Page 1
Owners Manual
Page 2
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.
Page 3
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
Page 4
4 5
1. Input Jack Socket
You must always use a screened (shielded) guitar cable
and never use an unscreened (unshielded) speaker
cable. Also, this cable should be one of good quality. If
you are in any doubt regarding this, your Marshall
dealer will be more than happy to help and advise you.
2. Channel Controls
Manual - Switches the a mp to manual mode. When
selected, all of the JMD:1’s settings will match the
current physical positions of the controls, it will behave
just like a conventional amplifier.
Manual mode will be automatically selected when the
unit is switched on.
As the front panel effect switches (Ext FX, Delay/Tap
Tempo, Modulation) do not have a set physical state
you are free to set them as desired. Their settings will
be remembered and recalled every time the amp is set
to manual.
Channel 1, 2, 3 & 4 - For storage and recall of four of
your favourite sounds when not using the footswitch or
MIDI.
To Recall - Simply press the channel switch for the
channel you wish to recall. The channel switch will
illuminate to show it has been selected.
Remember: When a channel preset is recalled, the
physical position of the pre-amp and FX section
controls are unlikely to match the original settings used
to program the recalled preset. The front panel switches
will automatically be updated.
To Store - Dial in the tone and FX settings you require,
when happy, select which channel to store your sound
into by holding that channel switch down for more than
1 second. All channel lights will flash to indicate your
settings have been successfully stored.
If any changes are made to the amplifier once a
channel has been recalled, the current channel light will
flash to remind you that the current settings have been
altered but not yet stored.
When changing a control, if its value matches that
stored in the currently recalled channel, the Footswitch /
MIDI Program (7) switch will illuminate for a short time.
After altering a channel’s settings, pressing Compare
(2) allows you to toggle between the edited and the
original channel settings allowing you to easily compare
the changes you are making.
3. Pre-Amp
Selects one of the JMD:1’s 16 Pre-Amps (3).
Each Pre-Amp is not only tonally different, but the
channel controls (4) - Gain, EQ and Volume will behave
just like the original depending on the Pre-Amp
selected. Experiment with these controls and your
guitar to fully explore the full potential of each setting.
CLEAN SECTION 1-4
Clean 1. Modern
Pre-Amp: JVM410H
Settings: Clean Channel in Green Mode
Based on the mighty JVM Series' Clean channel, this
pre-amp option produces one of the brightest clean
tones ever to have come from a Marshall. The tight,
controlled and well balanced tone provides plenty of
clarity and punch, thanks to a tone network that lies
before the channel’s main ga in stage.
Pre-amp Topology: Single ECC83 pre-amplifier
stage driving a classic Marshall three band EQ feeding
another ECC83 gain stage directly coupled to an
ECC83 cathode follower
Clean 2. Full
Pre-Amp: JCM2000 DSL100
Settings: Clean Channel – Tone Shift on
One of Marshall's best selling
all-valve amps to date, the DSL
continues to be the weapon of
choice for many of the world's
top players. One reason for its’
immense popularity is its
vibrant clean sound with glassy
bright edge and fat resonant
punch, which has been perfectly captured here.
Pre-amp Topology: ECC83 pre-amplifier stage
followed by a tone shaping circuit set to boost bass and
treble feeding into three ECC83 gain stages directly
coupled to an ECC83 cathode follower connected to a
lower mid frequency ‘tone shifted’ Marshall three band
EQ.
Clean 3. Classic
Pre-Amp: JMP-1
Settings: Clean 1 – Bass Shift on
Straight out of the JMP-1 tonal vault comes this well
rounded tone with distinctive mid characteristics,
making this option ideal for rich chords and softer tones.
Increasing the gain results in clean lead lines with a hint
of vintage style distortion.
Pre-amp Topology: ECC83 pre-amplifier stage
followed by a tone shaping circuit with tuned bass and a
slight low mid cut feeding into an ECC83 gain stage
followed by a three band EQ.
Clean 4. Natural
Pre-Amp: JMD:1
The first of the JMD:1's new sounds, this setting is
designed to produce a totally flat response, letting the
natural tone of your guitar and the JMD:1's power
amplifier take centre stage. The well rounded and warm
tone of this particular pre-amp makes it ideal for jazz
style playing.
Pre-amp Topology: A linear pre-amp combined with
a studio style EQ section, low-shelf at 100Hz, mid-peak
at 500Hz, high-shelf at 3.5Khz. Uncoloured preamplification followed by a three band cutting EQ,
where a totally flat response pre-amp gain is achieved
when Bass, Middle and Treble are set on full.
