Marshall Amplification JVM410H HEAD User manual

OWNER’S MANUAL
JVM410H HEAD &
JVM410C COMBO
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WARNING! IMPORTANT SAFETY INSTRUCTIONS
ENGLISH
WARNING:
Before going any further, make sure that
your amplier is compable with your
mains electricity supply. If you have any
doubt, please seek help from a qualied
technician – your Marshall dealer can help
you in this respect.
MAINS INPUT & FUSE:
The specic mains input voltage rang
that your amplier has been manufactured
for is indicated on the rear panel of the
amplier. Your amplier is provided with
a detachable mains (power) lead, which
should be connected to the MAINS INPUT
socket on the rear panel of the amplier
(Rear Panel Function #13). The correct
value and type of mains fuse is specied
on the rear panel of the amplier. NEVER
aempt to bypass the fuse or t one of the
incorrect value or type.
TRANSPORTING YOUR EQUIPMENT:
Please ensure that your amplier is
switched o, unplugged from the mains
electricity supply and all removable
cables have been disconnected from your
equipment before aempng to move it.
IMPORTANT SET UP INFORMATION:
1. When using JVM410H head, or
JVM410C combo with an extension speaker
cabinet(s), make sure that the speaker
cabinet(s) is connected to the correct
impedance loudspeaker jack socket(s) on
the rear panel of the amplier. See the
LOUDSPEAKERS guide in this manual for
specic informaon regarding impedance
matching (Rear Panel Function #19).
WARNING Failure to do the above may
damage your amplier. When connecng
a speaker cabinet make sure that you
use a proper speaker cable. Never use a
screened (shielded) guitar cable for this
purpose.
2. Ensure that the POWER switch (Front
Panel Function #12) is set to the OFF
posion.
3. Connect the supplied mains (power)
lead into the MAINS INPUT (Rear Panel
Function #13) rst and then into the mains
electricity supply.
4. Ensure that the MASTER 1 and MASTER
2 controls on the front panel are set to
zero (Front Panel Function #7).
5. Plug your guitar into the INPUT jack
socket on the front panel (Front Panel
Function #1).
6. Ensure that the STANDBY switch (Front
Panel Function #11) is in the OFF posion.
7. Turn the front panel POWER switch
to the ON (I) posion and wait for a few
minutes before going to point 8.
8. Engage the amplier by switching
STANDBY to the ON posion.
9. Turn the volumes up to your preferred
level and your amplier is ready to play.
PLEASE READ THIS MANUAL CAREFULLY BEFORE PLUGGING IN.
FOLLOW ALL INSTRUCTIONS AND HEED ALL WARNINGS.
KEEP THESE INSTRUCTIONS.
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ENGLISH
This device complies with part 15 of the FCC Rules. Operaon is subject to the
following two condions:
1. This device may not cause harmful interference, and
2. This device must accept any interference received, including interference
that may cause undesired operaon.
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 protecon against harmful interference in a residenal
installaon.
This equipment generates, uses and can radiate radio frequency energy and, if not in-
stalled and used in accordance with the instrucons, may cause harmful
interference to radio communicaons.
However, there is no guarantee that interference will not occur in a parcular
installaon. If this equipment does cause harmful interference to radio or
television recepon, which can be determined by turning the equipment o 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 separaon between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit dierent from that to
which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Any changes or modicaons not expressly approved by the party
responsible for compliance may void the users authority to operate the equipment.
This device complies with CAN ICES-3(B)/NMB-3(B)
COMPLIANCE STATEMENT
JVM410H Head JVM410C Combo
Power (RMS) 100W 100W
Valves 5x ECC83 + 4x EL34 5x ECC83 + 4x EL34
Main Guitar - Input Impedance 470kΩ 470kΩ
Emulated Output - Level +4dBu +4dBu
FX Send Level - selectable -10dBV, +4dBu -10dBV, +4dBu
Weight 22kg 34.5kg
Size (mm) W, H, D 750 x 310 x 215 690 x 510 x 265
TECHNICAL SPECIFICATIONS
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INTRODUCTION
From humble beginnings in 1962 Marshall became a global icon. Synonymous with
the sound of rock and blues rock music, the legendary power and disncve tone of
Marshall ampliers can be heard on many inuenal studio and live recordings from
the past half century. Marshall ampliers have stood the test of me, with some of our
classic products from the ‘60s, ‘70s, ‘80s & ‘90s sll made today at the Marshall factory
in Bletchley, England.
