make sure that you’re using an
unshielded speaker cable of good quality.Never use a
screened (shielded)guitar cablefor this purpose.
2. Ensure that the Master Volume control (6) onthe front
panelis initiallyset to zero.
3. Connect the suppliedmains (power) lead into the Mains
Input(1) on the rearpanel first and then into an electrical
outlet.
WARNING: Before going any further, makesure your
amplifier is compatible with your electricalsupply.If you
have any doubt,please get help froma qualified
technician, your Marshall dealer canhelp you in this
respect.
4. Plugyour guitarinto the Inputjack socket(1) on the front
panel.
5. Turn the front panel Powerswitch (10) on. The front
panelpower LED willilluminate(8).
Standby Switch & Silent recording(9)
The Standby switch is used in conjunction with the Power
switch(10) to ‘warmup’ the amplifierbefore use, and to
prolong the life of the output valves andto mute the
amplifier whenrequired,such as when you are changing
guitars or for short breaks in performance.
When the amplifier is instandby modethe whole preamplifier section is still functionalwhilst the power amplifier
remains in a standby status. This allows the amplifierto be
used for silentrecording orpre-amplification purposes.
Only when the Standby switch (9)is set to ‘OFF’ can the
amplifier be used without a load. Always ensure a loadis
connected whenswitchingthe Standby switch on.
When poweringup the amplifier we suggest engaging the
Powerswitch (10) first, leaving the Standby switch(9) in
the ‘Off’ position for two minutes to allow thevalves to heat
up.
6. After waiting, engage theStandby switch (9).
7. Adjust theMaster Volume (6)to your required level your amp is ready to play.
When switchingthe amplifier off,always disengage the
Standby switch (9) a couple of seconds prior to the main
Powerswitch (10).
Getting started and powering up
Follow all instructions and heed all warnings
KEEP THESE INSTRUCTIONS !
* EUROPE ONLY - Note:
This equipment has been tested and found to comply with the requirements of the EMC Directive
(Environments E1, E2 and E3 EN 55103-1/2) and the Low Voltage Directive in the E.U.
* EUROPE ONLY - Note:
The Peak Inrush current for the 50 Watt is 25 amps.
The Peak Inrush current for the 100 Watt is 25 amps.
Note:
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC rules.
These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates,
uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference
to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try
to correct the interference by one or more of the following measures:
*
Reorient or relocate the receiving antenna.
*
Increase the separation between the equipment and the receiver.
*
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
*
Consult the dealer or an experienced radio/TV technician for help.
32
JMD:1 – Time Line and Amp History
As previously stated the JMD:1Series incorporates the
tones and characteristicsof a variety of Marshall
amplifiers and FX pedals. This section provides a brief
history of allthese products.
1. 1959
Initiallymanufactured from the midto late 60s, this
legendaryamplifier embodies the very essence of the
vintage Marshall sound.
Nicknamed'The Plexi' due to the gold plexiglas front
panel, the 1959 was born when TheWho’s guitarist, Pete
Townshend, approached Marshall in the mid ’60s and
asked Jim to build him a ‘weapon’that would allow him to
play so loud thathe wouldn’t be able to hear whatthe
members of theaudience were saying, should they have
the sheer audacity to talk whilst he was performing! Jim
and his team obliged, and withinweeks of Pete’s request
one of rock’smost instantly recognisable icons was born the 100 WattMarshall stack.
Although production of the 1959 continued long after the
1960s, the endof the Plexi-era began in ’69 when gold
anodised aluminium was introduced for the front panels.
The original'Plexis' have therefore become extremely
rare and highly prized pieces ofrock history.
2. 1974
DespiteMarshalls iconic status asthe creator of the stack,
Marshall has also produced a number of undeniable icons
in the amplifier combo world. Initially created back in 1966,
the 1974 isa compact all-valve combo.The 1974 was
designed to be an affordable valve amplifier for the
masses and soon gained a healthyreputation. Setin a top
loaded cabinet, this compact18 Watt combo housed a
single 12” speaker, whichmeant not only was it
immensely portable but it alsohad the power and punch.
Utilising EL84 valves, the overall feel and tone of the1974
is inherently different to anEL34 amp.
Separatedinto two separate channels, each with two
inputs for lowand high sensitivity, the 1974 originally
came in two options, Reverb or Tremolo. Thestandard
channel for the amplifier had just single tone andvolume
controls whilst the other channel had additional controls to
adjust the effect applied.The 2004 re-issue of the 1974
featured only the more popularTremolo option and, as
with the original unit, these additional controls for this
channel adjust both the speed and intensity of theeffect
to the guitarists taste. There-issue, like all of Marshalls
re-issuedvintage amplifiers, wasa painstaking recreation
of the original unit and even features the same valve
tremolo circuitry.
Featured twice in the JMD:1, the1974 provides part of
the new sound created for the Crunch Vintage mode
where it couples the tonal qualities of the 1974 with the
EQ of a monster 1959. The 1974 is alsoused for the
Crunch Full pre-amp mode, where the 1974’s sustain and
clarity of individual notesis used, demonstrating why the
1974 is still popular with guitarists to this day inits new
1974X re-issue format.