CRUNCH SECTION 5-8
Crunch 5. Vintage
Pre-Amp: 1974 & 1959 combination
A unique marriage of the 1974 and 1959 models, two of
Marshall's most revered vintage amplifiers. The tonal
character of the 1974 has been matched perfectly with
the 1959's EQ section and is ideal for classic rhythm
sounds.
Pre-amp Topology: This pre-amp isthe combination
of a 1974 pre-amp and power amp usedas a pre-amp
stage: ECC83 pre-amplifierstage with presettone and
gain control feeding anotherECC83 gain stage directly
coupledto an ECC83 cathodefollower driving a classic
Marshall three bandEQ followed by an 18Watt EL84
push pullamplifier with nofeedback driving a dummy load.
Crunch 6. Classic
Pre-Amp: JCM800 2203
Raw,rough and ready – what more would you expectfrom
a pre-ampbased on the legendary JCM800 2203!An
upfrontfocussed sound which embodies the term‘crunch’.
+
E
xt FX
1
M
odern
Full- 2
Classic-3
Natural-4
Vintage- 5
C
lassic-6
Deep- 7
Full- 8
Classic
9
10- Modern
11- Deep
1
2- Detuned
13- Deep
14- Solid
15- Classic
16- Modern
Full-
2
-
3
-7
11
1
1
15
16- M
od
JMD:1 Front Panel
1 3
4 5
5
6
2 2 7
9 10
8
ENGLISH
Page 5
76
Pre-amp Topology: ECC83 pre-amplifier stage
feeding into a gain control with treble boost followed by
an ECC83 pre-amplifier clipping stage then into an
ECC83 gain stage directly coupled to an ECC83
cathode follower, then to a classic Marshall three band
EQ.
Crunch 7. Deep
Pre-Amp: Haze40
Settings: Normal Channel, Boost and Bright switches
engaged.
A satisfyingly warm tone resembling the
Marshall Haze40 with both its Boost and
Bright switches engaged. Produces a
darker overdrive with a smooth edge and
enhanced bottom-end clout.
Pre-amp Topology: ECC83 pre-amplifier stage with
a slight mid boost feeding into an ECC83 gain stage
directly coupled to an ECC83 cathode follower, then to
a classic Marshall three band EQ.
Crunch 8. Full
Pre-Amp: 1974
The 1974 makes a return here as a full-fat rhythm tone
with extra clarity in the mids. It effortlessly sustains
chords, while individual notes still remain clear.
Pre-amp Topology: This pre-amp is also a
combination of a 1974 pre-amp and power amp used as
a pre-amp stage: ECC83 pre-amplifier stage with
original 1974 tone (Treble) and gain control followed by
a newly designed EQ where the Mid control is set at
650Hz and the Bass is controlled using a variable
capacitor. This is fed into the original 1974 phase
splitter and its EL84 push pull power amplifier with no
feedback, feeding this time into a 1960 speaker load.
OVERDRIVE SECTION 9-12
Overdrive 9. Classic
Pre-Amp: JMP-1
Settings: OD2
The JMD:1's forefather, the JMP-1 provides the tonal
backbone to this pre-amp option, which is based on the
latter's OD2 channel. This setting delivers an
aggressive and focussed sound, yet remains smooth
and fluid with distinctive mids.
Pre-amp Topology: The signal is fed into a distortion /
booster circuit then into an ECC83 pre-amplifier stage
followed by an ECC83 gain stage driving a three band
EQ.
Overdrive 10. Modern
Pre-Amp: JVM410H
Settings: Crunch Channel in Red Mode
More gain within your face mids, courtesy of the JVM
Crunch channel topology set to its highest gain stage.
A full, forgiving and tonally balan ced sound that
possesses that inherent JVM cutting edge.
Pre-amp Topology: ECC83 gain stage followed by a
mild treble boosting and tuned bass tone shaping
circuitry with the gain control feeding into an ECC83
configured as a clipper, then into an ECC83 gain stage
directly coupled to a cathode follower driving a classic
Marshall three band EQ.
Overdrive 11. Deep
Pre-Amp: Bluesbreaker II + JCM800 2203
Settings: Bluesbreaker II in Boost mode with Drive
set to max, plus a custom filter linked to
bass control and 2203 topology.