Marshall has over the years earned a reputaon for craing great sounding, dependable,
hard-wearing and hardworking ampliers for all guitarists, and our values haven’t
changed, this remains our primary goal. Through expert R&D and bold design we connue
to innovate, building on our heritage and reputaon as the number one Brish amp
maker.
The all-valve JVM410H and JVM410C are made in England by a skilled and dedicated
workforce whose crasmanship and aenon to detail produce some of the best loved
and most iconic guitar ampliers and speaker cabinets ever made.
The highly acclaimed JVM4 Series is at the apex of six decades of tonal and funconal
evoluon; an evoluon that has been driven not only by our desire to make the best
ampliers in the world , but by our customers—professional arst and amateur enthusiast
alike. At Marshall we fully understand the necessity of achieving the right tone, feel and
funconality to help inspire you to reach your creave potenal.
The JVM4 Series features 4 tonally independent channels, each with 3 modes, oering a
broad tonal palee from which to shape your sound. With the inclusion of an FX loop,
two master volumes and four independent channel reverbs, JVM4 is versale too.
To control JVM4’s wide tonal range and funconality requires a unique footswitching
system. The programmable 6-way Stompware® footcontroller enables you to harness
the power of JVM4, giving you serious control of your sound during performance, either
by switching panel funcons directly or programming groups of panel sengs to form
Presets stored to single footswitch buon.
We sincerely hope that your JVM4 Series amplier proves indispensable and that it
provides you with years of legendary Marshall tone, whatever your playing situaon.
Thank you for choosing Marshall.
- The Marshall Team
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OVERVIEW
CHANNELS, MODES & MEMORY
Presenng the 4 channel, 100 Wa, all-
valve JVM4 amplier (JVM410H head or
JVM410C 2x12” combo). Its 4 channels
feature 3 modes, giving you a total of 12
dierent modes to choose from - each
with its own unique gain structure. Even
though its front panel contains a total of 28
control knobs and 8 LED switches, JVM4 is
simple to understand and operate thanks
to its extremely logical front and rear panel
layouts.
The front panel contains dedicated sets of
controls for each of its 4 channels - CLEAN,
CRUNCH, OD1 & OD2 - plus MASTER and
REVERB secons. Each channel contains
the familiar controls, VOLUME, BASS,
MIDDLE, TREBLE and GAIN. The REVERB
secon consists of 4 level controls, one for
each channel, while the MASTER secon
is comprised of 2 footswitchable master
volumes: MASTER 1/MASTER 2, plus
master RESONANCE and PRESENCE
controls that work universally on all 4
channels.
Each of the 4 channels has 3 switchable
modes. These are selected by the
MODE switch dedicated to each
channel. To select a channel press its
respecve MODE switch or step on the
relevant buon on the supplied 6-way
Stompware® footswitch. To scroll through
the selected channel’s 3 modes keep
pressing the said switch and the colour
of the LED in the switch will change from
green to orange to red and then back to
green. Doing this steps-up the gain level
each me (red being the highest and green
the lowest for each channel) and changes
the channel’s tonal voicing.
When you leave and then reselect a
channel, it will automacally recall the last
acve mode as all 4 channels remember
the last mode they were in unl a change
is made. For instance, if you select the
CRUNCH channel’s orange mode and
then go to the CLEAN channel, when you
reselect the CRUNCH channel it will sll
be in orange mode.
In addion to channel and mode selecon,
other features that are switchable via the
front panel and the footswitch are REVERB
(on/o) MASTER 1 & MASTER 2, and
SERIES/PARALLEL FX LOOP (on/o). All 3
of these funcons are also remembered by
each mode.
To sum up, each of the JVM4’s 12 modes
will remember its most recent REVERB,
FX LOOP and MASTER volume seng.
Addionally, mode setups can also be
saved and recalled to one of 128 locaons
via MIDI.
STOMPWARE® 6-WAY FOOTSWITCH
The JVM410H and JVM410C are supplied
with a Stompware® 6-way programmable
footswitch, which can be connected to the
amp via any standard guitar cable.
