Welcome to Marshall Amplification’s 2012 catalogue. As you probably already know, 2012 is a special year for my company as it marks our 50th Anniversary. As you can see from the front cover of this catalogue, in keeping with the tongue-in-cheek title of the 2004 biography, “The Father of Loud,” we’ve decided to label our special anniversary “50 Years of Loud.”

To be honest, when I teamed-up with Ken Bran and Dudley Craven (RIP) with the idea of building the world’s first rock and roll amplifier in the autumn of 1962, we had no idea what the future held in store. To be honest, I would have been delighted if we could have built and sold 50 amps. I didn’t dare dream that our little endeavour would last 50 days, let alone grow into a globally respected company that’s still going strong and growing some 50 years later.

The reason we made the very first Marshall amp came from me chatting with all the up-and-coming young guitarists who came to my drum shop in the early ‘60s. They told me what they were looking for from a guitar amplifier and that there was nothing available at the time that did exactly what they wanted. Because of that I decided to put together a team that could build an amp that produced the sound I could hear in my head based on what the lads had described to me.

Ever since then, that’s how my company has operated and grown. We’ve listened carefully to what guitarists want in terms of sound and features, made sure we completely understand those needs and then we strive to exceed their expectations. We also work tirelessly to ensure that we offer the best possible value without compromising reliability, components, build-quality, finish, flexibility and, of course, that all-important commodity – Tone! I’m also proud to state that while a lot of companies who claim to be British actually build nothing in the UK anymore, Marshall still makes all of our high-end products in our factory in Bletchley,Milton Keynes, England.

Although our Golden Anniversary isn’t until September of this year, we’ve already announced some 50th Anniversary products – a series of five 1-Watt amp pairings (in this catalogue) plus a Limited Edition handwired 1962 Bluesbreaker combo which will be released later this year. These UK made amps are only the start of our celebration – more Anniversary products and events will be announced as September draws closer.

In the pages that follow you’ll also learn of our latest signature products, the British built, Joe Satriani signature head and cabs, plus the affordable new 2012 DSL Series which comprises of two heads and two combos.

Everybody at Marshall amps is very well aware that ultimately the real reason for our longevity and success is our legion of loyal customers. Thank you for all your continued support over the past five decades as without it we wouldn’t be celebrating 50 Years of Loud! Enjoy this catalogue and rest assured, we’re still listening very carefully to what you want from an amp and will continue to do our utmost to not only satisfy but exceed your expectations. Here’s to the next 50 years!

Sincerely,

Jim Marshall

FROM “THE GUV’NOR” JIM MARSHALLWe’re Still Listening . . .

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1942Starts drumming

1999Acoustic Soloist

JIM MARSHALL – THE FATHER OF LOUD

JIM’S MARSHALL TIMELINE

1923Jim Marshall born

1962First Marshall amp

JTM45

201250 Years of Loud!

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Jim opens music store in London

1936Starts work at age 13

1973Jim’s 50th Birthday

1984Queen’s Award

for Export

1997DSL Series

1992Queen’s Award

for Export2007

JVM Series1981

JCM800 Series

1975Master Volume

199230th Anniversary

JMP-1

1987Silver Jubilee

Early 50sProfessional Drummer

1947Studies drumming with Max Abrams

The Jim Marshall story is a fascinating, true-life, rags-to-riches tale. Born in London, England, on July 29th, 1923, his childhood was anything but easy. “I never really got an education because I was in hospital all the time with tubercular bones,” Jim reveals. As a result of this unfortunate affliction, he spent most of his school years quite literally cocooned in a plaster cast. Without the benefit of a formal education, Jim began working at age 13. He also learned to tap dance and, before long, music had become the focus of his life. “A band leader heard me sing and asked me to try out,” Jim recalls. He passed his audition with flying colours and, by 14, he was performing 6 nights a week as the lead vocalist for a 16-piece, big band.In 1942 the band’s drummer was enlisted and Jim stepped in. His natural talents behind the kit were quickly obvious and, before long, he was a much in demand performer & teacher. In fact, Jim’s weekly roster of 65 pupils included several who went on to find fame and fortune, including Mitch Mitchell (Jimi Hendrix) and Micky Waller (Little Richard, the Jeff Beck Group).

In 1960 Jim opened a drum shop. “All the drummers used to bring their groups in with them, which is how I got to meet guitarists like Pete (Townshend) and Ritchie (Blackmore).” Jim recalls. “They kept pestering me to stock guitars and amps so I decided to give it a go.” He quickly became aware of the fact his guitar playing customers were all searching for a

sound they just couldn’t find. “Listening to what they were saying gave me a very good idea of what they wanted,” Jim states. “So, I decided to put together a small team to build a valve amplifier with the specific sound the lads were after.”

After several attempts, the first Marshall head was built in September 1962. It was an instant hit. Jim tried it with a 2x12″ cabinet but didn’t like the sound. “Plus we kept blowing up speakers like there was no tomorrow!” He laughs. “So, I decided to put four 12″ speakers in the smallest enclosure we could build, so it’d be easy to transport.” And so the Marshall 4x12″ cabinet was born – a product that’s still deemed the “industry standard.”

In 1965, another important Marshall milestone was reached. “Pete Townshend asked if I could build him a 100 Watt head and an 8x12″ cabinet,” Jim states. “I agreed but warned him that his roadies wouldn’t like handling such a big cabinet and suggested stacking an angled 4x12″ on top of a straight one instead. Pete was having none of it though, so we built him what he wanted and off he went.”

Jim’s prediction proved correct and Townshend returned to have the 8x12″ cab “cut in half.” The result of this logical solution was the creation of what is now one of the rock world’s most instantly recognisable icons – the 100-Watt Marshall stack!

From that point on, as the saying goes, the

rest is history. Marshall quickly became the world’s pre-eminent rock amplifier maker – a status the company still proudly holds today, winning countless honours along the way, including the Queen’s Award for Export in 1984 and 1992. How does Jim ensure that his latest products remain every bit as cutting edge as they were when they first appeared some 50 years ago? “By listening to guitarists and finding out what they really want,” is his instant reply. “In my opinion, the most important thing in what we do is the person who’s actually going to play through the amp once we’ve made it. If you don’t bother to listen to the end-user, you’ll miss the mark on certain things because no-one knows everything.”

Throughout his career, Jim has devoted countless hours and a huge amount of money to charities for disabled and underprivileged children. “It all goes back to spending so much of my young life in that wretched plaster cast,” he explains. “I decided at the age of 14 that if I ever became rich enough, I would look after young people who need help and encouragement. I’ve done well from nothing so I’m just putting something back in.” Not surprisingly, Jim was made an honorary Doctor of Music in 2002 and awarded the OBE (Order of the British Empire) in 2004.

2008Jim’s 85th Birthday

1964First Marshall Stack

2004Jim receives OBE

1991Valvestate Series

1965100 Watt 1959 head & 30 Watt

Bluesbreaker Combo

1968 200 Watt Marshall Major

1998MG Series

Demeaning jokes that make drummers out to be drooling dolts are ten-a-penny – especially in guitar playing circles. This said, there is one skin-beater that no self-respecting six-stringer would ever dare poke fun at. Why? Because, without this drummer, rock as we know and love it today, might not exist. His name…

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Over the past five decades, we’ve produced a veritable arsenal of amps. While each and every model is unique in character, they’ve all had two vitally important things in common: 1) They’re 100% pure Marshall & 2) They allow you to sound like yourself! We don’t need to copy others and neither do you. Life’s too short for that. We are not a cover brand, we’re original and so are you. Be original, be yourself is our motto…

NOT A COVER BRAND

100% Original

100%

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In September, 1962, Jim Marshall and his team placed the first ever Marshall guitar amp in the window of his tiny music shop on the outskirts of London, England. This history-changing head was the direct result of Jim listening to players needs and reacting accordingly. 23 orders were taken that very first day and a legend was born.

MADE IN ENGLAND WITH PRIDE

Ever since this humble beginning, certain key characteristics have been permanently intertwined within the double helix of the company’s DNA. These fundamental yet pivotal genetic traits include:

• Listening carefully to guitarists needs so we can design amplifier products they really want, rather than products we think they want.

• Ensuring that all Marshall amps can and will withstand the often gruelling rigours of gigging and touring. There’s simply no point in making a product that sounds amazing but isn’t roadworthy.

• Last but definitely not least, continuing the tradition that Jim and his team started 50 years ago….building amps and cabinets in England!!

Of course, like the majority of modern amplifier manufacturers, the Marshall line includes affordable amps that are made in our overseas factories – such as the recently released MG Carbon Fibre Series (page 20) and the brand new DSL line (page 18). That said, our premium products are made in the Marshall factory in Bletchley, England, with immense pride…they always have and always will be.

These products include Vintage Reissues, the Hand Wired family, our “industry standard” 4x12″ 1960 cabinets, Class5, the Vintage Modern range and, of course, our current flagship line – the JVM2 and JVM4 series. Another exciting product that’s being made in our UK factory is the brand new and much heralded 50th Anniversary, Limited Edition Series of all-valve, 1-Watt heads and combos (see page 12 for more details).

Hand Crafted…In today’s computer-operated, highly-automated manufacturing world, many people might understandably think that to make an amp all you do is throw some wood, electrical components, knobs, valves and a sheet of metal into a massive machine, press a button, and out pops a JVM410H. Not so at Marshall. The amount of “human touch” that goes into every amp and cabinet made in our UK factory is staggering, even though we say it ourselves. Yes, we do use machines to do certain things for speed and precision but human involvement is always significant at Marshall from cabinet construction, sanding and

covering; component and speaker insertion and wiring; plus, of course, affixing the legendary Marshall script logo; highly skilled human hands are involved. Don’t merely take our word for it though. Look at the photographs that accompany this piece. As the saying goes: a picture paints a thousand words…

The attention to detail and passion poured into each and every product that leaves our Bletchley factory is something we’re extremely proud of. It’s no wonder that so many rock icons won’t consider any other brand – Marshall is their first and only choice….