Another fantastic tonal experiment, bringing together
the raw might of the JCM800 2203 and Bluesbreaker
FX pedal set to Boost. A custom filter enhances the
bass and reduces the mids, with the blend of ’80s roar
and ’70s bottom-end delivering hot-rodded scooped
tones as they should be.
Pre-amp Topology: A boost pedal driving a custom
filter plugged into an ECC83 pre-amplifier stage
followed by a treble boosting tone shaping circuitry and
the gain control feeding into an ECC83 configured as a
clipper, then into an ECC83 gain stage directly coupled
to a cathode follower driving a classic Marshall three
band EQ.
Overdrive 12. Detuned
Pre-Amp: Mode Four
Settings: OD2 Channel – Scoop on with Tone Matrix
set to 3
This thoroughly aggressive and modern metal tone has
been created from the Mode Four's menacing OD2
channel. Its intimidating character is aided further by a
lowered mid frequency response in its EQ section, ideal
for down-tuned/baritone guitars.
Pre-amp Topology: A high headroom gain booster
followed by a gain control driving a cascaded double
ECC83 gain stage followed by a lowered mid frequency
Marshall three band EQ.
LEAD SECTION 13-16
Lead 13. Deep
Pre-Amp: Bluesbreaker II + Haze40
Settings: Bluesbreaker II in Boost mode with Drive
set to max, plus Haze Normal Channel with
Boost and Bright switches on.
A 'boosted' Bluesbreaker pedal and a Haze40 combo with
Boost and Bright switches engaged have been combined
to produce a truly deep and growling tone. The warm
sustain of this pre-amp makes itideal for soaring solo
tones.
Pre-amp Topology: Aboost pedal driving an ECC83
pre-amplifier stage followed by a gain control, then into an
ECC83 gain stage directly coupled to a cathode follower
driving a classic Marshall three band EQ.
Lead 14. Solid
Pre-Amp: Original Guv'nor Distortionpedal
Based on the original and highly-prized Guv'nor stomp
box, this pre-amp setting delivers a throaty, pedal driven
overdrive. Its unique mid character and resonant high
frequencygives it both distinctiveteeth and a ghostly
howl, makingit ideal for riding feedback.
Pre-amp Topology: Aclassic Marshall overdrive pedal
with 2 gain stages, diode clipping and an enhancedmids
three band EQ,as a full gain pre-amp.
Lead 15. Classic
Pre-Amp: Bluesbreaker II + JCM2000 DSL100
Delivering the 'tone shifted' Crunch of the revered
JCM2000 DSLSeries and enhanced again with
Bluesbreaker pedal topology, thispre-amp option creates
expansiveand cutting ’90s lead tones.
Pre-amp Topology: An ECC83 pre-amplifier stage
followed by a gain control into a cascaded double ECC83
clipping stage, then into an ECC83 gain stage directly
coupled to a cathode follower driving a tone shifted
Marshall three band EQ.
E
xtFX
1
Modern
Full- 2
Classic-3
Natural-4
Vintage- 5
Classic-6
D
eep- 7
F
ull- 8
Classic
9
1
0- Modern
1
1- Deep
12- Detuned
13- Deep
14- Solid
15- Classic
16- Modern
Full-
2
-
3
-71
1
1
1
15
16- M
od
JMD:1 Front Panel continued
1 3
4 5
5
6
2 2 7
9 10
8
ENGLISH
3-6. Classic continued . . .
Page 6
98
E
xt FX
1
M
odern
Full- 2
C
lassic-3
N
atural-4
Vintage- 5
C
lassic-6
Deep- 7
F
ull- 8
C
lassic
9
1
0- Modern
11- Deep
1
2- Detuned
13- Deep
1
4- Solid
1
5- Classic
16- Modern
Full-
2
-
3
-7
11
1
1
1516- M
od
JMD:1 Front Panel continued
1 3
4 5
5
6
2 2 7
9 10
8
ENGLISH
Lead 16. Modern
Pre-Amp: JVM410H
Settings: OD1 Channel in Orange Mode
The JVM Series provides the JMD:1 with an all-round
modern lead sound, derived from the former's OD1
channel at its 2nd gain stage, delivering plenty of cut,
edge and sustain.
Pre-amp Topology: Four cascad ed stages of gain:
An ECC83 gain stage followed by treble boosting and
tuned bass tone shaping circuitry with the gain control
feeding into an ECC83 gain stage, connected to an
ECC83 pre-amplifier stage configured as a clipper into
an ECC83 gain stage, directly coupled to a cathode
follower driving a classic Marshall three band EQ.