Note: The supplied footswitch lead is
unscreened and not suitable for guitar.
The footswitch features 7 LEDS: CLEAN,
CRUNCH, OD1, OD2, MASTER, REVERB
and FX. The LEDs for each of the 4
channels are 3-coloured: green, orange
and red, visually telling you which channel
and mode is selected alongside the status
of MASTER, REVERB and FX LOOP.
The supplied Stompware® footswitch
enables you to assign any of its 6 buons
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ENGLISH
to instantly recall any front panel switch
funcon (Switch Store Mode) or complete
channel setup (Preset Store Mode) in any
order and combinaon.
SWITCH STORE MODE
In Switch Store mode any footswitch
buon is assigned to act as any one of the
amp’s front panel switches: CHANNEL/
MODE, REVERB on/o, MASTER 1/2 and
FX LOOP on/o.
If a footswitch buon is assigned to select
a parcular channel, once it has been
acvated that footswitch buon can be
used to scroll through the three modes,
just like its respecve front panel switch.
PRESET STORE MODE
In Preset Store mode each footswitch
buon can be programmed to instantly
call up a combinaon of front panel switch
opons to form a Preset. For example, you
could program the footswitch so that:
Buon #1 = CRUNCH channel, green
mode with MASTER volume ‘1’, REVERB
‘on’ and FX LOOP ‘o’.
Buon #2 = CLEAN channel, red mode
with MASTER volume ‘2’, REVERB ‘o’ and
FX LOOP ‘on’.
All Preset sengs are stored within the
footswitch; this means that it can be
plugged into any JVM4 amplier and your
stored footswitch sengs will be instantly
recalled.
Details on how to program your footswitch
can be found later in this manual (Front
Panel Function #10).
POWER AMP
The power-stage of the 100 Wa JVM4
is based on the one found in the JCM800
2203 and 1959 Superlead ampliers
responsible for the legendary Marshall
roar. It has been adjusted to suit the wide
variety of tones found in JVM4 channels
and modes. This power amp secon
features PRESENCE and RESONANCE
controls to help shape the overall tone of
your JVM4 amplier.
Your JVM4 is also equipped with a silent
recording mode. When the STANDBY
switch is in the OFF posion, the power-
stage is disabled, but the rest of the
amplier remains fully operaonal.
REVERB
The JVM410H and JVM410C are
equipped with studio quality reverb,
routed in parallel to the main signal and
mixed by means of a valve. When reverb
is engaged no degradaon of the direct
signal occurs and when it’s ‘o’ it is
eecvely removed from the circuit. Each
of the JVM4’s channels also has its own
dedicated REVERB level control.
The REVERB switching has been designed
to avoid abrupt cut os in the reverb tail,
so when changing from channel to channel
or switching reverb ‘o’, its tail decays
naturally.
STANDBY & SILENT RECORDING
(Front Panel Function #11)
When the amplier is in STANDBY (OFF)
the whole preamp secon connues
running at its nominal voltages whilst
the power-stage remains in a ‘standby’
status. This allows the amplier to be
used for silent recording or for preamp
purposes using the EMULATED LINE OUT
(Rear Panel Function #16).
OVERVIEW (CONT.)
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NOTES
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FRONT PANEL FUNCTIONS
ENGLISH
1. INPUT
Input jack socket for your guitar cable. Use
a good quality screened/shielded guitar
cable to help prevent noise interference.
2. CLEAN CHANNEL
CLEAN GREEN MODE: This is the cleanest
of the three modes and, in keeping with
tradional clean amps, it uses a simple
and straighorward circuit, keeping the
signal as pure as possible. In this mode the
channel’s VOLUME control is taken out of
circuit as is the case in vintage ampliers
of this nature. This is the only mode where
this happens.
CLEAN ORANGE MODE: By adding another
gain stage aer the tone stack we get a
punchier sound that’s easy to overdrive.
As in the rest of the modes the channel’s
VOLUME control is now acve.
CLEAN RED MODE: This mode pushes the
original clean sound even more and trans-
forms into a pseudo high gain channel with
the addion of yet another gain stage aer
the tone stack.