“There can only be one amp…and it’s a Marshall.” – Zakk Wylde

“I love my Marshall amps: I am nothing without them” – Jimi Hendrix (RIP)

“For me to sound like ‘me’ I have to have a Marshall – that’s just the way it is.” – Slash

“When I stand in-front of my rig, if my nuts ain’t shaking then I ain’t satisfied…and the only stuff that can do that is my Marshalls.” – Kerry King

That’s the “Made In England With Pride” difference.

LANDFILL FREEMarshall is proud to be a “Landfill Free” factory, as one of our Core Values is to be respectful to our precious planet. To this end we send all sawdust for composting, all wood off-cuts are reprocessed as laminate flooring; all

cardboard and clear plastic is recycled; all general waste goes to a Materials Recycling Facility; and anything remaining is sent to an Energy for Waste Plant.

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50TH ANNIVERSARY 1-WATT SERIESOF ALL-VALVE HEADS & COMBOS – LIMITED EDITIONWe’re kicking off our 50th Anniversary celebration with five pairings of Limited Edition, all valve 1-Watt heads and combos. Each duo pays sonic and visual homage to one of the five decades that Marshall has been in business – ‘60s, ‘70s, ‘80s, ‘90s and 2000s. These five pairs will be released chronologically at regular intervals throughout 2012, our 50 Years of Loud Anniversary year. They will only be produced in 2012 and Made in England with Pride in the Marshall UK factory.

To add to their “neighbour friendly” nature, each and every amp features a rear panel Low Power switch which drops the output power from 1-Watt to 0.1-Watt. Each amp also boasts a 50th Anniversary Limited Edition Commerative plaque.

For more information visit www.marshallamps.com

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JTM-1 Head & Combo – Paying tribute to the tone and aesthetic of the ‘60s, this pair of all-valve (2 x ECC83, 1 x ECC82) Class A/B 1-Watters are steeped in JTM-era vibe. With simple yet effective controls for Loudness (Volume) and Tone, these touch-responsive amps are harmonically rich and perfect for blues/rock. “My R&D boys have done a really fantastic job,” comments Jim Marshall. “Both amps sound and look like the ones we made back in the ‘60s.” The combo is loaded with a 10″ Celestion speaker.

JMP-1 Head & Combo – The muscular, musical overdrive of Marshall Super Leads truly was the sound of the ‘70s and the JTM1s pay homage to that decade’s tonality and look in spades. Boasting a true Class A power-stage topology, these all-valve (2 x ECC83s, 2 x ECC81s) amps are classic rockers in the truest sense of the word. Thanks to there being an extra valve gain stage in the pre-amp (an ECC83 is a dual-triode – effectively “two valves in one”), a rear panel Boost switch kicks in even more overdrive and sustain.

JCM-1 Head & Combo – The ‘80s were dominated by the Master Volume Marshall JCM800 Series – the must-have amps for the NWOBHM (New Wave Of British Heavy Metal), the hair metal movement born on LA’s infamous Sunset Strip, plus the brutal, no-holds-barred, Thrash/Speed metal movement. The JCM800s aggressive, punch-in-the-chest roar was omnipresent throughout the decade and oozes from this dynamic JCM-1 duo. A front-panel Boost switch kicks in the equally popular, extra gain of the Jubilee and Split Channel amps. Beloved by many, the sounds that ruled the ‘80s still rule today.

SPECIFICATION JTM-1H JTM-1C JMP-1H JMP-1C JCM-1H JCM-1C

MODEL TYPE Head 1 x 10″ Combo Head 1 x 10″ Combo Head 1 x 10″ ComboPOWER (RMS) 1 Watt 1 Watt 1 Watt 1 Watt 1 Watt 1 WattPRE-AMP VALVES 1.5 x ECC83 1.5 x ECC83 2 x ECC83 2 x ECC83 1.5 x ECC83 1.5 x ECC83POWER AMP VALVES 0.5 x ECC83, 1 x ECC82 0.5 x ECC83, 1 x ECC82 2 x ECC81 2 x ECC81 0.5 x ECC83, 1 x ECC82 0.5 x ECC83, 1 x ECC82EQUALISATION Tone Control Tone Control Treble & Bass Treble & Bass 3-Band EQ 3-Band EQLOW POWER MODE (0.1 W) 3 3 3 3 3 3

SPEAKER - Celestion G10F-15 - Celestion G10N-15 - Celestion G10F-15DIMENSIONS (WxHxD in mm) 180 x 380 x 195 360 x 380 x 220 180 x 380 x 195 360 x 380 x 220 180 x 380 x 195 360 x 380 x 220WEIGHT (kg) 5.2 9.4 5.3 8.8 4.7 8.6

JTM-1C

JTM-1H

JMP-1CJCM-1C

JCM-1H

JMP-1H

50TH ANNIVERSARY 1-WATT SERIES OF ALL-VALVE HEADS & COMBOS – LIMITED EDITION

THE 1960s, 1970s & 1980s . . .

For more information visit www.marshallamps.com

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SPECIFICATION DSL-1H DSL-1C JVM-1H JVM-1C

MODEL TYPE Head 1x8” Combo Head 1x8” ComboPOWER (RMS) 1 Watt 1 Watt 1 Watt 1 WattPRE-AMP VALVES 1 x ECC82, 2 x ECC83 1 x ECC82, 2 x ECC83 1 x ECC82, 2 x ECC83 1 x ECC82, 2 x ECC83POWER AMP VALVES 1 x ECC82, 1 x ECC83 1 x ECC82, 1 x ECC83 1 x ECC82, 1 x ECC83 1 x ECC82, 1 x ECC83CHANNELS 2 2 2 23 BAND EQ 3 3 3 3

PRESENCE CONTROL NO NO 3 3

MID-SHIFT SWITCH 3 3 NO NODEEP/RESONANCE SWITCH 3 3 3 3

LOW POWER (0.1 WATT) 3 3 3 3

EMULATED OUT 3 3 3 3

FX LOOP 3 3 3 3

SPEAKER - Celestion G8C-15 - Celestion G8C-15SUPPLIED FOOTSWITCH PEDL-00008 PEDL-00008 PEDL-90003 PEDL-90003DIMENSIONS (WxHxD in mm) 180x380x195 360x380x220 180x380x195 360x380x220WEIGHT (kg) 5.5 8.9 5.5 8.9

DSL-1 Head & Combo – Even though there were several popular Marshalls in the ‘90s, the JCM2000 DSL100 Dual Super Lead head became known as the “go to rock amp” of the decade. Critics hailed it as “the ultimate Marshall” as it straddled vintage and modern so well. The DSL-1H and DSL-1C dual footswitchable channels pay tonal tribute to this great amp’s Classic Gain and Ultra Gain options with switches for Deep and Tone Shift for further sonic flexibility, just like the original. An Emulated Line Output, FX loop and Low Power (0.1 Watts) switch add further to the ante.

JVM-1 Head & Combo – Hailed as the most “versatile Marshall ever” with the “most heinous high-gain profanity imaginable” by the press, the JVM Series of the new millennium is our current all-valve flagship range. The JVM-1H and JVM-1C pay homage to the look and sound of this “powerhouse of tone” with two footswitchable channels (Clean and OD), four EQ controls (Bass, Middle, Treble and Presence) plus a Resonance Switch for even more low end girth. The back panel of both amps also feature an Emulated Output, Series FX Loop and a Low Power switch that knocks the output down to a neighbour friendly 0.1 Watts.

DSL-1C

DSL-1H JVM-1H

JVM-1C

50TH ANNIVERSARY 1-WATT SERIES OF ALL-VALVE HEADS & COMBOS – LIMITED EDITION

THE 1990s & 2000s . . .

For more information visit www.marshallamps.com

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Recently hailed by the six-string press as “the CEO of Shred”, Joe Satriani needs no introduction to fans of great and innovative guitar playing – his exemplary, trail-blazing career path for the past 20+ years speaks for itself. After meticulous R&D and extensive testing both in the studio and on the road by Satch himself, we’re delighted to launch the following Joe Satriani Signature heads and cabs…

JOE SATRIANI SIGNATURE – JVM410HJS & JVM410HJSB

Both the JVM410HJS and JVM410HJSB come supplied with a fully programmable, 6-way footswitch which is connected to the amp with a standard, ¼″ guitar cable. Its revolutionary, patent-pending technology allows you to program each of the 6 footswitches to do one of the following:

1. Switch Store. Operate one of the amp’s 8 front panel switches: Channel Selection/Mode for each channel; Noise Gate (on/off); Master Volume (1 or 2); FX Loop (on/off) or Mid-Shift (on/off: OD1 & OD2 channels).

2. Preset Store. Recall any pre-selected and stored, front-panel switch combination – namely Channel & Mode, Gate (on/off); Mid-Shift (on/off: OD1 & OD2 channels), Master (1 or 2) FX Loop (on/off).

To ensure you know where you are at all times, a row of multi-coloured LEDs reflect the amp’s current Channel/Mode and switch settings at a glance – and they’re right at your feet.

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Having just won, once again, the “Best Shredder” category in Guitar World’s prestigious Annual Readers’ Poll, Joe Satriani’s popularity had never been higher – and deservedly so. A much respected innovator and “guitarists’ guitarist” for many years, Joe not only continues to tour and record relentlessly, he just keeps getting better and better, and shows no signs of slowing down!