3. JCM800 2203
The 2203 is quitesimply one the most important
amplifiers Marshall has ever created. Evolving from the
previously mentioned 100 Watt Plexi head, it was the first
to house a MasterVolume (MV) control. This groundbreaking feature allowed the pre-amp to distort fully
without having to turn the amp up to ten, providing thick
overdriven tone at a fraction ofthe volume. First available
in the mid ’70s, itwasn't until 1981 that the version of the
2203 we know today was unleashedas part of the mighty
JCM800 series. This straightforward,yet highly versatile,
single channel monster, immediately found favour with
the rapidly growing heavy metal scene that dominated
much of the ’80s.The wide ranging tonal palette of the
2203 saw it provejust as popular in the Brit Pop and
Grunge laden’90s and remains the benchmark by which
all modern rock amps are judged.The 2203 has provided
the muscle behind countlessrock and metal legends and
has appearedtwice as a modified signature model. The
2203 provides the JMD:1 with twopre-amp options.
Crunch Classic delivers a raw edgy tone, one that
optimisesthe Marshall crunch sound. The Overdrive
Deep pre-amppairs the 2203 with Marshall Bluesbreaker
pedal topology, creating hot-rodded tones the way they
should be.
4. The Guv'nor Distortion Pedal
Launched in the 1980’s, the original Guv’nor(so called as
this is Jim Marshall’s nickname) became a classic
footpedalknown for high quality distortion tones. Much
loved by pros,semi-pros and amateurs alike, the Guv’nor
earned itself a special place inthe hearts of distortion
smitten guitarists the world over.
5. JMP-1
Released in 1992, the JMP-1 was Marshall's first venture
into MIDI controlled guitarpre-amps and the worlds first
super hybridpre-amp. Its no coincidence that the
principles held by the JMP-1 have been carried forward to
the JMD:1, just as the name suggests. This was a
revolutionary rack unit, utilising the bestof both analogue
and digital MIDI technology. The JMP-1's success layin
its incredible tone, with the digital controlcapabilities
adding a new degree of flexibility and versatility. Guitarists
could now store and recall theirfavourite pre-amp tones
using the JMP-1's built-in 100patches. Greatly respected
and highly prized by those who own them, the JMP-1
remains one ofthe most revered rack pre-amps ever.
6. JCM2000 DSL100
In its day the DualSuper Lead contained the largest
amount of gaina Marshallamp had ever offered. The
DSL's 2 channel dual mode designmeant that guitarists
could chose either a clean or crunch tone from the
Classic Gainchannel, whilst also picking between the
2 lead sounds provided by the Ultra Gain Channel.This
tonal versatility was aidedfurther by the channel
spanning Deep and Tone Shift features, providing added
punch and depth or extra cut and biterespectively.This
enabled the DSL to deliver a huge range of all-valve tone,
from 'Nashville Clean' to modern 'scooped' metal. With all
this pure valve versatility, its easy tosee why the DSL is
still held in high regard by many of the world's top players.
7. Bluesbreaker II FX Pedal
The Bluesbreaker II takes the philosophy of theoriginal
Marshall Bluesbreaker pedal one step further, featuring
not one but two modes, Blues and Boost. This effectively
makes it two pedals in one. The Bluesbreaker II'sBoost
mode was designed with the vintage valve amp or ‘tone
purist’type of guitar player in mind.Ideal if you want to
drive the front-end harder, pushing theamp further into
natural overdrive and without altering the original tone.
8. Mode Four (MF350)
Featuringa true 'two-amps-in-one' design, the Mode Four
was created tooffer the best of both classic and modern
Marshall tone. Amp 1 andAmp 2 housed separate
ECC83 drivenpre-amp circuitry, with the shared 350 Watt
power stage reconfiguringwhen switching between
amplifiers. Both Amp 1 andAmp 2 featured two modes
each, addingup to four (hence the name) in total – Clean,
Crunch, OD1 and OD2. The enormous head room of the
Mode Four gaveit superior bottom-end clout and also
retained thetonal definition at high stage volumes,
making it ideal for metal and thrash styles.
9. JVM Series
Launched in November 2006, theflagship JVM Series
caused the guitar world to sit up andtake note. Featuring
4 all-valve channels with 3 modes each, the JVM4
range offers guitarists a possible 12 uniquetones,
sophisticated channel switching technology and MIDI
capabilities, confirming Marshall'splace at the forefront of
valve-driven guitar amplification.The 2 channel and
aptly-named JVM2 range followed in January 2008,
delivering a more streamlined and focused version of the
multi-award winning JVM Series.
So revered hasthe JVM become, that its multi-mode
topology hascreated three of the JMD:1's 16 pre-amp
options.The JMD:1's Clean Modern pre-amp setting
demonstrates the sparkling tonal clarityof the JVM's
Clean channel in its initial gain stage, whereas Overdrive
Modern cranks things up with a powerful contemporary
crunch, derived from the JVM4's red 'moded' Crunch
channel. Finally,the Lead Modern pre-amp utilises the
JVM4's OD1 channel design to unleash an aggressive,
full-bodied lead tone.
10. Haze40
The most recent amplifier to be included in these pre-amp
selections, the Haze range,was launched in March 2009
and featuresboth a 15 Watt mini-stackand 40 Watt 1x12''
combo. Containing 2 channels, all-valve signal path and
studio quality effects,the Haze40 was designed withthe
blues/jazz player firmly inmind. The amp responds just
how you would expect, with picking dynamics andguitar
controls playing a big role in achieving your tone. The
amps design allows the effects circuitry to betotally
bypassed,preserving that treasured all-valve signal path.
1
2
3
4
6
6
7
8
9
10
5
ENGLISH
Loading...