4. Pre-Amp Controls
Gain - Controls the level of signal entering the pre-amp.
At lower settings the sound willbe cleaner and the
amount of distortion is more controllable from your guitar
or your playing style. At higher settings, more distortion is
available. The overall effect on the signalwill depend on
the topologyof the currently selectedpre-amp.
Bass - Turning the Bass control will affect the amount of
low frequencies, or bottom-end, in your guitar tone.
Rotating this clockwise will increase the amount of lower
tones, generally making your sound deeper andis
especially useful at lower volumes. Turning this control
anti-clockwise will reduce the bass frequencies in your
tone, producing a more cuttingsound – especially useful
at higher volumes.
Middle -Adjusts the middle frequencies. Turning the
control anti-clockwisewill yield a more hollow soundwith
the bass and treble frequencies appearing to bemore
accentuated. Turning it back clockwise increases the
middle, adding body to the sound.
Treble - By adjustingthe Treble control you can add or
take away the higher frequencies in your guitartone. By
increasing the amount of treble you will make yourtone
brighter, ideal for more percussive playing styles.
Volume - Controls theoverall level of the pre-amp signal
that is fed to the power amp section.
5. Effects Section
Modulation
Mod Adjust -As the control is turned clockwise it selects
one of four modulation effects, increasing the modulation
speed as it is turned through each section. Setting this
control to minimum selects thenoise gate.
Gate - An ultra fast studio quality noise reducer. Instead
of abruptly cutting the sound once the threshold is
reached likea standard noise gate, an expander
progressively attenuates the signal following its dynamics.
The Mod Depth control sets the threshold, the level at
which the gatestarts to effect the signal. The Gate
senses the playing dynamics, adjusting its reaction
accordingly. This preserves natural decay of heldchords
or notes and alsoa fast response to staccatostyle
playing.
Adjust the ModDepth control to set the pointwhere the
noise reduction begins to work. Make sure that when
adjustingMod Depth you are not picking up hum from the
amplifieror other equipment, as it may result in a higher
setting thanneeded.
Chorus - Basedupon a classic bucket brigade circuit, the
Chorus effect provides deeply detuned sweeps to subtle
shimmers.
Phaser - Creates fluid waves which wash across your
tone. Roll back the depth to create gentle vibe likeripples.
Flanger - Producing metallic edged texturesthat
envelope your sound; at slow speeds the regen increases
to create jet like sweeps, whileat high speeds rotary
speaker effects can be created.
Tremolo - The first newMarshall to feature a tremolo
since the 1970s, it recreates the natural amplitude swell
and decay of a valve-based design.
Mod Depth - Setsthe depth of the currently selected
modulation effect or the threshold of the gate.
Modulation - Turns the current modulation effect and
gate on and off.
Delay
Delay Adjust - Selects one of four delay types.As the
control is turned clockwisethrough each effect, thedelay
time is increased to a maximum delay time of 1000ms.As
the delay timeis increased, the number of repeats is also
increased, providing short slap-back delays to long
sprawlingechoes.
Hi-fi - Apure delay line.
Analogue -Additional filtering recreates the sound of the
guitar cascading through anold analogue delay circuit.
Tape- A darker delay line with wow and flutter, as found
on old tape delays.
Multi - Amulti tap delay line withtwo rhythmic repeats.
The extra tap appears at ¾ of the current delay time.
Delay Level - Controls the level of signal sentto the
Delay effect.
Delay &TapTempo - When the delayis off, pressing this
switch turnsthe delay on.
When the delayis on, tapping this switch sets the delay
time to match thetime between the taps.
When the delayis on, holding this switch in for over half a
second turnsthe delay effect off.
Reverb - Controls the level of signal sent to the reverb.
The reverb decay is also adjusted as the level is
increased, complementing your chosen setting.
FX Loop - This isa programmable FX Loop which
features a MIXcontrol on the rear panel and islocated
after the pre-amp, right before the effects section.
Pressing theFX Loop switch engages thisFX Loop.
Please referto the Serial / Parallel Loop description later
on in the handbook for a more detailed explanationof its
operation.
6. Master Section
Presence -This control emphasisesthe high frequencies
in your tone.Turning this controlup adds crispness and
bite. Use the presence controlto alter the overall sound of
the amplifier to suit the acoustics of the room or venue
you are playing in.