As you may know, Satch is no stranger to the Marshall brand. So, a quarter of a century after

he first turned the guitar world upside-down with his brilliant debut solo album, the aptly titled, Not Of This Earth, we’re delighted to release a Marshall amp with Joe’s signature alongside Jim’s on its brushed-gold frontpanel. How did this momentous occasion come to pass? We’ll let Joe tell the tale: “I’m so happy to be playing through Marshall amps again,” the virtuoso states. “Since Chickenfoot’s ‘09 European tour I’ve been re-discovering all the cool elements of the Marshall sound. Now, after using prototypes on two records and a few world tours, I’ve got my own signature 100 watt JVM410 model! It has

four channels with three modes per channel, four independent noise gates, an effects loop, and more versatility than I could have imagined. This amp sounds amazing.”

While Joe’s Signature amp is based on a JVM410H it’s been 100% “Satchurated”. In addition to adding four independent Noise Gates (one for each channel – replacing reverb) and a footswitchable Mid Shift on the OD1 and OD2 channels, Joe spent many hours with Santiago Alvarez (our R&D maven, responsible for the Kerry King, Yngwie and Slash AFD Signature heads) tweaking and

Overview re-voicing Channels and Modes. The result is that the Clean Modes are all very 6100-like and that the fourth channel, OD2, mirrors the “Satchurised” OD1 channel. It’s no wonder Joe says, “It’s the punchiest, most exciting amp I’ve ever played through.”

To introduce the amazing JVM410HJS, we’re offering a Limited Edition JVM410HJSB head and 1960AJSB and 1960BJSB cabs, clad in “30th Anniversary Blue” vinyl as homage to the blue 6100 head Joe used for many years that many still consider him synonymous with.

JVM410HJS1960A

JVM410HJSB1960AJSB1960BJSB

SPECIFICATION JVM410HJSB JVM410HJS

MODEL TYPE Head HeadPOWER (RMS) 100 Watts 100 WattsVINYL COLOUR 30th Anniversary Blue BlackALL-VALVE 3 3

PRE-AMP VALVES 4 x ECC83 4 x ECC83POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 4 x EL34CHANNELS / MODES PER CHANNEL 4 / 3 4 / 3PROGRAMMABLE MID-SHIFT OD1 & OD2 OD1 & OD2SWITCHABLE NOISE GATES 4 (one per channel) 4 (one per channel)2 SWITCHABLE MASTER VOLUMES 3 3

MASTER PRESENCE & RESONANCE 3 3

MIDI SWITCHABLE & EMULATED LINE OUT 3 3

2 FX LOOPS (ONE SERIES/PARALLEL) 3 3

FOOTCONTROLLER PEDL-00055 PEDL-00055DIMENSIONS (WxHxD in mm) 750 x 310 x 215 750 x 310 x 215WEIGHT (Kg) 22 22

CAB SPECIFICATION 1960AJSB 1960BJSB

SPEAKER CONFIGURATION 4 x 12″ 4 x 12″POWER HANDLING 300 Watts Mono 300 Watts Mono 150 Watts Stereo 150 Watts StereoFRONT Angle StraightVINYL COLOUR 30th Anniversary Blue 30th Anniversary BlueMONO/STEREO 3 3

IMPEDANCE 16Ω / 4Ω Mono 16Ω / 4Ω Mono 8Ω Stereo 8Ω StereoSPEAKERS Celestion G12-75 Celestion G12-75DIMENSIONS (WxHxD in mm) 760 x 830 x 365 760 x 830 x 365WEIGHT (kg) 36.4 37

For more information visit www.marshallamps.com

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“Due to popular demand” and “if it ain’t broke, don’t fix it” are two grossly overused clichés but both apply to this brand new series of four great sounding and surprisingly affordable, all-valve Dual Super Lead (DSL) amps. Based on the critically acclaimed & best selling JCM2000 DSL100 head, we are proud to announce the new 2012 DSL Series…

2012 DSL SERIES

DSL100H: 100 Watt head – The all-valve (4 x ECC83, 4 x EL34) twin-channel monster has the same valve compliment and feature set as the iconic DSL100, with the following upgrades: i) A Resonance control as opposed to the original’s fixed Deep switch – giving you total control of exactly how much low-end “girth” you want to add; ii) Studio-quality, digital Reverb instead of spring; iii) Rear-panel Pentode/Triode switch that will drop the amp’s output power to 50 Watts; iv) Supplied 2-Way footswitch for channel switching and Reverb on/off.

Its footswitchable Classic Gain and Ultra

Channels each boast two modes – Clean/Crunch and Lead 1/Lead 2 respectively. These will take you from Plexi-style, pristine clean to JCM800 snarl, hot-rodded 2203, high gain lead and all points in-between. The flexibility of the shared 5-band EQ (Treble, Middle, Bass, Resonance and Presence) section is increased further by a Mid-Shift button – perfect for modern metal brutality.A Series FX loop on the rear panel (bypassable via an on/off switch) adds to the DSL100H’s professional flexibility, as does the Pentode (Full Power)/Triode (Half Power) switch which drops the power-amp’s output to 50-Watts. It also changes the amp’s

tonal character as Triode mode produces a smoother, less aggressive sound.

DSL40C: 40 Watt 1x12″ Combo – This sturdy, gig-ready 40 Watt workhorse boasts 2 x EL34 power valves, a Celestion speaker and the same front and rear panel features as the DSL100H. The Triode (Half Power) option drops the DSL40C’s output to 20 Watts.

DSL15C: 15 Watt 1x12″ Combo – A compact, 15 Watt, all-valve 1x 12″ combo boasting 2 x 6V6 power valves and a Celestion speaker. Its two footswitchable channels - Classic Gain (the DSL100H’s

Clean option) and Ultra Gain (the DSL100H’s Lead 2 option) – share the same EQ network and a Deep switch for extra low-end “girth” if required. Like its bigger brothers, its footswitchable digital Reverb is studio quality and a Pentode/Triode switch drops the power to 7.5 Watts.

DSL15H 15 Watt Head – This no-nonsense, mini-brute is identical to the DSL15C minus the Reverb. A portable powerhouse of tone.

DSL100H1960A1960B

DSL15C DSL40C

DSL15H1960A

SPECIFICATION DSL100H DSL40C DSL15H DSL15C

MODEL TYPE Head 1 x 12″ Combo Head 1 x 12″ ComboPENTODE MODE OUTPUT (RMS) 100 Watts 40 Watts 15 Watts 15 WattsTRIODE MODE OUTPUT (RMS) 50 Watts 20 Watts 7.5 Watts 7.5 WattsPRE-AMP VALVES 3 x ECC83 3 x ECC83 3 x ECC83 3 x ECC83POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 2 x 6V6 1 x ECC83, 2 x 6V6DUAL FOOTSWITCHABLE CHANNELS 3 3 3 3

TWO MODES PER CHANNEL 3 3 No No3 BAND EQ, MID-SHIFT & PRESENCE CONTROL 3 3 3 3

RESONANCE CONTROL 3 3 No NoDEEP SWITCH No No 3 3

DIGITAL REVERB 3 3 No 3

PENTODE/TRIODE SWITCH 3 3 3 3

SERIES FX LOOP (BYPASSABLE) 3 3 No NoSUPPLIED FOOTSWITCH PEDL-00009 (2-way) PEDL-00009 (2-way) PEDL-90003 (1-way) PEDL-90003 (1-way)SPEAKER - Celestion Seventy 80 - Celestion G12E-60DIMENSIONS (WxHxD in mm) 741 x 274 x 242 621 x 490 x 252 500 x 240 x 235 505 x 475 x 255WEIGHT (kg) 24.2 22.85 10.2 16.8

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When the JCM2000 Dual Super Lead (DSL) series of amps was introduced in 1997, they were received with open arms and glowing compliments by the guitar loving public and press alike. In fact one of the biggest American guitar magazines described the DSL100 as possibly “the best Marshall ever. It combines the best tonal qualities and features of both modern and vintage Marshall amps in one package.”

After an extremely successful and long life, the JCM2000 series was replaced by the JVM series in 2007, which has also gone onto great success and critical acclaim. That said, there’s still a great deal of respect and demand for Dual Super Leads, with one of the UK’s most popular guitar magazines recently referring to the DSL100 as “the go-to rock amp.” “As a result of public demand, I tasked my R&D team with designing four new, affordable, all-valve amplifiers based on the popular DSL100.” Jim Marshall states. The outcome of this Marshall misson? The 100-Watt DSL100H head; the 40-Watt DSL40C 1x12″ combo; the 15-Watt DSL15C 1 x 12″ combo; & the 15-Watt DSL15H head.

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Identical features on DSL40C

For more information visit www.marshallamps.com

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Not Modelling amps. Not Digital forgeries. Just 100% pure, unadulterated Marshalls. Boasting a bold carbon-fibre-clad look, new digital effects and MG’s critically-acclaimed, analogue tonal heart, the MGCF Series is already the practice amp choice of some of the world’s leading players. And, seven of the Series are programmable…yes you read it correctly: programmable amps with analogue tone & digital FX!

MG CARBON FIBRE SERIES

MG15CFXMS “Microstack”

MG15CFX

MG30CFXMG15CF

MG15CFR

MG10CF

MG2CFX

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MG2CFX 2 Watt, 1 x 6.5″ combo – Battery or mains powered and packed full of programmable features – 10 custom-voiced channels; 2-band EQ; 3 adjustable digital modulation FX options (Chorus, Phaser & Flanger); digital Reverb; digital Delay; and a built-in Tuner. With its shoulder-strap, MP3/Line In and emulated Headphone Output, and you can literally practice anywhere.

MG10CF 10 Watt, 1 x 6.5″ combo – A no-nonsense, no-frills, bedroom & backstage favourite. Clean & Overdrive channels with a Contour control on the OD channel so you can fine tune your tone – from fat & round, to scooped & savage…and anywhere between. It also features an MP3/Line In for jamming along to a track, and an emulated Headphone Output for great sounding, “silent” practice.