In keeping with the classic clean amps of
yesteryear, all three modes on this channel
feature what is known as a pre-gain tone
GAIN
0 10
GAIN
INPUT
POWER STANDBY
/ SILENT RECORDING
0 10
REVERBMASTER
OD1
MODE
CLEAN
MODE
CRUNCH
MODE
OD2
MODE
FOOTSWITCH/
MIDI PROGRAM
FX LOOP
TREBLE
0 10
TREBLE
0 10
MIDDLE
0 10
MIDDLE
0 10
BASS
0 10
BASS
0 10
VOLUME
(Orange & Red)
0 10
VOLUME
0 10
GAIN
0 10
GAIN
0 10
TREBLE
0 10
TREBLE
0 10
MIDDLE
0 10
MIDDLE
0 10
BASS
0
10
BASS
0
10
VOLUME
0 10
VOLUME
0 10
RVB
CLEAN
0 10
RVB CRUNCH
0 10
RVB
OD1
0 10
RVB OD2
0 10
MASTER
1
0 10
PRESENCE
0 10
MASTER
2
0 10
RESONANCE
0 10
MASTER REVERB
OD1
OD2
CLEAN
CRUNCH
O
I
OFF
ON
JVM410H FRONT PANEL
89
10 7 6
1112
GAIN
0 10
VOLUME
INPUT
POWERSTANDBY
/ SILENT RECORDING
0 10
REVERB MASTER
OD2
MODE
CLEAN
MODE
CRUNCH
MODE
OD1
MODE
FX LOOP
FOOTSWITCH/
MIDI PROGRAM
BASS
0 10
BASS
0 10
MIDDLE
0 10
MIDDLE
0 10
TREBLE
0 10
TREBLE
0 10
VOLUME
(Orange & Red)
0 10
GAIN
0 10
VOLUME
0 10
VOLUME
0 10
BASS
0
10
BASS
0
10
MIDDLE
0 10
MIDDLE
0 10
TREBLE
0 10
TREBLE
0 10
GAIN
0 10
GAIN
0 10
RVB
OD2
0 10
RVB OD1
0 10
RVB
CRUNCH
0 10
RVB CLEAN
0 10
RESONANCE
0 10
MASTER 2
0 10
PRESENCE
0 10
MASTER 1
0 10
MASTER
REVERB
OD2
OD1CLEAN
CRUNCH
O
I
OFF
ON
JVM410C FRONT PANEL
1 42
3 5
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ENGLISH
stack (i.e. the tone network lies before the
channel’s main gain stage). The reverse (i.e.
the tone network being aer the main gain
stage) is typical of most Marshall ampliers
and, as a result, the CLEAN channel’s tone
controls work in a slightly dierent way than
you might expect; in addion to controlling
the tone of the channel they also aect how
it reacts in terms of gain, allowing you to
shape how the signal distorts.
For example, turning up the MIDDLE
control on higher GAIN sengs will focus
the distoron there, making your sound
‘sing’ in a tradional blues/rock way. Also,
because of the channels’ ‘tone then gain’
topology, when a lot of GAIN is dialled in
(especially in the case of the red mode), it
may appear that its tone controls aren’t
doing as much as you’d expect or sound
over distorted. This is because the signal
is being distorted aer the tone stage,
minimising the eecveness of the BASS,
MIDDLE and TREBLE controls.
3. CRUNCH CHANNEL
At this point JVM4 reverts to the
more typical Marshall preamp circuit
characterisc of ‘gain then tone’. This is
also true of the OD1 and OD2 channels.
