Marshall Amplification JCM800 User manual

Marshall Amplifica ion plc Denbigh Road, Ble chley, Mil on Keynes MK1 1DQ
Official Marshall websi e: www.marshallamps.com
Whils he informa ion con ained herein is correc a he ime of publica ion, due o our policy of cons an improvemen and developmen ,
Marshall Amplifica ion plc reserve he righ o al er specifica ions wi hou prior no ice.
CATS-00131

As we see out the produ t of one year and wel ome in the next, we are
proud to introdu e our Produ t Catalogue for 2008.
This last year has been amazing, the laun h of the JVM4 Series has been
widely a epted as the ben hmark for others to follow and it has won a
number of awards in luding ‘Best Amplifier 2007’ by the Musi Industries
Asso iation, a very prestigious a olade. We would like to take this
opportunity to thank all the musi ians and musi retailers that voted in
favour of the JVM.
A great addition to the Signature Series in 2007 saw the introdu tion 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 an deliver.
With these su esses in mind, it again demonstrates the dedi ation, the
talent and the ommitment of our Resear h and Development team who
ontinue to design award-winning amplifiers that guitarists of all abilities
an enjoy playing.
So it is with a great deal of pride that we are able to share with you our
new produ ts for this year’s atalogue. The JVM2 Series has been added
to the existing, award-winning JVM4 range, the design engineer having
in luded a sele tion of hannels and produ ed a two hannel version that
epitomises the tones and versatility of the JVM4, tones ranging from a
sweet lean to a pun hing high gain and all points in between. Of ourse,
we kept the same features as the JVM4, su h as the memory footswit h
and the MIDI ontrol, to produ e an amplifier worthy of joining this
award-winning range.
We also set our Signature Series designer the task of resear hing two new
additions to this very ex lusive range, asking him to honour two artists that
we have had the great pleasure of being asso iated with. The first is the
1959RR, based on the very amp that the late, great, Randy Rhoads
olle ted from our fa tory ba k in 1980.
We are onfident that this will appeal to many guitarists, not just as a great
amplifier, but also, for many, it will be like owning a pie e of history.
The se ond new Signature amplifier is in honour of a great friend of ours,
Lemmy Kilmister. I first met Lemmy in 1968 and have followed his areer
from the beginning, before his time with Hawkwind through to the
worldwide su ess 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 introdu e a Signature bass head this year, the 1992LEM.
I am onfident that whatever your ability, whatever your genre, you will be
able to find an amplifier in the Marshall Produ t Catalogue that will give
you the tone and the sound you are sear hing for.
I wish you every su ess.
from
Jim Marshall
Dr Jim Marshall OBE
Pi ture: Dr Jim Marshall OBE and daughter Vi toria (Managing Dire tor)

Th Jim Marshall Story
With virtually no formal edu ation behind him due to hildhood
illness, Jim Marshall began work at the age of 13 in 1936.
During a su ession of jobs with little or no prospe ts, Jim had
started tap dan ing and later singing with bands in the evenings.
His natural talent for musi 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 respe ted
drum tea her Max Abrams and by the early 1950s Jim had turned
professional. He be ame highly sought after as a drummer, led his
own band and was a highly su essful drum tea her.
Jim’s su ess ontinued and by 1960 he had opened the first Marshall
shop, initially selling drums. However, due to popular demand he was
soon sto king guitars and amplifiers. By listening to the guitarists
oming 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 su ess. Jim designed and built the mat hing speaker abinet
and the rest, as they say, is history.
In th B ginning...
There was the JTM45 whi h was first unveiled in 1962 at Jim
Marshall’s musi shop in West London. At that time, ro k guitar
playing as we now know it was very mu h in its infan y and players
were onstantly looking for new ways to redefine their tone. It
qui kly be ame lear that the JTM45 was the perfe t amplifier for
the task at hand! While it was apable of providing plenty of ‘ lean’
power, the JTM45 also did all kinds of wild things when turned up all
the way. This was just what legendary ro k ‘n’ roll pioneers like
Pete Townshend were looking for.
By 1965 it was Pete Townshend’s need for greater on-stage volume
whi h inspired Jim to build the first ever 100 Watt Marshall guitar
head. The Who’s guitarist also wanted bigger abinets and, as a
single 8x12" abinet (Pete’s original request!) proved to be totally
impra ti al, Jim ame up with the idea of ‘sta king’ two 4x12"s, one
on top of the other. And that’s how that irrefutable i on of ro k
amplifi ation, the ‘Marshall Sta k,’ ame into being.
The fa t that so many legendary guitarists from that all-important era
of the late ’60s/early ’70s, hose Marshall as their ba kline was no
a ident. These players all had their own distin tive style and ea h
one was omplemented perfe tly by the dynami s and feel that the
Marshall 1959 Super Lead ‘Plexi’ amplifiers offered. This was
personified by the late, great, Jimi Hendrix who reated sounds
through these Marshall amps whi h had never been heard before
and arguably, have never been mat hed sin e.
Th N xt Stag
As ro k guitar playing evolved, Marshall ontinued to su essfully
reate new amplifiers that offered exa tly 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 mu h more
ontrollable volume. This breakthrough was exa tly what many
guitarists of that era were looking for.
By the time the ’80s rolled along, the MV spe ies had evolved into
the JCM800 Series. The unmistakable roar of these amps, whi h
shaped the tone of that de ade, is still favoured by many of today’s
utting-edge guitarists su h as Kerry King of Slayer and Zakk Wylde.
The JCM800 family also featured more flexible models with
swit hable hannels and built-in reverb.
As in reased gain be ame the order of the day, Marshall laun hed
its Jubilee amplifiers in 1987. This no-nonsense, superb sounding
amp be ame 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
ourse, 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 produ ts delivered
exa tly what players needed and took entre stage for mu h of
that de ade.
Right H r , Right Now. . .
Re ognising that today’s guitarist demands a high level of versatility
while still raving Marshall’s now legendary, valve-driven tone, we
laun hed the JCM2000 Series in the late ’90s. This strong line of
all-valve heads and ombos offers both the tone and flexibility that
players su h as Jeff Be k and Gary Moore demand . . . and
ountless others too.
We also took hybrid amp te hnology to new heights with the release
of the AVT (Advan ed Valvestate Te hnology) line of amps, whi h
su essfully blend our valve expertise with digital effe ts and
utting-edge solid-state power amp ir uitry that emulates the
sound and feel of a valve power stage. The result? A flexible and
affordable alternative to all-valve amps whi h 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 pri e, we laun hed our new MG Series. This
award-winning range of nine ombos and a head redefined what
players an expe t from inexpensive amplifi ation.
Continuing our poli y of listening to the needs of today’s guitar
players has led to the reation of the Mode Four. Attitude, striking
looks and above all in redible power set the Mode Four and its
mat hing abinets apart. Combine this with an arsenal of great tone
and features, delivered through state-of-the-art te hnology and you
have a Marshall like no other that has already won awards and a
host of onverts.
Due to overwhelming publi demand, in 2004 we laun hed the
first two models in our brand new Handwired range, the 1974X
and 2061X. This was followed by the mu h-anti ipated 1959HW
in 2005 and the limited run of JTM45/100 heads made to
elebrate the 40th Anniversary of the now i oni Marshall sta k.
The Handwired range is an ongoing series of meti ulously
a urate, handwired re-issues of lassi Marshalls from
yesteryear, in luding the Super 100JH Jimi Hendrix sta k.
Reviewers and users alike are unanimous in their a laim of our
point-to-point perfe tion. 2007 saw the introdu tion of the
award-winning JVM4 range and the 2203KK Signature Series
Kerry King head.
N w for 2008
2008 is just as ex iting with the laun h of the JVM2, a two hannel
amplifier very mu h in the same vein as the JVM4 and omplete
with a 4-way programmable footswit h, this range is destined to be
as su essful as the JVM4.
This year also sees two new additions to our Signature Series with
the laun h 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 ertainly 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
i oni style.
Th History...
Th Story Continu s...
19 62
JTM45
19 66
Model 1959
1975
Master Volume
1981
JCM800 (2203)
19 87
Jubilee Series (2555)
19 90
JCM900 (4100)
19 92
30th Anniversary (6100)
19 97
JCM2000 (DSL100)
2000
VS2000 (AVT50H)
2006
Vintage Modern
2007
JVM4 Series
2008
JVM2 Series
3
2