MG15CF 15 Watt, 1 x 8″ combo – Clean & Overdrive channels with shared 3-band EQ network for ultimate tonal control. It packs that powerful Marshall punch that knocks out much “bigger” competitors with ease. MP3/Line In and an emulated Headphone Output adds to the ante.

MG15CFR 15 Watt, 1x 8″ combo – Identical to the MG15CF but with a built-in, lush sounding spring Reverb.

SPECIFICATION MG2CFX MG10CF MG15CF MG15CFR MG15CFX MG15CFXMS MG30CFX

MODEL TYPE 1 x 6.5″ 1 x 6.5″ Combo 1 x 8″ Combo 1 x 8″ Combo 1 x 8″ Combo Microstack 1 x 10″ Combo Battery Powered Combo (Head & two 1 x 10″ cabs)POWER (RMS) 2 Watts 10 Watts 15 Watts 15 Watts 15 Watts 15 Watts 30 WattsCHANNELS 10 2 2 2 4 (programmable) 4 (programmable) 4 (programmable)REVERB Digital - - Spring Digital Digital DigitalDIGITAL FX 3 3 3 3 3 3 3

INTERNAL FDD 3 3 3 3 3 3 3

MP3 / LINE IN 3 3 3 3 3 3 3

HEADPHONES OUT 3 3 3 3 3 3 3

MG FOOTCONTROLLER COMPATIBLE - - - - 3 3 3

SPEAKER Custom 6.5″ Custom 6.5″ Custom 8″ Custom 8″ Custom 8″ 2 x Custom 10″ Custom 10″DIMENSIONS (WxHxD in mm) 260 x 263 x 175 295 x 315 x 180 385 x 380 x 210 385 x 380 x 210 385 x 380 x 210 385 x 960 x 240 480 x 420 x 225WEIGHT (kg) 3.1 4.8 7.4 7.4 7.7 18.7 10.8

The MG15CFX is a 15 Watt, 1 x 8″ combo; the MG15CFXMS is a 15 Watt microstack (15 Watt head with two 1x10″ cabinets – one angled, one straight); while the MG30CFX is a 30 Watt, 1 x10″ combo. This trio of 4-channel (Clean, Crunch, OD1 & OD2) amps successfully meld modern digital technology with traditional, tried-and-tested analog tonal circuitry. The result? 100% pure Marshall tone enhanced with Digital FX and memory! The effects you can choose from are Reverb (Studio or Spring) plus one of the following easily adjustable offerings: Chorus, Phaser,

Flanger, Delay (with Tap Tempo), or Octave (fixed). All three amps also house 3-band EQ, MP3/Line In, emulated Headphone Output and built-in FDD.

Instant Recall – This is where it gets really clever. The amps’ four channels have memory. Here’s how it works: Each of these three amps has two easily selectable operational modes – Preset or Manual. In Manual mode, it will operate like a “regular” amp: namely, what you see on the front panel is what you get. In Preset Mode, however, the game changes

– you select a channel, dial in the tone and FX you want, hit the Store button and “Hey Presto,” those settings will be instantly recalled every time you select that channel…until you decide to change and re-store them. The only setting not remembered is the Master Volume.

Ultimate Foot Control – Even cooler is this – if you get the optional 4-way MG Footcontroller, your possibilities expand even more thanks to our patent-applied for, Stompware™ technology. Read on…

The Perfect Marriage: Analogue Tone + Digital Programmability, Memory & FX.

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Speaker Damping – A big reason valve amps “feel” so good is the way the power-amp interacts with speakers – allowing them to behave (move) differently depending on the frequency being played. Most solid state power-amps don’t do this and so feel “stiff” to the player. All MG power amps successfully emulate this desirable behaviour, utilising our Frequency Dependant Damping (FDD).

For more information visit www.marshallamps.com

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jack; and an emulated Headphone Output that doubles as a Line Out jack. A two-way, channel switching footpedal comes supplied and all four are compatible with the optional MG Footcontroller.

Don’t just take our word on how good the latest MGs are, take Zakk Wylde’s: “Not only do they contain the classic, warm, unique tone that makes Marshall the greatest amp ever made, the built-in effects & Reverb sound amazing. Another killer addition to the Marshall arsenal of doom.”

SPECIFICATION MG50CFX MG101CFX MG102CFX MG100HCFX

MODEL TYPE 1 x 12″ Combo 1 x 12″ Combo 2 x 12″ Combo HeadPOWER (RMS) 50 Watts 100 Watts 100 Watts 100 WattsPROGRAMMABLE CHANNELS 4 4 4 4PROGRAMMABLE DIGITAL REVERB (2) 3 3 3 3

PROGRAMMABLE DIGITAL MOD (4) & OCTAVE 3 3 3 3

PROGRAMMABLE DIGITAL DELAY (4) 3 3 3 3

SWITCHABLE / PROGRAMMABLE DAMPING 3 3 3 3

BUILT-IN FDD 3 3 3 3

MP3 / LINE IN 3 3 3 3

EMULATED LINE OUT / HEADPHONES OUT 3 3 3 3

MG FOOTCONTROLLER COMPATIBLE 3 3 3 3

FX LOOP 3 3 3 3

SPEAKERS Custom 12″ Custom 12″ 2 x Custom 12″ -DIMENSIONS (WxHxD in mm) 520 x 505 x 280 595 x 540 x 280 675 x 505 x 280 595 x 255 x 280WEIGHT (kg) 16.6 20 22.4 11.4

Completing the comprehensive range of flexible, Carbon Fibre clad, MG tone-machines are a 50-Watt combo and a trio of 100-Watters – two combos and a head. All four are purpose built to play on stage and are armed-and-ready for any live situation – from pubs and clubs to theatres and, yes, even stadiums and arenas, where they’ve been used. That’s the MG difference right there, and why the family has been so respected for well over a decade…they’ve even graced Platinum selling CDs. From bedroom, to backstage, to onstage and top recording studios, MG covers all bases.

MG CARBON FIBRE SERIES continued

MG102CFX

MG50CFX

MG101CFX

MG100HCFXMG412ACF

Incorporating Marshall’s patent-pending StompwareTM technology, developed from the award-winning JVM Series, the MG Footcontroller makes using the MGCFX amps (with the exception of the MG2FX) simplicity itself. The MG Footcontroller is totally programmable and any one of its 4 switches can be assigned to a front panel switch (Switch Store) or programmed to recall complete presets (Preset Store). It can also be used as a tuner. An easy to read LED panel lets you know exactly what’s going on with regards channel and switch selection, so looking over your shoulder at the amp is unnecessary. To add to its guitarist-friendly nature, it is connected to the amp via a regular guitar cable.

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The Big Four – The quartet of high-powered MGCFs under scrutiny here are as follows: the MG50CFX 50 Watt, 1x12″ combo; the MG101CFX 100 Watt, 1x12″ combo; the MG102CFX 100 Watt 2x12″ combo; and the MG100HCFX 100-Watt head. The MG100HCFX head can be used with any suitable wattage cab in the Marshall range, but is perfect when partnered as either a half or full-stack with the Celestion-loaded, 120 Watt, 8 Ohm, MG412ACF (angled-front) and MG412BCF (straight-front) 4x12″ cabinets.

The big four of the MGCF range boast four programmable channels – Clean, Crunch, OD-1 and OD-2 – which switch instantly and seamlessly. In addition to being armed with stage-ready firepower, their digital FX arsenal has also been upgraded so three simultaneous, programmable effects are now possible as a separate Delay section’s been added. In addition to having Tap Tempo it offers four delay type choices – Hi-Fi, Tape, Multi or Reverse. And, as Delay is now separate, an extra effect, Vibe has been added to the FX menu. A Damping switch (classic or modern) has also been included.

The three simultaneous, programmable digital effects are Reverb (Studio or Spring), Delay and either Chorus, Phaser, Flanger, Vibe or Octave. Furthermore, with the exception of Octave which is fixed (original note(s) plus an octave lower), Reverb, Delay, Chorus, Phaser, Flange and Vibe are all adjustable. This is the perfect marriage of modern digital technology with critically-acclaimed, tried-and-tested analogue tone circuitry – 100% pure Marshall tones enhanced with Digital FX and memory!

All four house an FX Loop; MP3/Line Out

CAB SPECIFICATION MG412ACF MG412BCF

SPEAKER CONFIGURATION 4 x 12″ 4 x 12″POWER HANDLING 120 Watts 120 WattsFRONT Angle StraightIMPEDANCE Mono 8Ω Mono 8ΩSPEAKERS Celestion G12-412MG Celestion G12-412MGDIMENSIONS (WxHxD in mm) 695 x 675 x 390 695 x 675 x 390WEIGHT (kg) 24 24

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Front-panel controls and switches are identical on the MG50CFX, MG101CFX and MG102CFX combos.

For more information visit www.marshallamps.com

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Our current, British-built, professional, all-valve flagship, the JVM family of amps has been hailed as “the most comprehensive and versatile Marshall to date,” with one UK review raving “in a market sector with more than its fair share of indifferent, run-of-the-mill black boxes, Marshall has just unleashed a powerhouse of tones that could easily compete with boutique designs costing two or three times as much.”