Master - Controls the overalllevel of the power amplifier.
Note: Both the Presence and Master Volume power amp
controls arenot storable and have a globaleffect on the
overall toneand volume of the amplifier.
7. Footswitch / MIDI Program
Enables the programming of thesupplied 6-Way
Footcontroller and assigning of completeset-ups via
MIDI. See the Footcontroller & MIDI section of this
handbook formore information.
8. Power LED indicator
This red LED willilluminate when the Powerswitch is
turned on.
9. Standby switch
The Standby switch is used in conjunction with thePower
switch (10) to‘warm up’ the amplifierbefore use, to
prolong the life of the output valves and to mute the
amplifierwhen required, such as shortbreaks in
performance or when using the amp for silent recording.
10. Mains (Power) switch
This is the On/Off switch for themains electric power to
the amplifier.
Note: Please ensure the amplifier is switched off and
unpluggedfrom the mains electricity supply whenever it is
moved!
Page 7
MODEL: JMD102
(unprocessed) signal as youturn it towards Dry.This
allows you to mixany amount of the external effect
without losing or degradingthe direct signal quality.
When mixing the Wet and Dry signals, the externaleffects
processor’soutput should be configured to remove the
direct (unprocessed) signal because unpleasant phasing
effects may occur when mixing it again in the amplifier.
Note: The position of the Mix control is storableand its
current setting may not reflect the physical position of the
control whenyou have changed to a new preset. If you
are having problems with the FX Loop, always turn the
Mix control first to ensure it is setto the value you expect.
9. Speaker Outputs
WARNING! Never switch theStandby to On without a
load (speaker cabinet/s) attached!
There are three speaker outputs available on the rear
panel, they are labelled according to the intended
impedances:
G
1x16 Ohm: Connect to this outputwhen only using a
single 16 Ohm cab.
G
1x8 Ohm / 2x16 Ohm:Connect a single 8 Ohm guitar
cabinet to oneof these sockets or two 16 Ohm cabinets.
WARNING: Although there are three speaker outputs,
never attempt to connect more speakers than rated. The
safe combinations are 1x16 Ohmor 1x8 Ohm or 2x16
Ohm only. Any other speaker configuration may stress the
power amplifier section and, in extreme cases, may lead
to valve and/or output transformer failure.
JMD:1 combo amplifiers internal speaker(s) must be
connectedto the socket marked ‘Internal Speaker(s)’
only.
ALWAYS ensure you use good quality speaker
(unshielded) cables. NEVER use guitar (shielded) cables.
ALWAYS usea non-screened Marshall approved speaker
lead when connecting an extension cabinet to these
amplifiers.
6
7
8 9
JMD:1 Rear Panel
1. Mains Input & Fuse
Your amp is provided with a detachable mains (power)
lead, which isconnected on the rear panel.The specific
mains input voltage rating that your amplifier has been
built for is indicated on the back panel.
WARNING: Before going anyfurther, make sureyour
amplifieris compatible with your electrical supply. If you
have any doubt, please get help from a qualified
technician, your Marshalldealer can help you in this
respect.
The correct value of mains fuse,located in the small
drawer at the bottom of the mains socket, is also
specifiedon the rear panel of the amplifier. The drawer
also contains one spare fuse.
Note: It is wise to carry spare fuses atall times.
NEVER attempt to bypass thefuse or fit one of the
incorrectvalue.
2. MIDI In & MIDI Thru
Connect any external MIDI devices to the MIDI In DIN
socket.A copy of the signal entering this connector will be
availableon the MIDI thru socket to allow daisy chaining
of MIDI equipment.
Note: The JMD:1 only accepts andretransmits incoming
data. It is not designed to generate its own MIDI
commands.See the Footcontroller & MIDI section of this
handbook formore information.
3. Footcontroller
Connect the supplied footcontroller using any standard
¼" jack mono lead, e.g. a guitar lead. Using any other
type of footswitch other than the supplied willhave no
effect and will be ignored by theamplifier. See the
Footcontroller & MIDI section of this handbook for more
information.
4. Emulated Line Out
An electronically balanced pre-amp signal, processed
through a power amp, 4x12" speaker cabinet and
microphone emulation is made available at this
connector. It is also available at the Headphones output.
IMPORTANT: This output cannot be muted when the
amplifieris switched off. To prevent loud pop noises on
power down, disconnect before switch off or switch off
external equipment first.