“ I’ve said it before,and I’ll say it
again: I won’t even consider trying
anything else – something that
consistent you just don’t f**k with.”
Slash
“ I’ve experimented with different makes
of amp but came to the conclusion that
the arshall 100Watt stack was the
best rock amp.
”
Angus Young
(AC/DC)
“What’s my secret weapon?Well,
aside from sheer volume (laughs),I’d
have to say my arshalls, because
they’re really great for what I do.”
Dave Murray
(Iron Maiden)
“I can make my arshall go from a
screaming loud tone to a beautiful
clean, warm, bassy sound with a
mere flick of a pick-up switch.”
Paul Weller
“I’ve been playing guitar for 19 years and
have used arshalls the whole time .. .
there’s no reason for any other amp.”
Steph Carpenter
(Deftones)
“Bought my first 100Watt arshall stack in
the ’60s and I have never found anything
that comes close. arshall is my sound.
From The Herd,through Humble Pie to this
day. I’m a arshall lifer!”
Peter Frampton
“The arshall sound is the balls.
It’s the big daddy and it has that
growl that no other amp has.”
Jeff Beck
“What does a arshall sound like?
Strength,warmth, commitment,beauty
and destruction . ..all wrapped up in a
giant f**kin’wrecking ball!”
Zakk Wylde
(BLS, Ozzy Osbourne)
“Old arshalls never die – they
just blow your f**king head off!”
Lemmy
(Motorhead)
“Even when I experimented with other
heads, I still ran them through arshall
4x12”s. arshall amps have become an
integral part of my tone.”
Eric Johnson
“When my tone sounds and feels right,
something happens that makes me feel
alive.That’s why I use arshalls.”
Dave Mustaine
(Megadeth)
“ arshall’s the best rock‘n’ roll amp in
the business. Nobody has topped them
since they were first made in ’62.”
Ace Frehley
“We use arshall because when we
jump on them they still work, and
they sound good . . . real good!”
Matt Bellamy
(Muse)
“Plug in and enter the world of
vintage heaven, just how it should be.
It just makes you want to play, and
you can’t say any better than that.”
Mick Box
(Uriah Heep)
“To me,Jim arshall is the ultimate rock star
because he made all of us better! It’s an
incredibly unique honour to have my
signature on an amp right next to his.
Plus, it’s just f**kin’cool and flattering that
Jim thinks enough of me to roll with my own
head.”
Kerry King
(Slayer)
“I plugged into a arshall 25 years ago and
from my first crunchy riffs to my latest
screaming leads,my arshalls were always
right behind me,lot’s of them!There will
always be imitations, but in the end there can
only be one, the only one, arshall!”
Yngwie Malmsteen
“They are simply the best,most solid
sounding,dependable and toughest
touring amps in the world!”
Janick Gers
(Iron Maiden)
“ illions of musicians all around the
world use them, they can’t all be
wrong can they!”
KK Downing
(Judas Priest)
ROLL of HONOUR
Marshall Amplifica ion Produ t Catalogue 5
4Marshall Amplifica ion Produ t Catalogue
Pho os: Chad Lee: Slash. Dave Maud: AngusYoung. Bob Thacker: Janick Gers, Dave Murray, Lemmy. Mickey Rose: Paul Weller. Denis O’Regan: Peter Frampton.
Al Pulford: Zakk Wylde, Steph Carpenter. ene Kirkland: Dave Mustaine. Chris ill: Ace Frehley. Mickey Rose: Matt Bellamy. Rob Wyatt: Kerry King.

Marshall Amplifica ion Produ t Catalogue 7
JVM2 S ris Amplifiers
JVM210H Head • JVM205H Head • JVM205C Combo • JVM210C Combo • JVM215C Combo
6Marshall Amplifica ion Produ t Catalogue
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 ombo, the series now serves the guitarists
who prefer the sound and olour 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 ombos respe tively. The result is
the most omprehensive range of amplifiers in Marshall's illustrious
46 year history.
Equipped with the same groundbreaking te hnology as found in the
JVM4 hannel, the JVM2 Series omes loaded with an impressive array
of features. Contained within the amp is a studio quality Reverb
spe ifi ally developed for the JVM, two Effe ts Loops to further enhan e
your sound and separate presen e/resonan e ontrols to shape the tone
of your playing. All this, not to mention the dual Master Volume ontrols,
MIDI swit hing and the unique patent-pending te hnology found in the
JVM2's 4-way footswit h, is where the JVM omes into it’s own. This fully
programmable unit not only onne ts via a standard guitar lead, it also
allows single front panel swit hing or whole amplifier onfigurations to be
stored in its memory. Essentially, this enables the guitarist to either all
upon individual features su h as Channel/Mode, Reverb and
Effe ts Loop as and when needed or re all a olle tion of JVM front
panel options at the stomp of the foot. The multi- oloured LED’s housed
in the footswit h indi ate the status of ea h hannel and mode, a real
godsend whether rehearsing in the bedroom or ro king out to the
masses on a dimly lit stage.
Every JVM2 is produ ed at the Marshall fa tory in England using tried and
tested onstru tion te hniques oupled with the latest te hnology. Every
amplifier hassis and ombo speaker is loaded into strong, durable
abinets made from the finest raw materials and finished to the highest
standard. Both the JVM210C and JVM205C ombo are fitted with a
ombination of Celestion Heritage and Vintage speakers to a hieve an
amazing depth of tone. The JVM215C omes with a 12”Celestion G12B
speaker that delivers exa tly what the amp, and you, expe t from it.
From left to right:
JVM205C Combo
JVM210C Combo
JVM205H Head
1960A Cab
JVM210H Head
1960A Cab
1960B Cab
JVM215C Combo
FEATURES JVM210H JVM205H JVM210C JVM205C JVM215C
ead No No No
Combo No No 
Output (RMS) 100 Watt 50 Watt 100 Watt 50 Watt 50 Watt
Speakers No No 1 x Vintage, 1 x eritage 1 x Vintage, 1 x eritage 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
AMPLIFIER SPECIFICATION
Mod s of Ton
The JVM4 hannel amplifiers are synonymous
with versatility and flexibility thanks to the three
modes assigned to ea h hannel, and the JVM2
range is no ex eption. Both hannels –
Clean/Crun h and Overdrive – have green,
orange and red modes, ea h one reating a
unique, yet omplimentary, tone to the previous.
This means that a total of six bespoke sounds
an be alled upon at any one time from the
intuitive footswit h. From a bright, lean and
honest tone produ ed from the Clean/Crun h
hannel in green mode, through to the
thunderous, un ompromising distortion
unleashed through the red moded Overdrive
hannel, the soni s ope of the JVM2 is
astounding. This truly is the evolution of guitar
amplifi ation.
“Just when I thought I’d never find my ultimate sound,
I found the arshall JV Series.”
Joe Hoare
(Orange Goblin)

FEATURES JVM410H JVM410C
ead No
Combo No 
Output (RMS) 100 Watt 100 Watt
Speakers No 1 x Vintage, 1 x eritage
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
AMPLIFIER SPECIFICATION
Marshall Amplifica ion Produ t Catalogue 9
JVM4 S ris Amplifiers
JVM410H Head • JVM410C Combo
8Marshall Amplifica ion Produ t Catalogue
The all-valve, 4 channel, 100 Wa 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 H ad & JVM410C2x12”Combo
The JVM Series 100 Watt, valve-driven power stage is built on the
lassi design responsible for the legendary Marshall roar found in
the JCM800 2203 and “Plexi” Super Lead amplifiers – a timeless
foundation for ountless lassi ro k and metal guitar tones for over
four de ades.
Ea h of the JVM’s four hannels: lean, run h, OD1 & OD2 has
three modes – green, orange and red – providing 12 totally unique,
yet omplimentary amplifier topologies, making it 12 amps in one.
As a result, the Series offers an amazing array of instantly
swit hable tones – from the leanest lean to the highest gain ever
found in a Marshall and all points in-between.
The JVM front panel is simple and un ompromising; dedi ated
Gain, EQ, Volume and Reverb are present for ea h of the four
hannels. Add to this a Master se tion with dual Master Volumes,
Resonan e and Presen e and you have a lear, on ise layout that
makes the JVM easy and intuitive to use. With seamless swit hing,
perfe t memory, and MIDI, onboard logi not only ensures
swit hing is swift and silent, but also remembers the position of
ea h front panel swit h in all 12 modes.
Every JVM is made at our Marshall fa tory in England using
time-tested, traditional methods of raftsmanship and onstru tion,
ombined with the latest advan es in modern manufa turing
te hnology, ensuring world lass build quality and roadworthiness.
Internally, the JVM ir uitry and layout has been kept to a minimum,
ensuring the integrity of the guitar tone and an in redibly low noise
floor – this, oupled with meti ulous valve sele tion and high
toleran e along with quality omponents adds to the all-important
reliability fa tor that is synonymous with the Marshall legend.
The JVM Series also in ludes the JVM410C 2x12”ombo whi h
boasts two different speaker types – Celestion Vintage and a
Celestion Heritage – allowing the ombo to deliver spa ious, ri h
tones ba ked-up with a solid low-end thump.
Ultimat Control & Conn ctivity
Every JVM is supplied with a 6-way, fully programmable footswit h.
This revolutionary, UK patent-pending te hnology allows single front
panel swit hes or entire set-ups (Channel, Mode, Reverb, FX Loop
and Master Volume swit h settings) to be simply assigned to any
foot swit h. The footswit h’s group of multi- oloured LEDs refle t
every front panel swit h status ensuring, in the heat of a
performan e, that you know exa tly where you are with no need to
see the amp. To add to it’s already impressive ‘guitarist friendliness,’
the JVM footswit h onne ts to the amplifier via a standard guitar
lead, making it easy to repla e with any length you may need.
Additionally, the JVM’s MIDI In and Thru onne tion means it an
easily be integrated in a MIDI swit hing set-up, allowing you to
store and re all 128 omplete amplifier set-ups. With its built-in
memory and swit hing options, the JVM’s possibilities are endless.
From left to right:
JVM410C Combo
JVM410H Head
1960A Cab
JVM410H Head
1960A Cab
1960B Cab
“The JV is one kick ass amp! Now I have all my
favourite arshall tones in one box!”
Jason Hook
(Alice Cooper)