JVM4 SERIES

The British built, all-valve JVM4 redefines versatility thanks to its 4 totally independent channels (Clean, Crunch, OD1 & OD2, each with 3 switchable Modes) and a host of other features including switchable, studio-quality, digital Reverb with individual channel controls; 2 switchable Master Volumes; 2 FX loops (one switchable); Emulated Line Out; MIDI switching; and its own revolutionary, programmable, 6-way footswitch. Despite having a mind-boggling 28 front-panel controls and 8 switches, it’s remarkably simple

to use due to its incredibly logical layout. Furthermore, each of its 12 Modes has built-in switch memory, meaning they recall the most recent Reverb, FX Loop and Master switch settings.In terms of the amp’s vast tonal palette, we’ll let a Guitar World reviewer explain: “the all-tube JVM410 houses a virtual encyclopedia of Marshall’s finest stock and modified rock tones, including stout ‘Plexi’ power, stock JCM800 crunch and modified JCM800 high-gain insanity. It’s the ultimate rocker’s Marshall and may be the most significant Marshall amp since the JCM800.” As for the

extreme overdrive capabilities of the OD1 and OD2 channels? The same writer penned the following: “two channels of the most heinous high-gain profanity imaginable.”A LED in each channel’s Mode switch indicates channel selection. Furthermore, it will glow Green, Orange or Red, dependent on which Mode has been recalled/selected. The Channel/Mode is reflected by a line of indicator LEDs on the supplied footswitch. The Clean channel achieves its critically applauded pristine cleans and vintage, bluesy overdrives via pre-gain tone stack – meaning the tonal shaping is done before the channel’s

Overview

Both the JVM410H and JVM410C come supplied with a fully programmable, 6-way footswitch which is connected to the amp with a standard, ¼” guitar cable. Its revolutionary, patent-pending technology allows you to program each of the 6 footswitches to do one of the following:

1. Switch Store. Operate one of the amp’s 7 front panel switches: either Clean Channel Selection/Mode; Crunch Channel Selection/Mode; OD1 Channel Selection/Mode; OD2 Channel Selection/Mode; Reverb (on/off); Master Volume (1 or 2) or FX Loop (on/off).

2. Preset Store. Recall any pre-selected and stored, front-panel switch combination – namely Channel & Mode, Reverb (on/off), Master (1 or 2) and FX Loop (on/off).

To ensure you know where you are at all times, a row of 7 multi-coloured LEDs on the footswitch reflects the amp’s current Channel/Mode and switch setting at a glance – no need to look over your shoulder on stage anymore!

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main gain stage, as opposed to after it as is the case with most Marshall’s and also the JVM4’s Crunch, OD1 and OD2 channels.The JVM410C 2x12″ combo houses two different Celestion speakers – a Vintage 30 and a Heritage. Why? To get the proverbial “best of both worlds.” This unique tonal pairing is mirrored in the optional JVMC212 2x12″ extension cabinet.The JVM4’s MIDI IN and MIDI THRU connections make either amp easy to integrate into a MIDI switching set-up, meaning that the JVM’s possibilities are endless.

JVM410C

JVM410H1960A1960B

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SPECIFICATION JVM410H JVM410C

MODEL TYPE Head 2 x 12″ ComboPOWER (RMS) 100 Watts 100 WattsALL-VALVE 3 3

PRE-AMP VALVES 4 x ECC83 4 x ECC83POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 4 x EL34CHANNELS / MODES PER CHANNEL 4 / 3 4 / 33 BAND EQ PER CHANNEL 3 3

REVERB PER CHANNEL 3 3

2 SWITCHABLE MASTER VOLUMES 3 3

MASTER PRESENCE & RESONANCE 3 3

MIDI SWITCHABLE & EMULATED LINE OUT 3 3

2 FX LOOPS (ONE SERIES/PARALLEL SWITCHABLE) 3 3

FOOTCONTROLLER PEDL-00044 PEDL-00044SPEAKER(s) - Celestion: 1 x Vintage, 1 x HeritageDIMENSIONS (WxHxD in mm) 750 x 310 x 215 690 x 510 x 265WEIGHT (kg) 22 34.5

For more information visit www.marshallamps.com

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JVM205H

Designed to complement the versatility, tone and power of the 4 channel JVM410H and JVM410C, this quartet of 2 channel additions broaden the range without compromising the incredible flexibility and vast sonic spectrum that made its bigger brothers a universal success story. A truth reflected by the conclusion of Guitar Buyer magazine’s review. “With the JVM2, Marshall has done an excellent job striking the right balance between flexible features and user-friendliness, and the result is a truly versatile amp that’s practically idiot proof.”

JVM2 SERIES

JVM205H1960A

JVM215C

JVM210C

JVM205C

JVM210H1960A1960B

In addition to offering a slightly more straightforward, 2-channel option to the 4-channel JVM4s, the JVM2 Series also caters to players who prefer the sound and feel delivered by a 50-Watt, valve powerstage. To this end, the JVM210H head and JVM210C 2x12″ combo are 100-Watters, while the JVM205H head, JVM205C 2x12″ and JVM215C 1x12″ combos pack 50-Watts of power.The result is the most comprehensive range of all-valve amplifiers in our illustrious 50 year history. Equipped with the same groundbreaking

technology as the JVM4 range, the JVM2 Series comes loaded with an impressive array of features. Its twin Channels – Clean/Crunch and OD – are totally independent and both have 3 switchable Modes, taking you from “Plexi”/JTM45 clean through JCM800 to high-gain modern metal and shred nirvana, plus all-points in-between. Add to that studio-quality, digital Reverb (with separate level controls for both channels); 2 switchable Master Volumes; Master Resonance and Presence controls; 2 FX Loops (one Series/Parallel and switchable); Emulated Line Out; the supplied, programmable JVM2 Footcontroller; and MIDI. As a result, to quote a JVM205C

review in the UK’s much respected Guitarist magazine: “On the features front, the JVM has practically everything most guitar players could ask for, and then some…. a ferociously versatile tone machine that doesn’t force you to understand a lot of technical stuff in order to use it. This and the sheer quality of the sounds it produces are two very good reasons for getting one.”The compact JVM215C 1x12″ 50-Watt combo rounds the JVM2 Series out. We leave the last word to Guitarist: “If you want a great all-round amp for a good price then the JVM is going to be very, very hard to beat.”

Overview

As with the JVM4’s 6-way version, this fully programmable, 4-button unit not only connects via a standard guitar lead, it also works in two ways – Switch Store mode or Preset Store mode. Essentially, this enables the user to either control individual front-panel switches (Channel/ Mode, Reverb, FX Loop & Master) when needed or recall a pre-programmed set of JVM front panel switch combinations (eg: OD1 Channel in Orange Mode with Reverb off, Master Volume 2 selected and FX Loop on) with a single foot-stomp. The 5 multi-coloured LEDs housed in the JVM2 Footcontroller indicate the status of each channel and switch – a user-friendly plus whether practicing in your bedroom, rehearsing or rocking out to the masses on a dimly lit stage.J

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SPECIFICATION JVM210H JVM205H JVM210C JVM205C JVM215C

MODEL TYPE Head Head 2 x 12″ Combo 2 x 12″ Combo 1 x 12″ ComboPOWER (RMS) 100 Watts 50 Watts 100 Watts 50 Watts 50 WattsALL-VALVE 3 3 3 3 3

PRE-AMP VALVES 4 x ECC83 4 x ECC83 4 x ECC83 4 x ECC83 4 x ECC83POWER 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 EL34CHANNELS / MODES PER CHANNEL 2 / 3 2 / 3 2 / 3 2 / 3 2 / 33 BAND EQ PER CHANNEL 3 3 3 3 3

REVERB PER CHANNEL 3 3 3 3 3

2 SWITCHABLE MASTER VOLUMES 3 3 3 3 3

MASTER PRESENCE & RESONANCE 3 3 3 3 3

MIDI SWITCHABLE & EMULATED LINE OUT 3 3 3 3 3

2 FX LOOPS (ONE SERIES/PARALLEL SWITCHABLE) 3 3 3 3 3

FOOTCONTROLLER PEDL-00045 PEDL-00045 PEDL-00045 PEDL-00045 PEDL-00045SPEAKER(s) - - 1 x Vintage, 1 x Heritage 1 x Vintage, 1 x Heritage 1 x G12BDIMENSIONS (WxHxD in 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 265WEIGHT (kg) 22 17.5 34.5 29.5 26.5

For more information visit www.marshallamps.com

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Winner of the “Best Amp Head” Category in Guitar Player magazine’s prestigious GP Readers’ Choice Awards in2008, the all-valve Vintage Modern Series has also won the hearts of a plethora of professional players due to itsdynamic, touch sensitivity and hot-rodded, vintage vibe…

VINTAGE MODERN SERIES

2466425A425B

2266C

2266425A

The name Vintage Modern says it all really – 100% genuine, old-school, all-valve Marshall tone married with contemporary features and, of course, increased gain availability. In keeping with its traditional foundation, theVintage Modern is a single channel, Master Volume amp with KT66 power valves. Its contemporary upgrades include the following:

• Two “frequency selective” Pre-amp Volume (Gain) controls – Body and Detail

• Footswitchable Low (Vintage) and High (Modern) “Dynamic Ranges”• Mid Boost switch for extra tone thickening• Studio-quality, digital plate Reverb (footswitchable)• Series FX Loop with True Bypass

This Vintage Modern Series consists of three amps and two 4x12″ cabinets. The trio of amps are the 2466 100-Watt head; the 2266 50-Watt head and the 2266C 50-Watt 2x12″ combo. The two 4x12″ cabinets, the angled 425A and straight 425B, are both loaded with

Celestion G12C Celestion Greenbacks – 25 Watt 12″ speakers specifically designed for the Limited Edition Jimi Hendrix Super 100JH stack. They’re voiced for that rich, balanced harmonic timbre that compliments vintage tones perfectly.

We’ll leave the last word on this Series to Guitarist magazine who said the following: “Bullet-proof build quality, classic Marshall tone by the bucketload…it recalls the company’s illustrious past and the players that made Marshall such an institution. You have to hear it.”