GAIN
0 10
GAIN
INPUT
POWER STANDBY
/ SILENT RECORDING
0 10
REVERBMASTER
OD1
MODE
CLEAN
MODE
CRUNCH
MODE
OD2
MODE
FOOTSWITCH/
MIDI PROGRAM
FX LOOP
TREBLE
0 10
TREBLE
0 10
MIDDLE
0 10
MIDDLE
0 10
BASS
0 10
BASS
0 10
VOLUME
(Orange & Red)
0 10
VOLUME
0 10
GAIN
0 10
GAIN
0 10
TREBLE
0 10
TREBLE
0 10
MIDDLE
0 10
MIDDLE
0 10
BASS
0
10
BASS
0
10
VOLUME
0 10
VOLUME
0 10
RVB
CLEAN
0 10
RVB CRUNCH
0 10
RVB
OD1
0 10
RVB OD2
0 10
MASTER
1
0 10
PRESENCE
0 10
MASTER
2
0 10
RESONANCE
0 10
MASTER REVERB
OD1
OD2
CLEAN
CRUNCH
O
I
OFF
ON
135
4 2
GAIN
0 10
VOLUME
INPUT
POWERSTANDBY
/ SILENT RECORDING
0 10
REVERB MASTER
OD2
MODE
CLEAN
MODE
CRUNCH
MODE
OD1
MODE
FX LOOP
FOOTSWITCH/
MIDI PROGRAM
BASS
0 10
BASS
0 10
MIDDLE
0 10
MIDDLE
0 10
TREBLE
0 10
TREBLE
0 10
VOLUME
(Orange & Red)
0 10
GAIN
0 10
VOLUME
0 10
VOLUME
0 10
BASS
0
10
BASS
0
10
MIDDLE
0 10
MIDDLE
0 10
TREBLE
0 10
TREBLE
0 10
GAIN
0 10
GAIN
0 10
RVB
OD2
0 10
RVB OD1
0 10
RVB
CRUNCH
0 10
RVB CLEAN
0 10
RESONANCE
0 10
MASTER 2
0 10
PRESENCE
0 10
MASTER 1
0 10
MASTER
REVERB
OD2
OD1
CLEAN
CRUNCH
O
I
OFF
ON
10 11 127
6 8 9
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CRUNCH GREEN MODE: This mode shares
the preamp topology of the classic Mar-
shall JTM45/1959 Plexi™ models
(i.e.: gain + gain + tone) but with a bit more
gain than is found in the originals.
CRUNCH ORANGE MODE: This mode is
reminiscent of the JCM800 2203 amplier,
a staple of hard rock. The gain structure is
gain + gain + gain + tone.
CRUNCH RED MODE: This shares the topology
of the orange mode, but with more gain,
giving you sounds similar to a hot-rodded
JCM800.
4. OD1 CHANNEL
OD1 GREEN MODE: This is very similar to
the hot-rodded JCM800 sound found in
crunch red mode, allowing you to dial-in
two disnctly dierent yet similar crunch
sounds if you so wish - one in each channel.
OD1 ORANGE MODE: This adds another gain
stage to the OD1 green mode, resulng in
a sound that’s perfect for singing leads and
hard rock/heavy metal tones.
OD1 RED MODE: Adds more gain to the OD1
orange for a high gain Marshall sound.
5. OD2 CHANNEL
This channel is similar to the OD1 channel
but with even more gain and a slightly
dierent tone network with the middle
control shied down to being centred
around 500hz instead of the more typical
Marshall value of 650hz. The result is 3
high gain modes that are ideal for both lead
and modern rhythm metal tones.
MASTER SECTION
6. REVERB
Pressing the REVERB buon switches the
reverb ON and OFF in the current channel.
Each channel has its own reverb control
allowing individual channel reverb level
sengs: RVB CLEAN, RVB CRUNCH, RVB
OD1 and RVB OD2.
7. MASTER 1 / MASTER 2
These are the master volume controls
of the amplier. They can be assigned
individually to each of the modes as you
wish and their seng will be remembered.
8. PRESENCE AND RESONANCE
These controls are power-stage funcons
and only have eect when playing through
a speaker (not in SILENT RECORDING).
They aect how the power amplier reacts
to the connected speakers and how much
control the amplier has over them.
Increasing the RESONANCE control
emphasises speaker resonance for an
improved bass response and lower-end
thud. In the same way, increasing the
PRESENCE control emphasises the
speaker’s higher frequencies, making the
sound brighter and more ‘present’.
PRESENCE and RESONANCE constute
a powerful power-stage EQ, allowing
responses from a ‘ ’ shape when they are
fully o, which is felt as a mid-boost, to a
‘v’ shape when they are turned clockwise,
giving a more scooped sound. Again, the
eecveness of these controls is highly
dependent on the kind of connected
speakers. Care has to be taken to avoid
over excursion of the speaker cones in high
resonance sengs.
9. FX LOOP
Pressing the FX LOOP buon switches
the FX loop ON and OFF in the current
channel.
The FX loop is programmable and features
a MIX control on the rear panel. The FX
FRONT PANEL FUNCTIONS (CONT.)
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