From left to right:
2266C Combo
2466 Head
425A Cab
425B Cab
2266 Head
425A Cab
FEATURES 2466 2266 2266C
ead No
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
AMPLIFIER SPECIFICATION
Marshall Amplifica ion Produ t Catalogue 11
Vintag Mod rnAmplifiers
2466 Head • 2266 Head • 2266C Combo • 425A/425B Cabs
10 Marshall Amplifica ion Produ t Catalogue
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”
ombo are all-valve single hannel amplifiers offering a hoi e of two
‘dynami ranges’ sele table by footswit h. The Low range equates to the
performan e you would ome to expe t from a sto k vintage Marshall
amplifier in terms of tone and available gain. The High range adds an
extra pre-amp valve into the signal path, fa ilitating those lassi hard
ro k tones of the Seventies. Add to this, the ability to optimally interfa e
with your instrument’s Volume and Tone ontrols and the experien e
translates into a truly expressive and organi feel in performan e.
Two ‘frequen y sele tive’ Pre-amp Volumes (Gains) – Body and Detail –
fa ilitate 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 produ ed, with KT66 output valves yielding that
substantial fat and smooth tone, four on the 2466 and two on the
2266 & 2266C. A Mid Boost swit h on the front panel fattens the tone
even more, while a traditional Marshall tone ontrol ir uit enables fine
tuning of your sound.
A Master Volume has been in luded in order to pra ti ally 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 ontrol mixes the on-board ‘plate’ reverb with
the dire t signal to whatever degree the player hooses. The Reverb an
be toggled on and off via the footswit h. A series FX Loop is provided for
those players who wish to use outboard effe ts to further enhan e their
sound. Loop levels of -10dB and +4dB are atered for via a rear panel
swit h as well as the option to ompletely bypass this feature if it’s not
required. Additionally, the 2266C ombo omes fitted with two Celestion
G12C 25 Watt Greenba k speakers with the fa ility to use an extension
abinet if required.
425 Cabin ts
The 425A and 425B are the traditional 4x12”Marshall designed abinets
that a ompany this range. They have exa tly the same dimensions as
the 1960A/B, but the speakers used in these mono/stereo swit hable
100 Watt 4x12”s and in the 2266C ombo are the brand new G12C
25 Watt Celestion Greenba ks. These were spe ifi ally developed for the
Limited Edition Jimi Hendrix Super100JH sta k and are voi ed to give
that ri h and balan ed harmoni timbre that omplements vintage tone
and therefore the Vintage Modern Series perfe tly.
FEATURES 425A 425B
Cabinet Type – Angled No
Cabinet Type – Base No 
Speaker Configuration 4 x 12 " 4x12 "
SpeakerType G12C (25 Watt) G12C (25 Watt)
Power (RMS) 100 Watt 100 Watt
Impedance: Mono 16 Ohms/4 Ohms 16 Ohms/4 Ohms
Stereo 8 Ohms/8 Ohms 8 Ohms/8 Ohms
Dimensions (mm) 770 x 755 x 365 770 x 755 x 365
Weight (kg) 36 37
CABINET SPECIFICATION
“The most responsive amp I’ve ever played, when you crank up the
gain the clarity remains and when the solo boost (Dynamic boost)
kicks in you better run for cover as this beast really cooks!”
Paul Mahon
(The Answer)
“TheVintage odern is raw, classic tone.
Pure and simple.”
Ray Toro
(My Chemical Romance)

From left to right:
1974X Combo
1959HW Head
1960AHW Cab
1960BHW Cab
2061X Head
2061CX Cab
FEATURES 1959HW 2061X 1974X
ead 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 510x225x210 6 10 x 535 x 230
Weight (kg) 22 10 19
AMPLIFIER SPECIFICATION
Marshall Amplifica ion Produ t Catalogue 13
“Nothing else is like a arshall, you don’t just
hear the sound, you feel it!”
Gary Moore
Handwir dAmplifiers
1959HW Head • 2061X Head • 1974X Combo • 1960AHW/BHW Cabs • 2061CX Cab • 1974CX Cab
12 Marshall Amplifica ion Produ t Catalogue
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 H ad & 1960AHW/BHW Cabin ts
To the minds and ears of many, the mythi al 100 Watt “Plexi” heads of
the late ’60s are onsidered the “Holy Grail” of great ro k tone. Our
handwired 1959HW transports us ba k in time to that elebrated era and
the result is a breathtaking re-issue that’s authenti in every detail – from
those world-famous front panel legends to the oversized, ustom-built,
“drop through” mains transformer that lies at the very heart of the beast.
Good looks and impressive spe s aside, the 1959HW’s real beauty lurks
in its unique and highly responsive tone.
To omplement the 1959HW’s soni and visual majesty, we offer the
1960AHW (angled) and 1960BHW (straight) 4x12" abinets that boast
Basket Weave fret loth, metal handles, “100” logos and are loaded with
Celestion’s highly-a laimed G12H-30 (55Hz) re-issue speakers.
2061X H ad & 2061CX Cabin t
An authenti , handwired re-issue of the original 20 Watt 2061 head
(1968-1973), this ompa t, twin- hannel, all-valve beauty houses
2 x ECC83 valves in its preamp and a pair of athode-biased EL84s in its
power stage. The 2061X features a solid-state, sili on diode re tifier 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 ir uit, a mild-steel hassis and Dagnall transformers.
As the perfe t soni and visual partner for the 2061X, we offer the
2061CX – a ompa t, angled-front 2x12", 60 Watt abinet loaded with
Celestion’s renowned G12H-30 (75Hz) re-issue speakers.
1974X Combo & 1974CX Ext nsion Cabin t
The 1974X is an authenti re-issue of the fabled 18 Watt 1974 ombo of
the late sixties (1966-1968). Just like the original, it boasts a
point-to-point, handwired, tagboard ir uit housed in an aluminium
hassis, plus a valve-driven tremolo ir uit. At the very heart of its simple,
but effe tive, two hannel design an be found six valves: three ECC83s
in the preamp, an EZ81 re tifier and a pair of athode-biased EL84s in
the power stage. The output and mains transformers are vital
omponents in any amplifier be ause they influen e performan e, sound
and feel, so we worked extremely losely with our asso iates at Dagnall
in order to dupli ate the original, “off-the-shelf” transformers in all areas.
Another major ontributing fa tor to the distin tive sound of vintage 1974
ombos is the way the original 20 Watt, erami magnet, Celestion
Greenba k T1221 loudspeaker’s tone has softened with age.
In order to re reate the gorgeously smooth tones of a 35-year-old
vintage Greenba k, Celestion not only revisited the 1967 re ipe for the
speaker, they also ame up with a proprietary way of “aging” the
speakers so they sound and feel like the originals made in the late ’60s!
The same exa t, ex lusive “aged” T1221 Greenba k speaker is also
found in the 1974CX, a 1x12" extension abinet for the 1974X.
FEATURES 1960AHW/BHW 2061CX 1974CX
Cabinet Type – Angled (A W) No
Cabinet Type – Base (B W) No 
Speaker Configuration 4 x 12 " 2x12 " 1x12 "
SpeakerType G12 -30 (55 z) G12 -30 (75 z) G12M-20
Power (RMS) 120 Watt 60 Watt 20 Watt
Impedance 16 Ohm
8 Ohm 16 Ohm
Dimensions (mm) A W - 762 x 826 x 362 650 x 665 x 305 610 x 535 x 230
B W - 765 x 820 x 364
Weight (kg) 36.4 24 14
CABINET SPECIFICATION
“I was too young the first time, but I sure ’aint
missin’ it the second time.”
Bernie Marsden