Overview SPECIFICATION 2466 2266 2266C

MODEL TYPE Head Head 2 x 12″ ComboPOWER (RMS) 100 Watts 50 Watts 50 WattsPRE-AMP VALVES 3 x ECC83 3 x ECC83 3 x ECC83POWER AMP VALVES 1 x ECC83, 4 x KT66 1 x ECC83, 2 x KT66 1 x ECC83, 2 x KT66CHANNELS 1 1 1MASTER VOLUME 3 3 3

TWIN PRE-AMP CONTROLS (BODY & DETAIL) 3 3 3

FOOTSWITCHABLE DYNAMIC RANGES LOW & HIGH LOW & HIGH LOW & HIGHMID BOOST 3 3 3

3 BAND EQ & PRESENCE 3 3 3

TRUE BYPASS SERIES FX LOOP 3 3 3

FOOTSWITCHABLE DIGITAL PLATE REVERB 3 3 3

SUPPLIED FOOTSWITCH PEDL-00041 PEDL-00041 PEDL-00041SPEAKER(s) - - 2 x Celestion G12CDIMENSIONS (WxHxD in mm) 750 x 310 x 230 750 x 310 x 230 690 x 570 x 270WEIGHT (kg) 22.5 18 30

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For more information visit www.marshallamps.com

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JUDGE US BY THE COMPANY WE KEEPSlash, Zakk Wylde, Jimi Hendrix (RIP), Kerry King, Randy Rhoads (RIP), Lemmy, Yngwie J. Malmsteen & Joe Satriani…it’s a veritable who’s who list of rock royalty. “I’m very pleased and proud to have their signatures next to mine,” Jim Marshall states. “They’re all fantastic players who are wonderful Marshall Ambassadors and have had a profound impact on rock guitar.”

SIGNATURE HEAD WALL OF FAMEBottom Row (from left to right): Slash Signature 2555SL (1996); Zakk Wylde Signature 2203ZW (2002); Jimi Hendrix Tribute 1959JH (2006)2nd Row (from left to right): Kerry King Signature 2203KK (2007); Randy Rhoads Tribute 1959RR (2008); Lemmy Signature 1992LEM (2008)3rd Row (from left to right): Slash Signature AFD100 (2010); Yngwie J. Malmsteen Signature YJM100 (2011); Slash Signature AFD100SCE (2011)Top Row (from left to right): Joe Satriani Signature JVM410HJSB (2012) & JSH410HJS (2012)

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Built in our British factory with pride, this all-valve pair of portable, 5 Watt fire-breathers have caused critics to wax lyrical. “Classic Marshall tone in a quality, five watt, all-valve package. Very hard not to love” is how UK’s Guitarist magazine poured on the praise…

CLASS5 SERIES

SPECIFICATION C5H C5-01

MODEL TYPE Head 1 x 10″ ComboPOWER (RMS) 5 Watts 5 WattsPRE-AMP VALVES 2 x ECC83 2 x ECC83POWER AMP VALVES 1 x EL84 1 x EL84CLASS A DESIGN 3 3

CHANNELS 1 13 BAND EQ 3 3

LOW POWER MODE No 3

HEADPHONES OUT 3 3

EXTENSION CAB OUT 8Ω &16Ω 16ΩSPEAKER(s) - Celestion G10F-15DIMENSIONS (mm) 496 x 200 x 210 502 x 390 x 230WEIGHT (kg) 6.75 12

The all-valve, Class5 1x10″ combo was an instant, best-seller thanks to its tone, mini-Bluesbreaker looks, portability and price. A remarkably simple, 1 channel amp, the C5-01 combo’s 5 Watts of pure Class A, EL84 driven power make it the perfect home practice and recording partner.

The Class5’s simplicity and pure-valve signal path offer up a wealth of touch responsive, harmonically rich and full-bodied clean, crunch and lead tones. A custom designed 10″

Celestion G10F-15 speaker helps the C5-01 dish out an impressive low-end “thump” for such a diminutive amp, while retaining tonal clarity and definition.

Because it’s an all-valve Marshall, even though it’s “only a 5 Watt amp,” the C5-01 is surprisingly loud when cranked. For this reason it comes armed with a Low Power Mode switch on its back panel to prevent the long-suffering folk next-door from calling the police! As Guitarist’s reviewer warned, “The Class5 is rudely loud – enough to upset your neighbours to legal action levels and then

some.” A headphone output also facilitates “silent” practice.

The C5H head packs the exact same all-valve heart and tonal soul in a compact, retro-style head. It’s 1x10″ partner in crime, the C110 cab, boasts the C5 combo’s look and also the same, custom-built 10″ Celestion speaker.Each and every Class5 combo, head and C110 cabinet is meticulously hand-built by our highly skilled factory staff. All units are also painstakingly tested before leaving Marshall HQ in the heart of the UK.

Overview

C5-01

C5H

C110

For more information visit www.marshallamps.com

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From 1962 to late 1966, all Marshall cabinets were built using butt-joints – meaning that the pieces of wood that make up the four sides (Left, Right, Top & Bottom) of the cabinet were literally “butted” up against each other and glued. From late 1966 to the current day, all Marshall cabinets (including combo and head boxes) employ fingerlocked joints (a.k.a. comb joints) on every corner/edge. As well as literally “fingerlocking” the two pieces of wood firmly together, this type of joint also greatly increases the surface area being glued, maximising adhesion and strength.“I bought the machine when we

EXTENSION CABINETS – BUILD

MARSHALL 4x12″ CONSTRUCTION

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moved the factory to Bletchley,” Jim recalls. “I did so purely for road worthiness and it’s worked out well over all these years. Our 4x12″ cabinets get knocked about like mad you see, and yet the joints are still OK.” In fact, if truth be told, thanks to the fingerlocking, the resulting joints are actually stronger than the actual wood being used.

Wood used: “knotless” Russian birch ply. 15mm thick with 11 plys.

The Process (in order, in brief!)• The four cabinet sides (Left, Right, Top and Bottom) are cut and then comb joints are cut (1) in to them by a machine known as “the Hauncher” on the Marshall shop floor.

• Every piece is checked by hand before proceeding (2).

• Glue put in comb joints (3), the four sides are assembled and then put in an RF (Radio Frequency) “carcass press” (4) – this applies pressure, keeps the box square and also acts as a primitive microwave oven, heating up the glue which helps it set.

• Next stop is the batoning bench where the wooden batons for fixing the speaker baffle and back panel are added. The baffle boards that will hold the speakers are also crafted at this stage(5).

• Carcass’s are stacked (6) ready for the “Spindle process” where 22 mm radius is added to corners and edges.

• Final sanding by hand (7).

• Put onto overhead conveyor belt and into a large oven, at approx 65 degrees centigrade (8). This residual heat ensures that the water based glue for the vinyl is tacky when applied (via spraying)…”tackiness” being essential for covering process.

• Covered by hand! (9)

Note: until 1984, Jim himself would often work in the covering section – which is why countless cabinets house his signature inside. “I insist that the lads sign their work because they should be proud of it,” the Guv’ states.

• Placed on racks ready for the finishing stage (10)

• Meanwhile, the baffle board is covered with

durable grille cloth (11) and the iconic script logo is added (12).

• Corners put on.

• Speaker baffle added, speakers fixed to baffle with T-nuts, then wired up (13).

• 2″ x 2″ center post fixed to center of baffle

• Speaker wired to input jack-plate.Back screwed onto cabinet, with a central

screw fixing it to the center post to stop unwanted vibration.

• Handles, skid trays (on top of angled cabinets) or castor cups (on top of straight cabinets) added, then on to the conveyer belt (14) to Final Testing & Inspection.

• Boxed with castors (in a separate carton) and a speaker cable added.

• Shipped to all four corners of the globe!

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Marshall makes a multitude of extension cabinets of all shapes and sizes. The most famous and popular are our angled (A) and straight/base (B) 4x12″ offerings…

Weighing in at about 80lbs, the Marshall 1960A is the undefeated “World Heavyweight Champion” of 4x12″ cabinets in terms of appearance, popularity and sales. Let’s take a look at the anatomy of the best selling, angled 4x12″ cab that’s acknowledged and accepted globally as “the industry” standard.

ANATOMY OF A MARSHALL 4x12″ CABINET

1 Rear Connection Plate x12 Back Board x13 Speaker Wire x44 Celestion G12T-75 Speakers x45 Baffle Board x16 Grille Cloth x17 Side Handles x28 Hand Built Birch Ply Cab x19 Protective Corners x810 Skid Trays x211 White Piping x112 Castors x413 1960 Plaque x114 Marshall Logo x1

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In September 1962, Jim Marshall, together with his service engineer/right-hand man, Ken Bran, and assistant, Dudley Craven, built the first ever Marshall amp, the JTM45 (Note: JTM is an acronym for Jim & Terry Marshall – Terry being Jim’s son), This game-changing, all-valve head produced 30-Watts of clean power (i.e. before clipping/distorting) but was capable of kicking out a good 45-Watts or more when cranked to the max.

Necessity is the Mother of Invention“We were trying out 2 x 12″ cabinets with the prototype but they just didn’t give us the sound or projection we were really looking for,” Jim recalls. “Plus we were blowing speakers* left and right because they just weren’t capable of handling the amp’s output when it was turned all the way up. So I asked myself, ‘What can I do?’ Then it came to me. ‘Hold on for a second,’ I thought. Four 12″

speakers would probably do it – they’d be able to handle the power of the amp and could well give me the sound and projection I was after.”

*Note: the speakers being used were rated at 15-Watts and were the only ones available at the time.

“I made the first 4x12″ cabinet in my garage workshop,” Jim continues. “There was nothing particularly brilliant about its design. I merely made it as small as I possibly could because of the transport the groups had in those days – that’s why it’s so compact.”