5. Headphones
Headphoneoutput providing the JMD:1’s pre-amp
processedthrough a power amp, 4x12" speaker cabinet
and microphone emulation.
6. Line In
Connect an external audio source such as an MP3, CD or
tape track.This signal will appear on the Headphones
output only, to allow private practice.
7. Pre-amp Out
Output providing a direct feedfrom the JMD:1s pre-amp
for connection to an external power amplifier.
Note: The External FX Loop, Emulated Line Out,
Headphones, Line In and Pre-Amp Out are still
operational when the JMD:1 is instandby, allowing you to
use the amplifier in silent recording mode.
8. Serial / Parallel FX Loop
Mix, FX Level, Return and Send
The JMD:1 is equipped with a programmable serial /
parallel FX Loop. Connect yourexternal FX device input
to the JMD:1’s Send socket and the device’s output to the
JMD:1’s Return socket.As described previously, this
FX Loop can be bypassed and programmed from the
front panel.
The +4dBu/-10dBV switch allows you to configure the
loop for use witheither professional equipment (+4dBu
setting) or with guitar level effects like effects pedals
(-10dBV setting). When Mix is set to Wet, all the signal
goes throughthe external loop, addingmore direct
1
2
3
4 5
10 11
ENGLISH
Page 8
W
hen thepreset and bank LEDs overlapi.e. A1, B2,C3,
D4, theLEDs will mixand light orange.
W
hen thecurrent bankis changed,the green LEDwill
flashindicating that you have moved banks;switch 1 to 4
needsto be selectedbefore a preset is recalled.
ToStore - Dial inthe tone you require,when you are
h
appy, pressthe Footswitch / MIDI Program switchtwice
(LED isflashing).Using the Footcontroller, selectthe bank
y
ou require and then press the chosen preset. The
Footswitch / MIDI Program switch will stop flashing and
your settingswill have beenstored.
To exit this mode without storinga preset, press the
Footswitch / MIDI Program switch again.
ToRecall - Simply select the required bank and press the
chosenpreset.
The four presets in bankA - A1,A2, A3and A4 are the
same asthe JMD:1’s4 channels,allowing youto store and
recallthe sounds stored viathe front panel.
Note: When connectingthe Footcontrollerin Preset Store
mode,or after turning the amplifier on withthe
Footcontroller connected, the Footcontroller's LEDs will
indicate the last recalled preset, remindingyou of which
presetyou played last. Theamplifier will not change any
settings until you havepushed one ofthe preset
footswitches(1-4), allowing youto recall thelast preset
used orto select another.
M
IDI
The JMD:1 can store and recall 128 presets via program
c
hangecommands received from its MIDI IN socket.
ToStore - Dial inthe tone you require,when happy, press
the Footswitch / MIDI Program switch twice, theLED will
f
lash until a valid MIDI program change command is
received. On reception of a MIDIprogram change
c
ommandthe amplifier stores the current settings inthe
MIDI program number received.
The JMDoperates inOMNI mode; it will respond to MIDI
program changemessages transmitted on anyMIDI
channel.
To exit this mode without waitingfor incomingMIDI data,
pressthe Footswitch / MIDIProgram switch again.
ToRecall - Simply transmit therequired program change
command and thepreset willbe recalled.
The first four programchanges 0, 1,2 and 3 are the same
as the JMD:1’s4 channels.The first 28 program changes
(0 to 27)are the sameas the 28 locations as accessedvia
the supplied Footcontroller.
Restoring Settings -WARNING: All user settingswill
be lost.
To restore the unit to factory settings youmust hold the
MODULATION and DELAY switches(5) while powering on
the unit. The JMD:1’schannel switches will beginto flash.
You can then release the switches.On release thechannel
switches willchange from flashingto lit and thefactory
settings willbe restored.
Resetting theamplifierwill erase all user channel
settings, memoriesand Footcontroller switch store
assignments,replacing them with the factory presets.