From left to right:
1987X Head
1960AX Cab
1960BX Cab
2245 (JTM45) Head
1960TV Cab
1959SLP Head
1960AX Cab
1960BX Cab
Marshall Amplifica ion Produ t Catalogue 15
Vintag R -Issu Amplifiers
1959SLP Head • 1987X Head • 2245 (JTM45) Head
14 Marshall Amplifica ion Produ t Catalogue
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 H ad
THIS IS IT! The amp that defines lassi ro k – the Marshall 100 Watt
Super Lead Plexiglas head of the late ’60s, re-issued in all its glory. To
ensure tonal authenti ity we sear hed 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 repli a that was so exa t we ouldn’t tell
them apart. As previously mentioned, the only modern on ession made
was to add a tonally transparent Series Effe ts Loop with a true bypass
swit hing option for the purist.
1987X H ad
Though the 50 Watt 1987X shares the same front and rear panel features
as its big brother, the 1959SLP, it does have its own distin t personality.
Sweet, warm, singing sounds are the trademark of this great tone
ma hine. As is the ase with the 1959SLP, the 1987X has fittings and
hardware as true to the originals as possible, to ensure an authenti
Marshall ‘vintage’ look, plus the addition of a Series Effe ts Loop with
Bypass and Level swit hes.
2245 (JTM45) H ad
When Jim Marshall started manufa turing amps ba k in 1962, the first
one out of the workshop was the JTM45. This amp instantly be ame a hit
and laun hed a whole new generation of amazing guitar players. Sin e
then, onnoisseurs of tone have sear hed high and low for original
examples of this beautiful amp. Now the sear h is over; the re-issued
JTM45 is full of glassy lean tone and fluid warm sustain.
By in luding GZ34 valve re tifi ation, as found in the original, we have
ensured a faithful re reation of the JTM45’s signature sound. The GZ34
re tifier valve intera ts with the rest of the valves ausing subtle
harmoni s to shift and smoulder beneath every note you play.
FEATURES 1959SLP 1987X 2245
ead 
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
GZ34 Valve Rectifier No No 
Series FX 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
AMPLIFIER SPECIFICATION
“I love everything about the amp, the tone, the crunch, the singing
sustains when coupled with my SignatureYJ DOD Overdrive
pedal. I could go on and on.”
Yngwie Malmsteen
“The 1959SLP head is everything you need from an
amp.It’s crisp and beefy as f**k.What more could you
ask for in a rock band.It’s the most rocking guitar
sound I’ve ever had.”
Simon Neil
(Biffy Clyro)

Marshall Amplifica ion Produ t Catalogue 17
“Buy one now!”
(The Ordinary Boys)
Vintag R -Issu Amplifiers
JCM800 2203 Head • JCM900 4100 Head • 1962 ‘Bluesbreaker’ Combo • PB100 Power Break
16 Marshall Amplifica ion Produ t Catalogue
JCM800 2203 H ad
The all-valve JCM800 2203 is one of the most highly respe ted 100 Watt
Marshall heads in the ompany’s long history. Evolving from the
legendary 100 Watt ‘Plexi’ head, it was one of our first amplifiers to
feature a Master Volume (MV) ontrol.
The very essen e of simpli ity, the JCM800 2203 is a one hannel,
all-valve amp with no reverb or built-in effe ts. Its foolproof interfa e,
distin tive roar and larger-than-life ‘edge’ immediately set the standard
by whi h all other ro k amps were judged and it remained the ‘industry
ben hmark’ throughout the entire de ade of its produ tion life.
Now it’s ba k by popular demand and, as with the 1959SLP and 1987X,
we’ve added a Series Effe ts Loop featuring a true bypass swit h that
takes the loop ompletely out of the ir uit, thus ensuring the original
tone isn’t ompromised in any shape or form.
JCM900 4100 H ad
Another player’s favourite, the JCM900 4100 all-valve 100 Watt Marshall
head is available on e again. Known for its great tone and reliability, the
JCM900 range has won many fans with its in redible versatility.
Channel A has been voi ed for a sparkling lean on lower gain settings,
building up to a raun hy run h when driven hard. Channel B takes off
from where Channel A finishes and is perfe t for any lead tone – from
silky smooth to searing saturation. As well as having separate Gain
ontrols, ea h hannel has its own Master se tion ontaining ontrols
for Master Volume and Master Reverb.
A Series Effe ts Loop with Level swit h allows you to use either floor
pedals or ra k effe ts. Whatever style of ro k you play the 4100 will
give you tonal flexibility without ompromise.
1962 ‘Blu sbr ak r’ Combo
After the huge su ess of the JTM45 amplifier, a 2x12" ombo
version was released to satisfy popular demand and the now
legendary 1962 ombo was born. On e again the use of a GZ34
valve re tifier is responsible for helping to a hieve the famed output
stage ompression and sustain exhibited uniquely by both the
JTM45 and 1962.
Though tonally similar to a JTM45, the 1962 ombo is loaded with two
re-issue ‘Greenba k’ 25 Watt speakers to re- reate that lassi sixties
tone. The 1962 ‘Bluesbreaker’ ombo also omes with the addition of
a footswit hable Tremolo effe t.
PB100 Pow r Brak
The Master Volume ontrol on your valve amp makes it sound good at
low volume, but ALL, all-valve amps sound better ranked. This is a
s ientifi fa t 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 indu tive load that makes your amp think it’s
onne ted to a speaker. At best, these other devi es ause your amp to
sound thin and feeble. At worst, they an blow your amp’s output
transformer – an expensive proposition. The Power Brake power
attenuator delivers great sound . . . safely!
From left to right:
PB100 Power Brake
2203 JCM800 Head
1960A Cab
1960B Cab
1962 ‘Bluesbreaker’
4100 JCM900 Head
1960A Cab
1960B Cab
FEATURES 2203 4100 1962
ead 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
GZ34 Valve Rectifier No No 
Series FX 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
AMPLIFIER SPECIFICATION
William J Brown
“Turn on, tune up,rock out!”
Tim Skold

(Hundred Reasons)
JCM2000 DSL Amplifiers
DSL100 Head • DSL50 Head • DSL401 Combo
“The louder they are the better they sound.”
Larry Hibbitt
“No matter where I go,whatever the circumstances,be it a
tiny smoky rock club or a recording studio,my JC 2000 is
consistently loud and heavy. Don’t be jealous.”
Allison Robertson
(The Donnas)
Marshall Amplifica ion Produ t Catalogue 19
18 Marshall Amplifica ion Produ t Catalogue
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 H ads
Countless hours of R&D and, of ourse, listening went into the reation of
the 100 Watt DSL100 and 50 Watt DSL50 heads. As DSL is an a ronym for
‘Dual Super Lead’, it should ome as no surprise that ea h amp has two
footswit hable hannels – Classi and Ultra. Furthermore, ea h of these
hannels boasts two modes: the Classi hannel offers a Clean/Crun h
option while the Ultra offers Lead 1 or Lead 2. Instead of merely offering a
variation in gain level to the two hannels, ea h one of these four modes
has been individually voi ed as an amp in its own right.
The tremendous tonal versatility of these amps, oupled with a 100%
pure valve signal path, dual Reverb ontrols, Tone Shift swit h (whi h
‘s oops out’ the mids) and a Deep swit h (whi h adds a tight, low end
boost), aused the guitar world to sit up and take noti e 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 qui k to dub the DSL
heads as “the best Marshalls ever!” It also won’t surprise you when you
learn that this dynami duo of JCM2000 amps have be ome the
ompany’s best selling all-valve heads to date.
DSL401 Combo
Weighing in at 40 Watts and housing two independent, footswit hable
hannels, the ompa t, EL84-powered DSL401 1x12" ombo is the
smallest model of the impressive, eight member JCM2000 family.
Don’t let the relatively small size fool you though, it pa ks a powerful
pun h. In fa t, the DSL401 made su h a big impression on Art
Thompson, the te hni al editor of Gutar Player magazine, that he felt
ompelled to write the following: ‘Ther t ght, punchy tones are Marshall
through and through, these new combos are the m ghtest m n s that
Marshall has ever made.’
Like its bigger brothers, the Clean hannel of the DSL401 produ es a
wide array of rystal lear yet omplex, lean sounds. It also gets
big ‘n’ bluesy when the hannel’s Gain ontrol is ranked up. As
Mr Thompson so aptly put it in his Gu tar Player review: ‘The clean
channel y elds sparkl ng tones at low sett ngs and ncreas ng levels of
fat gr nd as you turn up the ga n. W th the Ga n knob maxed, you get a
throaty lead sound that cleans up n cely when you roll down your
gu tar volume. Strats and Teles sounded part cularly r ch and
aggress ve.’
Sti king with Art’s mu h-respe ted eloquen e, here’s how he des ribed
the Overdrive hannel of this amp in his rave review: ‘Depend ng on how
you set the hghly nteract ve Gan and Volume controls, you can d al n
anyth ng from pert overdr ve to perpetual sustan and beyond.’
The DSL401 boasts the following rear panel attributes: dual speaker
ja ks (with an 8 Ohm/16 Ohm impedan e sele tor swit h) for driving
external abinets and an optional Reverb on/off footswit h ja k. The most
signifi ant ‘extra’ of them all though is this, the DSL401 has three
footswit hable sounds – Clean, OD1 & OD2! The differen e between
OD1 and OD2? A massive 20dB boost whi h is instantly a essible with
a mere tap of your foot on the supplied 2-way (Clean/OD, OD1/OD2)
LED footswit h.
From left to right:
DSL401 Combo
DSL50 Head
1960A Cab
DSL100 Head
1960A Cab
1960B Cab
FEATURES DSL100 DSL50 DSL401
ead No
Combo No No 
Output (RMS) 100 Watt 50 Watt 40 Watt
Channels 22 3
Modes per Channel 22None
Reverb Control (per Ch) (per Ch) 
Tone Shift No
Deep Switch   No
Series FX 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
AMPLIFIER SPECIFICATION