HAIL ME A CAB!PART I: THE LEGENDARY 4x12″ FAMILY

Putting a Slant on Things – And so the world’s first 4x12″ cabinet was born, but Jim wasn’t done designing yet. “The first one I built was straight fronted and when I put the JTM45 head on top of it I thought “That looks terrible! It just looks like a small box sitting on top of a bigger one – which is essentially all it was. Because of this I came up with the idea of putting an angle on the top-half of the cabinet’s front. I did this so the top of the 4x12″ matched the dimensions of the head a little better and the two looked like they were made to go together. I wanted the package to look more designed. I wanted it to look neater

and it did. We were really proud when we were finished.”

In addition to looking “neater,” as it turns out the angle Jim added to his 4x12″ cabinet also had a sonic benefit ... Due to the angle that Jim found aesthetically pleasing, the top half of the cabinet’s baffle had to be angled too. As a result, the top two speakers were now pointing slightly upwards as opposed to being horizontal. “The design was purely cosmetic,” Jim grins. “I didn’t even consider what the angle did to the sound at the time.” In fact, Jim is not ashamed to admit that the only reason

he realised what was going on sonically was when an artist put him on the spot. Read on…

“One of the big groups back then was Brian Poole and the Tremoloes and as they were using Marshalls they got me to go out on one or two gigs with them,” Jim recounts. “At the first sound check, Ricky, the lead guitarist, asked me, ‘What’s the idea of the angle on top of the cabinet front, Jim?’ I didn’t want to tell him that it was just there because I liked the way it looked so I said, ‘Well Rick, a straight fronted cabinet just blows the sound straight into the front of the crowd. But,

• 300 Watts (RMS)• Celestion G12T-75• Mono/Stereo• 16/4 Ohm (mono)• 8 Ohm (stereo)• 760 x 830 x 365• 36.4kg – 37kg• Made in England

1960A/B

• 280 Watts (RMS)• Celestion G12 Vintage• Mono/Stereo• 16/4 Ohm (mono)• 8 Ohm (stereo)• 760 x 830 x 365• 40.6kg – 41.4kg• Made in England

1960AV/BV

• 100 Watts (RMS)• Celestion G12M-25• Mono• 16 Ohm• 760 x 830 x 365• 37.7kg – 38.2kg• Made in England

1960AX/BX

• 120 Watts (RMS)• Celestion G12H-30• Mono• 16 Ohm• 760 x 830 x 365• 36.4kg – 37kg• Made in England

1960AHW/BHW

• 100 Watts (RMS)• Celestion G12M-25• Mono• 16 Ohm• 770 x 820 x 365• 39kg• Made in England

1960TV

• 280 Watts (RMS)• Celestion G12V-30• Mono/Stereo• 16/4 Ohm (mono)• 8 Ohm (stereo)• 770 x 755 x 365• 43 – 44kg• Made in England

1960DMA/B

THE BIRTH OF THE 4x12″& THE LEGENDARY MARSHALL STACK

• 100 Watts (RMS)• Celestion G12C• Mono/Stereo• 16/4 Ohm (mono)• 8 Ohm (stereo)• 770 x 755 x 365• 36 – 37kg• Made in England

425A/B

• 300 Watts (RMS)• 12AX75 (75 Watt)• Mono• 16 Ohm• 770 x 755 x 365• 36.3 – 36.7kg• Made Offshore

M412A/B

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thanks to the angle on top you can hear it at the back of the audience as well because the top two speakers are angled slightly upwards.’ And blow me down if I wasn’t telling the truth! I went to the back of the hall when the band was playing and sure enough, even though the place was packed with people, you could hear Ricky’s guitar as clear as a bell – the angle was working! I just shook my head and thought, ‘What a fool I am!’ It’s actually a pretty clever design in terms of what it does to the sound and I never even realised it!”

The only Rock Icon who hasn’t aged a bit: the Marshall Stack – The year was 1965. The Who were playing bigger and bigger venues and guitarist, Pete Townshend, needed a louder amp…

“Pete came into my shop and said ‘I need a more powerful set-up. I want 100-Watt amps and 8x12″ cabinets.” Jim recalls. “I replied, ‘No problem. I’ll make a 4x12″ with a straight front and then put an angled one on top.’ He shook his head and said, ‘No, I don’t want that, Jim. I want all eight in one cabinet!’ I told him it was going to be too heavy and that his

roadies were going to complain like mad. His reply was, ‘Never mind them, they get paid’ and off he went!”

“We built him a few and sure enough, a couple of weeks later he came back and said, ‘you were absolutely right Jim, they are way too heavy, my roadies are furious!’ He wanted me to just cut the 8x12″s in half but that wasn’t possible because of they way they were made – we weren’t using fingerlocked joints in those early days as the cabs were butt jointed. So I told him, ‘Look Pete, I can’t do that because the whole thing will fall apart if I do! Just leave

it with me and I’ll get it sorted out.’ So I ended up doing what I wanted to do in the first place – a straight fronted cab with an angled one sitting on top.”

And thus the Marshall stack was born and has become synonymous with rock. “Really, the stack was a combination of design ideas from Pete and myself,” Jim concludes. “I don’t mind admitting that we initially built the stack with looks very much in mind, because a wall of them does make a fantastic backdrop on any stage.”

“We build several hundred cabinets a week and we’ve been doing that for many years,” Jim concludes. “That’s an awful lot of 4x12″s – heaven above knows where they’re all going! One of these days I’m going to have to work out exactly how many we’ve made – I’d love to know how far they’d go around the world if they were put side-by-side!”

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• 150 Watts (RMS)• Celestion G12B-150• 1 x 12″• Mono• 8 Ohm• 510 x 465 x 290• 14.6kg• Made in England

1912

• 150 Watts (RMS)• Celestion G12T-75• 2 x 12″• Mono/Stereo• 8 Ohm (mono)• 16 Ohm (stereo)• 675 x 515 x 260• 19kg• Made in England

1922

• 150 Watts (RMS)• Celestion G12T-75• 2 x 12″• Mono/Stereo• 8 Ohm (mono)• 16 Ohm (stereo)• 740 x 600 x 305• 24.6kg• Made in England

1936

• 140 Watts (RMS)• Celestion G12 Vintage• 2 x 12″• Mono/Stereo• 8 Ohm (mono)• 16 Ohm (stereo)• 740 x 600 x 305• 24.6kg• Made in England

1936V

• 150 Watts (RMS)• Celestion Vintage & Heritage• 2 x 12″• Mono• 16 Ohm• 690 x 490 x 265 • 24kg• Made in England

JVMC212

• 15 Watts (RMS)• Celestion G10F-15• 1 x 10″• Mono• 16 Ohm• 496 x 390 x 230• 8.8kg• Made in England

C110

• 60 Watts (RMS)• Celestion G12H-30• 2 x 12″• Mono• 8 Ohm• 650 x 665 x 305• 24kg• Made in England

2061CX

• 20 Watts (RMS)• Celestion G12M-20• 1 x 12″• Mono• 8 Ohm• 610 x 535 x 230• 14kg• Made in England

1974CX

HAIL ME A CAB!PART II: OTHER EXTENSION CABSIn addition to our comprehensive 4x12″ range, we also offer 1x10″, 1x12″ and 2x12″ extension cabs.

HAIL ME A CAB!PART III: SPEAKERS’ CORNERIn the world of British-built Marshall 4x12″ cabinets, our consistent, rock-solid construction aside, the two biggest sonic altering ingredients are firstly: the type of speakers used; and secondly, and perhaps less obviously, whether or not the cabinet’s front is angled (A) or straight (B). The following should help clarify the sonic differences between our seven best-selling UK made cabs – the 1960A and 1960B, the 1960AV and 1960BV, the 1960AX and 1960BX plus the 1960TV.

LISTENING FROM A DIFFERENT ANGLE: The sonic difference between Marshall angled and straight 4x12” cabsThe world’s best selling 4x12″ cabinet, the 1960A has an angled front – a feature which not only has an aesthetic impact but also a sonic one. As the now famous “angled cabinet creation” story tells us (page 37 & 38), to achieve the angle Jim felt looked the best, it became necessary to actually angle the upper half of the cabinet’s baffle (the vertical piece of wood at the front of the cabinet, just behind the grille cloth, on which the speakers are mounted). Because of this, the top two speakers face slightly upwards and, as a result, the A cabinet disperses sound upwards as well as forwards.When an A cabinet is used in a halfstack set-up (namely – one head and one cabinet), it’s top half acts as a monitor of sorts as the top two speakers direct the sound upwards, towards the users head and ears. This is obviously great for gigs on a very small, shallow stage where there are minimal monitors, or none. The result is not only greater sound dispersal but also a perception of more highs due to the upward throw.

In the case of a 1960B straight cabinet (B standing for ‘base’ or ‘bottom’), all 4 speakers are facing the exact same way so the resulting sound is more focused and, therefore, tends to have more low end “punch” and “tightness” due to less dispersion. In addition to this, another thing that has a small but perceivable effect on the low end “knock” of a B cabinet is the simple fact that it because it’s enclosure is slightly bigger than a A cabinet, it’s resonant frequency is slightly lower. For these reasons, and because the sound of a B doesn’t literally hit you in the head but “stays low,” a lot of professional players prefer to use them – especially at high volumes.

SONIC OVERVIEW OF THE SEVEN BEST SELLING MARSHALL 1960 4x12″ CABINETS

1960A & 1960B: Loaded with Celestion 12″ G12T-75 75 Watt speakersThe 1960A produces a loud, well-focused and uncluttered sound with a tight, full low end and a crisp, bright top. It projects well across the guitar’s entire tonal range and its clarity makes it ideal for players who like using a fair amount of effects such as reverb, chorus or delay as it doesn’t “mask” or “muddy-up” such FX. Its all-around versatility and relatively “uncolored” nature makes the 1960A the best-selling angled 4x12″ of all time. The 1960B sounds like it has a little less high-end and a little more low-end “punch,” even though the speakers are identical.