ENGLISH
JMD:1 Series Technical Specifications
JMD100 Head JMD50 Head JMD102 Combo JMD501 Combo
Power (RMS) 100W 50W 100W 50W
Valves 1 x ECC83,4 x EL34 1 x ECC83,2 x EL34 1 x ECC83, 4 xEL34 1 x ECC83, 2x EL34
Guitar - Input Impedance 1MOhm 1MOhm 1MOhm 1MOhm
EmulatedOutput -Level +4dBu +4dBu +4dBu +4dBu
FX Send Level - Selectable -10dBV / +4dBu -10dBV / +4dBu -10dBV / +4dBu -10dBV / +4dBu
Dimensions (mm) w,h, d 750 x 310 x 220 750x 310 x 220 685 x 530x 255 635 x 530 x 255
Weight (kg) 20.2 15.7 31 22.6
Footcontroller & MIDI
Footcontroller
The provided 6-way Footcontroller works in twomodes:
- In Switch Store mode you can assign anyfront panel
switch(Manual, Channel 1-4, Modulation,Delay,Tap
Tempo, FXLoop & Compare) to anyof the six
footswitches, thereby enabling access to thatfunction
remotely.
- In Preset Store mode you can store and recall up to28
complete presets, effectively giving you 28channels!
A full list and description ofthe 28 factory presets is also
included withthe JMD:1.
The Footcontroller issupplied in Switch Store modewith
the followingdefault assignments:
FSW #1:Channel 1
FSW #2:Channel 2
FSW #3:Channel 3
FSW #4:Channel 4
FSW #5:Manual
FSW #6:Modulation
To changebetween modes, unplug the Footcontroller from
the amplifier, holddown footswitch 1 andreconnect the
Footcontroller to theamplifier while theamplifier is
switched on.
The Ch1LED will illuminategreen when entering Switch
Storemode.
The FX LED will illuminate red when entering Preset Store
mode.
The Footcontroller will remain in yourchosen mode even
afterswitching off the amplifieror disconnecting the
Footcontroller.
Switch StoreMode
In Switch Storemode, any of the footswitches can be
configured toreplicate any of the front panel switches and
the amplifierwill react inexactly the same way aswhen
you operate them on the front panel.
All thefront panelswitches canbe mapped to any of the
footswitcheswithout anylimitation.The only exceptionof
course, is the Footswitch / MIDIProgram (7)switch, which
cannotbe assignedto the footswitch.
To assigna front panelswitch to a footswitch simply:
1. Enter Footswitch Program mode by pressing the
Footswitch / MIDI Program (7) switch once (red light on).
2. Press and hold the desired footswitch.
3. While holding the footswitch down, inless than three
seconds, pressthe front panel switch you wish to assign
to it.
The FX footswitch LED will flicker a couple of times
indicating that the switch hasbeen mapped.From now
on the selectedfootswitchwill act in exactly the same
way as ifyou press theequivalentfront panelswitch.
4. Onceyou have finished assigningswitches to the
Footcontroller, press theFootswitch/ MIDI Program (7)
twice(red light off) to exit the FootswitchProgram mode.
The Delay switch can be assignedto a footswitch to either
turn the delay effect on or off or act as the tap tempo (both
features can beassigned totwo different footswitches).
To assigndelay on / offto a footswitch, assign the switch
whilethe delay effect is off.
To assignthe tap tempoto a footswitch, assign the switch
whilethe delay effect is on.
In Switch Storemode the Footcontroller’s LED display
reflects the current status ofthe JMD:1, followingthe line of
text above the LEDs, displaying current Channel,
Modulation, Delay andFX Loop settings.
Preset Store Mode
In Preset Storemode the Footcontroller allows youto store
and recall entire frontpanel set-ups in oneof 28 memory
locations divided up into sevenbanks (A to G) of four
presets.
Switches 5 (bank up) and6 (bank down)select whichbank
you require, indicated by the red LED.
Switches 1 to 4 select thepresets within the currentbank,
indicated by the greenLED.
MODECHANGE
654321
Ch1
A:1 B:2 C:3 D:4 EFG
Ch2 Ch3 Ch4 MOD DEL FX
MODEL:PEDL-10048
BANKA - G
12 13
Page 9
Guitar SpeakersInput Stage
P
re-Amp
P
ower-Amp
Send Return
Modulation Delay Reverb
Emulated Line
Out
Headphones Line InPre-Amp Out
P
ower Amp
Cabinet &
Microphone
Emulation
∑
∑
F
X
ENGLISH
Block Diagram
14 15
Notes
Page 10
Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement
and development, Marshall Amplification plc reserve the right to alter specifications without prior notice.
BOOK-93001-00 / 11 / 09
Denbigh Road, Bletchley, Milton Keynes MK1 1DQ England.
Tel : +44 (0)1908 375411 Fax : +44 (0)1908 376118
www.marshallamps.com
Loading...