Marshall Amplifica ion Produ t Catalogue 21
“The reason I’m drawn towards arshall amps is simple –
they’re the best for what I do in Hatebreed,in fact,you
couldn’t ask for anything better. They’re heavy as hell and
the JC 2000 Series amps have something that a lot of high
gain amps lack – actual tone!To put it simply, they rule!”
Sean Martin
(Hatebreed)
JCM2000 TSL Amplifiers
TSL100 Head • TSL122 Combo
20 Marshall Amplifica ion Produ t Catalogue
When we launched the DSL100 in the late ’90s, the world’s
guitar press unanimously hailed it as ‘the best Marshall
e er’. 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 a ailable today.
Marshall’s sound engineers ha e outdone themsel es 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 H ad & TSL122 Combo
What makes the TSL100 and TSL122 so spe ial? Great tone ombined
with a myriad of mouth-watering fa ilities that make them in redibly
versatile.
The Triple Super Lead’s three ompletely independent, footswit hable
hannels (Clean, Crun h and Lead) effe tively give you three different
lassi amps in one asing. Ea h hannel has its own ontrols for Gain,
Volume, Treble, Middle and Bass. The Clean hannel also has a Mid
Boost swit h, while the Crun h and Lead hannels ea h have their own
Tone Shift swit hes that ‘s oop’ out the mids.
When it omes to how these 100 Watters sound, Tom Beaujour put it like
this in his review for Gu tar World magazine: ‘The Clean channel’s
smooth, elastc tone was a welcome surprse . . . wth the Md Boost
engaged t was easy to conjure the warm sparkle of an old F*nder tw n.
‘Crank ng the ga n on the Clean channel y elded b t ng Hendr x an tones.
The TSL100’s Crunch channel l ved up to my expectat on and proved
stunn ngly malleable too. For those who l ve for gan galore, the TSL’s
lead channel del vers s ng ng susta n and f lthy grunge, and w th the a d
of the well-vo ced tone controls, t’s easy to sculpt an almost nf n te array
of tones.’
The TSL100 and TSL122 both boast the same valve onfiguration of
4 x EL34 output valves and 4 x ECC83 pre-amp valves. They also share
the following features:
•Footswit hable A utroni s Spring Reverb with dual ontrols
(one for Clean, one for Crun h/Lead).
•Individual Presen e ontrols and Deep swit hes for Clean and
Crun h/Lead hannels.
•Two Parallel FX Loops (footswit hable).
•XLR DI output featuring Marshall’s a laimed speaker emulation,
allowing dire t onne tion to re ording or PA mixing desks without the
need for mi rophones or DI boxes.
•A Power Amp Mute fa ility for silent re ording via the built-in DI.
•A ruggedly built, 5-way LED foot ontroller that gives you the ability to
swit h between the three individual hannels, plus swit h the Reverb
and FX Loops on/off.
•An innovative Virtual Power Redu tion (VPR) swit h whi h, when
engaged, emulates the sound and feel of a 25 Watt valve power amp.
VPR was des ribed in Gu tar World magazine by Tom Beaujour as
follows: ‘The usefulness of the VPR feature cannot be over estmated.
Beyond allow ng you to avod nasty evcton notces, t w ll make you the
best fr end of every soundman n the world.’
Sp ak r Talk
To maximise its already superior soni powers, the TSL122, 2x12" ombo
has been fitted with two different 12" speaker types – a Marshall/Celestion
Vintage and a Marshall/Celestion Heritage. By ombining the unique
hara teristi s of this pairing, optimum tone and performan e is ensured.
A 2x12" extension abinet for the TSL122, the TSLC212, is also available.
This 16 Ohm abinet features the exa t same speaker ombination to
make it the perfe t mat h for the ombo, both soni ally and visually.
FEATURES TSL100 TSL122
ead 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 
Spring Reverb 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)
AMPLIFIER SPECIFICATION
From left to right:
TSL122 Combo
TSLC212 Cab
TSL100 Head
1960A Cab
1960B Cab
“For tone we need versatility and balls.Thanks
for consistently strong balls r arshall.”
Philip Sneed
(Story of the Year)
FEATURES TSLC212
Speaker Configuration 2 x 12 ”
Power (RMS) 150 Watt
Impedance 16 Ohm
Dimensions (mm) 673 x 478 x 260
Weight (kg) 24
CABINET SPECIFICATION

“ arshall amps have always been a part of
my sound. From clean to massive crunch
tones and everything in between – when
it comes to amps, as always, arshall
means business.”
Bruce Kulick
Marshall Amplifica ion Produ t Catalogue 23
JCM2000 TSL Amplifiers
TSL60 Head • TSL601 Combo • TSL602 Combo
22 Marshall Amplifica ion Produ t Catalogue
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, logi di tates that the TSL60s have
three footswit hable hannels: Clean, Crun h and Lead. Add to this a
footswit hable Spring Reverb with dual ontrols (one for Clean, one for
Crun h/Lead), a footswit hable Parallel FX Loop with Mix ontrol, an
XLR DI Output featuring Marshall’s a laimed speaker emulation, plus a
Deep swit h and you have an impressive range of highly flexible,
professional amps.
The Clean hannel has its own ontrols for Gain, Treble, Middle, Bass
and Reverb. Like their bigger brothers, the 100 Watt TSL100 head and
TSL122 ombo, ea h of the TSL60 triplets is apable of a wide range of
harmoni ally ri h, lean tones – from warm, round jazz to bright ountry
twang. Furthermore, when the Gain ontrol is ranked, their so- alled
Clean hannel produ es a wonderfully authenti , bluesy run h . . . just
like those vintage amps of yesteryear.
The Crun h and Lead hannels ea h have independent ontrols
for Volume and Gain while sharing ontrols for Treble, Middle, Bass
and Reverb. They also share a front panel Tone Shift swit h whi h,
when a tivated, re onfigures the mid-range to produ e a hunky,
‘s ooped’ sound. This is perfe t for produ ing modern, high-gain
run h tones and also for beefing up your sound when playing at low
volumes.
In keeping with its impressive TSL lineage, the Crun h hannel’s Gain
ontrol will take you from a mild, almost lean run h, all the way
through to a saturated overdrive, perfe t for aggressive rhythm work
and even soloing. Then, as you’d expe t from any amp worthy of
sporting the noble JCM2000 badge, the Lead hannel goes a step
(or four!) further and is apable of produ ing some of the highest levels
of distortion ever found in a Marshall. More importantly, it does this in a
highly musi al way so your notes remain lear and well-defined, even
when the gain is ranked to the max and you’re blazing away at the
speed of light!
In addition to a Master Volume ontrol and the aforementioned dual
Reverb ontrols, the Master Se tion has an FX Mix ontrol for the rear
panel mounted Parallel FX Loop, a Master Presen e Control and a Deep
swit h. The latter provides a tightly fo used, resonant bass boost that
will fatten-up your sound dramati ally at any volume. To round off this
neat little pa kage, all the TSL60s ome supplied with a 5-way, LED
foot ontroller. This sturdy devi e not only allows you to swit h between
the amp’s three hannels, but also gives you on/off ontrol of the Reverb
and FX Loop.
TSL60 S ri s Sp ak rs
The TSL601 and TSL602 ombos feature a ustom-voi ed speaker
designed by our R&D department in onjun tion with Celestion. This
12" speaker was spe ifi ally developed with the TSL601 and TSL602
ombos in mind and we’re so delighted with its sheer tonality, attitude
and power that it has earned the title the ‘Wolverine’. Why? Be ause, like
the animal after whi h it is named, this beast of a speaker delivers a
mighty, tone-filled bite that belies its diminutive size!
From left to right:
TSL601 Combo
TSL60 Head
1960A Cab
1960B Cab
TSL602 Combo
FEATURES TSL60 TSL601 TSL602
Output (RMS) 60 Watt 60 Watt 60 Watt
Number of Channels 333
TwoTone Networks (Clean & Crunch/Lead) 
Deep Switches 
Tone Shift Switch (Crunch/Lead) 
Spring Reverb 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
AMPLIFIER SPECIFICATION
“I use arshall amps because they give me the
power and punch that I need as well as being
extremely warm and versatile.”
Steve Mazur
(Our Lady Peace)

“ y arshall has enabled me to do away with half of
what I used to use on the floor.You’ll find that your old
distortion and boost pedals will make great gifts.”
Dave Navarro
(Jane’s Addiction)
Marshall Amplifica ion Produ t Catalogue 25
Mod Four Amplifier
MF350 Head • MF280A/B Cabs • MF400A/B Cabs
24 Marshall Amplifica ion Produ t Catalogue
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 H ad
A great many amplifiers have laimed to offer both lassi 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 ir uits, ea h housing an
ECC83 valve, the MF350’s power amp se tion ompletely re onfigures
itself depending on the AMP sele ted. Ea h AMP type having two
footswit hable modes further enhan es flexibility. AMP 1 offers CLEAN
and CRUNCH, while AMP 2 has OD1 and OD2.
AMP 1
AMP 1 is the ‘Classi ’ side of the Mode Four. Whenever it is sele ted, the
power amp re onfigures to re reate the unmistakable sound and feel of
our world-renowned 100 Watt valve power stage. Using this as a soni
foundation, AMP 1 produ es Marshall’s legendary open roar. While
AMP 1’s CLEAN mode produ es in redibly dynami , three-dimensional
lean and bluesy run h sounds, sele ting CRUNCH unleashes the
unbridled aggression and bite of a 2203, but with levels of gain never
imagined in 1981 when the mu h-lauded JCM800 series was first
laun hed.
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 radi al design, the player retains
maximum ontrol while sear hing for the ultimate high-gain signature
sound. Whenever AMP 2 is sele ted, the Mode Four’s power se tion
re onfigures itself so it an reate 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.
Th Pow r to D liv r
Due to the unique design and the in redibly 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 Load d for Prof ssional Us
The Mode Four was reated with the professional guitarist in mind and
boasts a host of arefully thought out features that have been designed
to give you the ultimate in flexibility and ontrol. These in lude:
•Separate ontrols for Gain, Volume, Bass, Middle and Treble for
AMP 1 and AMP 2.
•Individually voi ed S oop swit hes for AMP 1 and AMP 2.
•AMP 2 has a 3-way Tone Matrix ontrol, enabling you to dramati ally
re onfigure the all-important mids, while leaving the Bass, Middle and
Treble ontrols fully intera tive with ea h other.
•Footswit hable, built-in Digital Reverb with separate ontrols for AMP 1
and AMP 2.
•Parallel to Series FX Loop with individual FX Level ontrols for AMP 1
and AMP 2.
•Footswit hable Solo Level ontrol that gives a level in rease a ross all
four modes of up to 6dB (i.e. twi e the volume).
•Master ontrols for Resonan e, Presen e and Volume.
•Tuner Out ja k with a front panel Tuner Mute swit h for ‘silent’ tuning.
•XLR and 1/4" ja k Emulated Line Outputs.
•Load Prote tion Cir uitry.
•6-way LED Foot ontroller supplied.
MF280 & MF400
As you’d expe t from the ompany that invented the ‘sta k’, the
Mode Four Series 4x12"s benefit from our forty years of abinet
expertise. The MF280 (280 Watt) and MF400 (400 Watt) abinets
are spe ially engineered to reprodu e the balan ed mid range
and huge bottom end that are a pre-requisite for modern
ro k/metal sounds, and being 3 in hes taller than standard 1960
abinets a Mode Four sta k is truly a sight to behold!
We re ommend the MF280A (angled) and B (base) for a full
sta k and the MF400A or B for a half sta k.
From left to right:
MF350 Head
MF400B Cab
MF350 Head
MF280A Cab
MF280B Cab
FEATURES MF350
Output (RMS) 350 Watts 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
AMPLIFIER 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
B - 766 x 820 x 365
Weight (kg) 42.5 41.5
CABINET SPECIFICATION
“I want to use the best amps in the world.
That’s why I’ll be with arshall forever!”
John

Marshall Amplifica ion Produ t Catalogue 27
2203KK K rry King Amplifier
2203KK Signature Head
26 Marshall Amplifica ion Produ t Catalogue
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 H ad
The original JCM800 2203, initially laun hed in Mar h 1981, proved
in redibly popular with ro k guitarists in the ’80s and beyond, with its
distin tive roar and larger than life ‘edge’ it be ame, and still remains, the
standard that all other ro k amps are judged on.
It was during this time that Kerry King, guitarist with Slayer ( onsidered
one of the greatest metal bands in the world) pi ked up his golden hild
‘The Beast’. Knowing that he wanted his guitar tone to be as individual as
he is, he added an EQ and pushed the mids, reating “a frown not a
smile”. Alongside this he added a noise gate to keep things quiet and
a entuate his sta ato playing style. Used in ountless shows and
re ords over many years, the ombination of ‘The Beast’ and this
outboard equipment powered the sound of Kerry King until the day he
re eived the first 2203KK.
Kerry has used Marshall amplifiers throughout his hugely su essful
areer, to this day proudly bearing the Marshall logo when he performs
with a wall of 30 Marshall abinets behind him. Marshall felt it only fitting
to produ e a Signature amplifier for him.
With ‘The Beast’ and Kerry’s stage equipment in the safe hands of the
R&D team, they worked losely 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 approa h to the proje t resulted in
numerous visits to the Marshall fa tory and putting the prototypes
vigorously through their pa es, road testing ea h one and using three of
them every night of his 2006 and 2007 tours.
The 2203KK is a 100 Watt single hannel, Master Volume, all-valve
UK made head. At its heart is a lassi mid-’80s 2203 drawing on the
power and dynami s of ‘The Beast’ to take the sound further and pla ing
it at the utting edge of modern ro k 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 abinets, taking
advantage of their taller size to provide balan ed mids and a huge
bottom end.
‘The Beast’ button engages Kerry King’s signature tone. Re reating the
sound of his original outboard equipment, it features a studio quality ultra
fast noise redu er, riding the signals dynami s but still maintaining the
natural sustain and very fast de ays for sta ato rhythms and short
pauses, the swit h lights red when the ir uit a tivates and green when
the signal is passed without attenuation. A ustom-voi ed ontrol
fo using a gain boost on the mids has been spe ifi ally tuned to Kerry’s
spe ifi ation. The gate and assault provide ontrol over the guitar signal
allowing you to vary its threshold and intensity, truly apturing the fero ity
and for e of Kerry’s sound.
The 2203KK features artwork inspired by Kerry’s many i oni tattoos.
Marshall has developed new te hniques to allow designs to be printed
dire tly onto the fret loth, allowing this distin tive 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’ swit h and the style
of the panel’s text is taken dire tly from one of Kerry’s tattoos. The motif
and text are used a ross the whole design.
In luded with the amplifier are:
• A heavy duty dust over featuring ustom artwork
• Five Kerry King Signature ple trums
• An A4 olour handbook with handwritten notes from Kerry and
featuring ex lusive photographs
Leaving the last word to Kerry:
“. . . the 2203KK s now my ma n head and always w ll be. Crank t up
and enjoy the best amp on the planet!!!”
FEATURES 2203KK
ead 
Output (RMS) 100 Watt
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
AMPLIFIER SPECIFICATION
Right:
2203KK Head
MF280A Cab
MF280B Cab
“ The 2203KK is my main head and always will be! ”
Kerry King
(Slayer)

“I love my arshall amps:I am nothing without
them!”
Jimi Hendrix
Right:
Super 100JH Head
1982JHA Cab
1982JHB Cab
Marshall Amplifica ion Produ t Catalogue 29
100JH Jimi H ndrix Amplifier
Super 100JH Limited Edition Head • 1982AJH/1982BJH Cabs
28 Marshall Amplifica ion Produ t Catalogue
“Jimi Hendrix was my greatest ambassador without any
doubt at all,” states the uv’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.”
Sup r 100JH H ad
In lose onjun tion with Authenti Hendrix, the family ompany
established by Jimi’s father, the late James Al Hendrix, and after many
months of painstaking resear h, we are proud to announ e the limited
edition, handwired ‘Super 100JH’ 100 Watt sta k. This is the latest
addition to our ongoing series of handwired re-issues. It elebrates the
40th Anniversary of our world famous asso iation 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
Authenti Hendrix. “To a hieve the sound he heard playing inside, he
had to have the right tools. Gauging from his performan es, he learly
embra ed Marshall amps. We too, embra e Marshall be ause 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 sta k. It is our pleasure to partner with Marshall
Amplifi ation in giving volume to the lega y of Jimi.”
After hearing and then playing through a Marshall sta k for the first time
while in London during the Autumn of 1966, Jimi Hendrix wanted to meet
the man who reated these amplifiers and oin identally shared his first
and middle names – James Marshall! Thus, in O tober of that year, the
guitarist visited Jim’s shop in Hanwell and a lasting friendship and
asso iation was immediately stru k. “Despite his somewhat wild
appearan e and his in redible, larger-than-life on-stage persona, Jimi
was a very softly spoken and extremely polite young man with a fantasti
sense of humour,” Dr Marshall re alls. “We hit it off right away and
be ame good friends.” On leaving Jim’s shop, Jimi had se ured an order
for his 100 Watt Marshall sta ks 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 su h a relief to talk
to someone who knows and ares 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 sta k onsists of the Super 100JH head, the angled
1982AJH 4x12”and the extra-tall, straight-fronted 1982BJH 4x12”
abinets. The original versions of this i oni , tall, pinstriped sta k were
built in 1966 and the Super 100 head was the immediate su essor to
Marshall’s first ever 100 Watt head – the famous dual output transformer
JTM45/100.
Extensive resear h and dis ussions with te hni ians and roadies of the
period has indi ated that Hendrix’s Super 100 Marshall heads were
ompletely sto k ex ept for tonal enhan ements requested by Jimi
himself. Slight ir uit modifi ations in our main referen e’s tone sta k
support this. The limited edition Super 100JH head is a meti ulous and
totally authenti handwired re-issue of these heads, omplete with the
aforementioned modifi ation whi h adds slightly more treble and bass.
The Super 100JH is an extremely straightforward amplifier. Its two
hannels – High Treble and Normal – ea h have two inputs (High and
Low sensitivity) and separate Loudness (Volume) ontrols. Both hannels
share the amplifier’s four tone ontrols: Treble, Middle, Bass and
Presen e. It ontains 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 manufa turer Drake.
The Super 100JH sta k’s two 4x12”speaker abinets – the angled
1982AJH and straight 1982BJH – have been reintrodu ed to omplete
the majesti look of the original pinstriped sta ks that Jimi used. The
1982BJH is nearly 7”taller than a standard Marshall 4x12”, adding
further to the impressive look of the sta k. Both JH abs are loaded with
FEATURES 1982AJH 1982BJH
Speaker Configuration 4 x 12”4 x 12”
Power (RMS) 100 Watt 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
CABINET SPECIFICATIONS
FEATURES Sup r 100JH
ead 
Output (RMS) 100 Watt
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
AMPLIFIER SPECIFICATION
Celestion G12C 25 Watt speakers, whi h have been spe ially developed
by Marshall and Celestion to dupli ate the sound of the original speakers
found in authenti referen e abinets from that era.
A limited run of 600 Super 100JH Jimi Hendrix sta ks will be available
worldwide. Ea h head is individually numbered and omes with an
ex lusive ertifi ate, personally signed by Dr Jim Marshall OBE. The
ertifi ate and handbook will ome housed in a unique presentation
folder. Also in luded are a full set of heavy duty ‘s ript logo’ dust overs.
Ea h head and abinet set bears the offi ial Authenti Hendrix logo.

Below:
1992LEM Superbass Head
Marshall Amplifica ion Produ t Catalogue 31
19 92LEM L mmy Amplifier
1992LEM Superbass Signature Head
30 Marshall Amplifica ion Produ t Catalogue
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.
B st of British Bass
To produ e an authenti rein arnation of the original, ‘Murder One’
itself was pla ed in the more than apable hands of the engineers
in our Resear h and Development Department. Voltages were
measured, transformers examined and ir uitry s rutinised to
establish the winning formula that has made Lemmy’s 1992 Super
Bass su h a formidable pie e of kit. To ensure that the end produ t
would be exa ting in its tone and performan e, every effort has
been taken to sour e omponents from their original suppliers
and/or manufa turers. The results have enabled the team at
Marshall to reate a bass amp with real pedigree. Internally,
Murder One’s ir uitry has been modified, effe tively reating a
hybrid amplifier by merging the hara teristi s of a sto k 1992
Super Bass with elements of a Super Lead, the out ome is a bass
amp with in redible soni depth and unbelievable tonal range.
The hanges to the ir uitry allow you, the player, to a hieve a far
brighter, tighter sound whilst the inherent grit and raw strength of an
un-modded 1992 model an still be found in abundan e when
alled for. The power se tion is driven by four EL34 power valves
that produ e 100 watts of unrelenting, mind-numbing volume
and tone.
The front panel ontains a range of simple to use, but highly
effe tive, features that any bass player will appre iate. Your tone
an be fine tuned by way of the three stage equalisation ontrols –
Bass, Middle and Treble – while Volume ontrols for both hannels
1 and 2 enhan e the usability of the amp as a whole.
A separate Presen e ontrol allows you to adjust the power se tion
of the amp and adds higher frequen ies to your tone. This, in turn,
reates more bite in your sound, allowing those ru ial bass lines to
ut through and be heard in all their thundering glory.
Customis Corn r
The attention to detail that has been lavished on the 1992LEM’s
internals has also been applied to the unique styling and distin tive
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 bla k. When one of the bla k prote tive orners was
a idently kno ked off, it revealed the original overing underneath,
leaving one orner of the unit in red. Additional ustomisation ame
with two ornate arved wooden rests that Lemmy a quired whilst
on a tour of Ameri a. These were painted gold and when paired
with mat hing five point stars, a truly unique symbol was reated,
further adding to the hara ter and personality of ‘Murder One’.
With all this in mind the Marshall team have re reated this look to a
tee. A spe ially made red prote tive orner has been added to the
amplifiers to mimi that of its forerunner, while the Marshall s ript
logo and brushed gold aluminium front panel are flanked by
repli as of those i oni golden emblems. Signatures from Lemmy
and Dr Jim Marshall, along with Motorhead and A e Of Spades
logos omplete the ba k panel.
Finished with white piping, hrome so kets and a hard-wearing
handle, this amp ontinues Marshall’s proud history of reating
produ ts of the highest order, both in terms of tone, performan e
and build quality.
Improving on the soni apabilities and extraordinary durability of
‘Murder One’ was always going to be a huge hallenge. Due to
mu h improved onstru tion methods and good old-fashioned
raftsmanship the new 1992LEM lives up to the expe tations set
by its prede essor and then some. Lemmy has toured with his new
Signature Series amp to ensure it was up to the hallenge, and
we’re happy to report that it most definitely was. So, with all boxes
ti ked, and offi ial approval from the man himself, its time for
‘Murder One’ to step aside and for the 1992LEM to reate it’s own
ro k lega y.
FEATURES 1992LEM
ead 
Output (RMS) 100 Watt
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
AMPLIFIER SPECIFICATION

“I went to the arshall factory and ordered my own amps,
I had them beefed up and modified there, I got them in white!”
Randy Rhoads
Right:
1959RR Head
1960AW Cab
1960BWEG Cab
Marshall Amplifica ion Produ t Catalogue 33
1959RR Randy Rhoads Amplifier
1959RR Signature Head
32 Marshall Amplifica ion Produ t Catalogue
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 th B ginning
When it ame to hoosing whi h amp to asso iate with Randy, there
was a lear and obvious andidate that had always stood out from
his ba kline of Marshall sta ks. After a visit to the Marshall fa tory in
1980, Randy took ownership of a spe ially ustomised 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 D ary of a Madman and Bl zzard of Ozz. This
legendary amp, omplete with mat hing 1960 4x12”abinets, also
a ompanied 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 ex lusive a ess to
examine, photograph and atalogue Randy’s 1959 JMP whi h had
been kept in se ure storage sin e the early ’80s. The information
gathered proved ru ial in attaining those in redible ‘beefed up’
tones and one-of-a-kind styling only to be found with this parti ular
Marshall amplifier. This allowed the team at Marshall to reate a truly
honest and detailed representation of a pie e of ro k history and, in
turn, do justi e to the memory of a guitar legend.
What’s insid ?
Internally, the ir uitry has undergone modifi ation to the signal
path to allow the amp to produ e a breathtaking, overdriven, yet
beautifully full sound, essential for attaining those sort-after
‘Randyesque’ tones. This adjustment, alled the Cas ading Gain
Stage, makes it possible to ontrol the extra gain that is generated,
affording you omplete ontrol over your sound. Components,
in luding the transformers, have been sour ed from the original
suppliers and over 50% of parts are loaded into the ir uit by hand.
Every individual wire is soldered into pla e manually and all
remaining onne tions are meti ulously onstru ted and fixed into
position at our UK fa tory. It’s this are and attention to detail that
ensures that the 1959RR is as solid and reliable as the nerve
tingling tones it produ es.
Cosmeti ally the amp retains the distin tive, anodised gold front
panel of the original 100 Watt head while Randy’s i oni image and
signature adorn the ba k plate. Covered in brilliant white ‘elephant
grain’ vinyl and prote ted with bla k orner aps, the whole unit is
topped of with an over-sized, bla k Marshall logo, a feature that
Randy had added to the original when he visited the fa tory. If that
wasn’t enough, ontained within the handbook are never before
published photos plus ex lusive essays and quotes, all elebrating
the life and musi of the man himself.
A ombination of traditional ele troni raftsmanship, modern
onstru tion methods and a passion for reating the most inspiring
guitar amplifiers in the world mean the 1959RR is a true repli a of
that infamous amp that left the fa tory with Randy Rhoads almost
three de ades ago. Still revered to this day by many in the musi
industry, we at Marshall are honoured that the 1959RR will be
testament to Randy’s longevity and natural talent for good old
fashioned ro k ‘n’ roll. This addition to the Signature Series, with its
warm soni depth and unique majesti style, will no doubt prove its
self worthy of the legendary guitarist it pays homage to.
FEATURES 1959RR
ead 
Output (RMS) 100 Watt
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
AMPLIFIER SPECIFICATION
* 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.

From left to right:
RG-1 Regenerator
RF-1 Refle tor
EH-1 E hohead
Marshall Amplifica ion Produ t Catalogue 35
Eff cts Pedals
Regenerator • Reflector • Echohead
34 Marshall Amplifica ion Produ t Catalogue
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 R -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 R g n rator
The Regenerator is a horus, a flanger and a phaser all in one sturdy
shell. This stereo modulation pedal offers six different modes for you to
explore:
V ntage Chorus – A lassi horus, adding mellow sweeps to high speed
vibrato and everything in-between to your sound.
Mult Chorus – Based upon Marshall’s lassi Supervibe pedal, its unique
sweeping pattern allows you to reate simple sweeps through to
omplex ensemble sounds.
V ntage Flanger – The versatile vintage effe t let’s you go deep and
detune your sound to extremes. Turning up the Regen ontrol auses the
effe t to soar a ross your sound, while turning it down reates natural
flange effe ts.
Phaser – A ri h phasing effe t making your sound swell with energy,
reating fluid waves whi h wash around your tone.
Step Phaser – Adding a rystal stair ase to the phaser allowing you to
trip around its sweeping textures.
V ntage V be – A subtle vibration that swirls around your playing, bringing
ba k memories of a lassi sound not yet forgotten.
The Regenerator will entwine itself around your tone while leaving you in
full ontrol. It’s every modulation pedal you’ll ever need.
RF-1 R fl ctor
The avernous Refle tor reverb pedal proje ts your sound into the third
dimension. Six reverbs add diffuse trails to your playing without ever
swallowing your tone. It’s stereo outputs reate reverbs with wide
spa ious fields. Conne ting 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 – Re reating the sound of a high quality studio plate reverb,
bringing spa e and presen e to your tone.
Room – A small reverb, wrapping a subtle presen e round your sound.
Spr ng 1 – Re reates the lassi sound of a Spring Reverb with its
hara teristi pulse and resonant ambien e.
Spr ng 2 – This mode takes the sound of springs and infuses it with a
lush reverb that only a digital pedal ould, providing you with the perfe t
ombination of old and new.
Reverse – The Reverse mode reates ghostly textures as your notes spill
ba kwards out into spa e before rushing up to your fa e.
With ontrols for Reverb Time, Damping and Level for ea h mode, you’ll
easily find the sound you’re looking for.
EH-1 Echoh ad
Create pulsing tones and add dense rhythmi textures to your sound.
The E hohead features a maximum delay time of 2000ms, stereo outputs
and a Tap Tempo input whi h allows you to externally ontrol the delay
time with a simple tap of your foot. In addition to ontrols for Delay Time,
Feedba k and Level, the EH-1 offers you six versatile modes.
H -F – A solid delay line throwing out rystal lear repeats of the input.
Analogue – Filters shape the e hoes, adding a subtle tone and
re reating the sound of the guitar as ading through old analogue delay
ir uits.
Tape Echo – The narrow bandwidth and unstable whir of a tape delay
inspired these ‘old s hool’ degenerating e hoes. The random wow and
flutter of an old motor adds a warm organi horus to the dark textured
delays.
Mult Tap – Multiple e hoes pulse out of the pedal providing a dense
rhythmi sound.
Reverse – Su king the sound out ba kwards, the Reverse mode trails out
a series of hypnoti repeats reating psy hedeli textures.
Mod F lter – Sweeping a ross your sound, syn ed to your delay time, a
modulating filter adds movement and depth to the e hoes.
The dual outputs offer the hoi e of using a passive bypass for the main
signal path to ensure omplete tonal integrity or to allow your pedal to
spill-over, permitting your e ho to naturally die away.
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
PEDAL SPECIFICATION: RG-1/RF-1/EH-1
“All of these arshall pedals tick the right boxes,both in terms
of their truly impressive build quality and, most importantly,
the sheer variety and quality of each pedal’s effects leaves
very little to be desired.” Tim Slater, Guitar Buyer magazine.

From left to right:
ED-1 Compressor
JH-1 Ja khammer
GV-2 Guv’nor Plus
BB-2 Bluesbreaker II
VT-1 Vibratrem
Eff cts Pedals
Compressor • Jackhammer • uv’nor Plus • Bluesbreaker II • Vibratrem
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 th Compr ssor
Add sustain to solos, even out atta k and get rid of unwanted peaks
and troughs. For liquid leads, funky lean hords or hoppy yet
onsistent hi ken pi kin’, all on Edward the Compressor.
In addition, target the frequen ies you want to ompress with the
Emphasis ontrol, whi h means that you an, for example, tighten up
or ompress your bass notes and let your treble notes ring out.
Features: Controls for Emphasis, Volume, Atta k and Compression.
Solid metal onstru tion and passive bypass.
JH-1 Jackhamm r
This metalli monster boasts two modes (O/D and Dist), ea h of whi h
is loaded with ungodly gain plus all the tonal ontrol you need to push your
guitar’s sound straight over the edge. From ranium- rushing run h and
s ooped modern metal mayhem to savage slamming solos, it’s unique
dual- ontrol ontour se tion gives you fearsome flexibility a ross the
mid-range, allowing you to fo us your tone. The JH-1 is the most extreme
distortion pedal on the planet.
Features: Sele tor swit h for O/D and Dist modes, ontrols for Gain,
Master Volume, Contour, Contour Frequen y, Bass and Treble. Solid metal
asing and passive bypass.
GV-2 Guv’nor Plus
Shedloads of gain and loads of level, the GV-2 has all the power and
tone of our original, mu h-loved Guv’nor pedal – and beyond!
The GV-2’s expanded Gain stru ture 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 onstru tion.
BB-2 Blu sbr ak r II
This bluesy bruiser is effe tively two pedals in one – a tonally transparent
booster that gives your solos that extra lift, and a truly valve-like overdrive
that’s so ri h in se ond order harmoni s it’ll make your guitar gently weep.
Blues Mode is reminis ent of the tonal and distortion hara teristi s of our
non-Master Volume amps su h as the lassi Bluesbreaker ombo from the
1960s. If that’s not enough, the BB-2’s ompletely passive bypass means that
you don’t lose any of your guitar’s pure tone when the pedal’s not in use!
Features: Mode swit h to sele t Blues or Boost. Controls for Drive,
Tone and Volume. Solid metal asing and passive bypass.
VT-1 Vibratr m
Take a step ba k in time to the British amps of the early sixties with the
Vibratrem’s authenti vintage effe ts. Its wave-shaping ontrol allows you
to melt between two modulation pattern options, offering you everything
from groovy, trembling tremolos to psy hedeli quasi-vibratos. The VT-1 is
as authenti ally retro as you an get and its passive bypass ensures that
your all-important guitar tone remains unaffe ted when you’re not taking a
Vibratrem trip. Features: Mode swit h to sele t Vibrato or Tremolo.
Controls for Speed, Depth and Wave Shape. Se ond output for stereo
spread. Solid metal asing and passive bypass.
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
PEDAL SPECIFICATION: ED-1/VT-1
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
PEDAL SPECIFICATION: JH-1 /GV-2 /BB-2
Marshall Amplifica ion Produ t Catalogue 37
36 Marshall Amplifica ion Produ t Catalogue
* Main (Mono) Signal Path
“It’s what every woman needs!”
Charlotte Hatherley
(Ash)
“Kicking in the Bluesbreaker pedal is a bit like
creeping up behind old ladies and popping a
balloon behind their heads to scare them.
Dark, thick and satisfying.”
Dan Fisher
(The Cooper Temple Clause)