1960AV & 1960BV: Loaded with Celestion 12″ ‘Vintage’ 70 Watt speakers The 1960AV and 1960BV have a thicker, warmer sound than the 1960A and B, with a fat, well-defined midrange and a more rounded high end that sparkles nicely while not being overly bright. It also has a good low end “chunk” which never gets “boomy.” Some have called the Vintage’s bass kick “tuneful.” The 1960BV is a favourite amongst many leading exponents of aggressive heavy metal.

1960AX & 1960BX: Loaded with Celestion 12″ G12M-25 ‘Greenback’ 25 Watt speakersTonally, these fall somewhere between the brightness of the 1960A/B and the warmth of the 1960AV/BV. ‘Greenbacks’ have a very distinctive sound with a fast, snappy response that adds detail and dynamics to both clean and distorted playing. As your amp drives the 1960AX & BX, their lower head room causes the sound to gently break up. It’s this saturation character that provides them with their classic vintage tone and natural musical compression, creating an “easy-to-play” vibe that cuts across genres.

1960TV: Loaded with Celestion 12″ G12M-25 ‘Greenback’ 25 Watt speakersUtilising the same speakers as the 1960AX & BX, but standing 65mm taller than any standard cabinet the 1960TV’s increased physical presence is matched by its reinforced low end. Its vintage fret is not just for cosmetic purposes, its density and tightness help shape the overall sound, taming the upper mids, and serves as a finishing touch to recreating those classic tones.

IMPORTANT NOTE: Due to the fact that an all-valve, 100 Watt Marshall amp will kick out far more than 100 Watts when cranked to the max, we do NOT recommend a 100W head is used with a single 1960AX, 1960BX or 1960TV as a half stack.

For more information visit www.marshallamps.com

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While the late ‘80s and early ‘90s were the true heyday of the refrigerator-sized rack, a great many global touring pros still swear by them – from the Deftones to Def Leppard, Maiden to Megadeth – and at the sonic heart of each one you’ll find a valve-driven, British-built Marshall power-amp pumping harmonically rich tone.

RACK MOUNTABLE POWER AMPS

EL84 20/20 Valve Power Amp – Thanks to its single rack-space compactness, the stereo, 20 Watt + 20 Watt, all-valve EL84 20/20 power amp is perfect for a player who needs a compact system. Its quartet of fan-cooled, EL84 output valves provide harmonic richness, impressive clean headroom and a surprisingly loud punch when cranked.

In addition to controls for Volume and Presence the 20/20 also has a Deep switch for a tight, resonant, low-end boost and Line Level outputs for further flexibility.

EL34 50/50 Dual MonoBloc Amplifier – In the minds of many, Marshall’s EL34-driven valve-power stages have been the “industry standard” for the past five decades. The EL34 50/50, 50 Watt + 50 Watt, 3-rackspace power-amp delivers this classic valve tone in stereo. Just like expensive, hi-fi equivalents, the 50/50 is a Dual MonoBloc amplifier – meaning that each of its 50 Watt, stereo sides is a completely separate mono unit.

Each of its two channels, A & B, has its own individual Gain and Presence controls. Both channels also boast a remotely switchable

“Voice” switch which takes you from “traditional” (Voice A) to “modern” (Voice B). Furthermore, you can mix ‘n’ match these voices by having one each per side if you so desire. Our highly specialised True Differential Inverter circuitry ensures maximum integrity and purity of valve tone is maintained at all times, meaning that those all important and highly desirable valve overdrive and compression effects aren’t compromised in any way. This professional, all-valve unit is designed to withstand arduous world tours and sounds as good as it looks!

EL34 100/100 Dual MonoBloc Amplifier – Identical to the 50/50 except boasting 100 Watt + 100 Watt of 100% pure, unadulterated, EL34 valve-driven, stereo power.

SPECIFICATION EL84-20/20 EL34-50/50 EL34-100/100

MODEL TYPE Rack Rack RackSTEREO 3 3 3

POWER (RMS) 20 Watt + 20 Watt 50 Watt + 50 Watt 100 Watt + 100 WattPOWER AMP VALVES 4 x EL84 4 x EL34 8 x EL34PRE-DRIVER VALVES 1 x ECC82 2 x ECC83 2 x ECC83PHASE INVERTERS 2 x ECC83 2 x ECC81 2 x ECC81VOLUME CONTROL(S) 1 x Stereo 1 per Channel 1 per ChannelPRESENCE 1 x Stereo 1 per Channel 1 per ChannelVOICING OPTIONS Resonace A/B A/BREMOTE VOICE SWITCHING 3 3(per Channel) 3(per Channel)IMPEDANCE SELECTION 3 3 3

LINE LEVEL OUTPUT 3 No NoLINK OUTPUT No 3 3

DIMENSIONS 1U Rack (270mm deep) 3U Rack (330mm deep) 3U Rack (330mm deep)WEIGHT (kg) 5 19 20.5

For more information visit www.marshallamps.com

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The timeless tone of vintage, handwired, all-valve Marshall amplifiers have made them highly desirable to collectors and sonic connoisseurs alike for many years. Due to overwhelming public demand we proudly offer meticulously accurate, handwired re-issues of three of our most sought-after vintage amplifiers and four speaker cabinets in our Handwired Series – A range that celebrates the Company’s rich tonal heritage and revisits the handcrafted traditions and skills that first launched the Marshall legend.

HANDWIRED SERIES – POINT TO POINT PERFECTION

SPECIFICATION 1959HW 2061X 1974X

MODEL TYPE Head Head (small box) 1 x 12″ ComboPOWER (RMS) 100 Watts 20 Watts 18 WattsPRE-AMP VALVES 2 x ECC83 1 x ECC83 2 x ECC83POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL84 1 x ECC83, 2 x EL84VALVE RECTIFIER NO NO 1 x EZ81VALVE TREMOLO NO NO 3

SPEAKERS - - 1 x G12M-20 SpecialDIMENSIONS (WxHxD in mm) 750 x 305 x 210 510 x 225 x 210 610 x 535 x 230WEIGHT (kg) 22 10 19

1959HW 100 Watt ‘Plexi’ Head – To the minds and ears of many, the mythical 100 Watt “Plexi” heads of the late ’60s are considered the “Holy Grail” of great rock tone. The 1959HW transports us back to that celebrated era and the result is a breathtaking, handwired, all-valve re-issue that’s authentic in every detail – from that world-famous front panel to the oversized, custom-built, “drop through” mains transformer that lies at the very heart of the beast. Good looks and impressive specs aside, the 1959HW’s real beauty lurks in its unique and highly responsive tone.

2061X 20 Watt ‘Lead & Bass 20’ Head An authentic, handwired re-issue of the original 20 Watt 2061 head (1968-1973), this compact, twin-channel, all-valve beauty houses 2 x ECC83 valves in its preamp and a pair of cathode-biased EL84s in its power stage. Featuring a solid-state, silicon diode rectifier, it 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 circuit, a mild-steel chassis and Dagnall transformers.

1974X 18 Watt 1x12″ Combo – An authentic re-issue of the fabled 18 Watt 1974 combo of the late sixties (1966-1968). Just like the original, it boasts a point-to-point, handwired, tagboard circuit housed in an aluminium chassis, plus a valve-driven tremolo circuit. At the very heart of its simple, but effective, two channel design are six valves: three ECC83s in the preamp, an EZ81 rectifier and a pair of cathode-biased EL84s in the power stage.

The output and mains transformers are vital components in any amplifier because they

influence performance, sound and feel, so we worked extremely closely with Dagnall in order to duplicate the original, “off-the-shelf” transformers in all areas. Another major factor in the distinctive sound of vintage 1974 combos is the way the original 20 Watt, ceramic magnet, Celestion Greenback T1221 loudspeaker’s tone has softened with age. In order to re-create the gorgeously smooth tones of a 35-year-old vintage Greenback, Celestion not only revisited the 1967 recipe, they also came up with a proprietary way of “ageing” the speakers so they sound and feel like the originals made in the late ’60s.

1959HW1960AHW1960BHW

2061X2061CX

1974X

1960AHW: Hand-soldered, 120 Watt, 16 Ohm, mono, 4x12″ angled cabinet. It boasts metal handles, “100” logo, salt ‘n’ pepper grille cloth and loaded with aged re-issues of the lower resonance (55Hz as opposed to 75Hz) 30 Watt, Celestion G12H30 speaker.

1960BHW: Hand-soldered, straight-fronted partner to the 1960AHW.

2061X: Hand-soldered, compact, 60 Watt, 2x12″ angled cabinet loaded with Celestion’s critically acclaimed G12H30 (75Hz resonance) speaker. Compliments the 2061X head.

1974CX: Hand-soldered, 20 Watt, 1x12″ extension cabinet that complements the 1974X combo. Loaded with the same exact, exclusive “aged” T1221 Greenback speaker found in the 1974X.

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“When it comes to producing handwired amps with extraordinary tone, Marshall hasn’t forgotten how to do it…”

Guitarist magazine, UK

For more information visit www.marshallamps.com

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After five decades of being hailed as “the Sound of Rock” by guitarists all over the globe, it’s hardly surprising that demand for our Vintage Re-issue Series is always high. After all, it’s made up of the amplifiers that not only played a pivotal role in rock’s sonic evolution, but continue to do so to this very day. Just like the GibsonTM Les PaulTM or the FenderTM StratTM, amps such as the ‘Plexi’, the JCM800 2203 and the ‘Bluesbreaker’ remain omnipresent and influential…

VINTAGE RE-ISSUES

1959SLP 100 Watt ‘Plexi’ Head – This is the amp that defines classic rock– the 100 Watt Super Lead head of the late ’60s with the Plexiglas front panel – re-issued in all its glory. To ensure absolute tonal authenticity, we found an amp from said era that epitomised the tone, gave it to our guitar playing R&D experts and they developed a replica so exact that we couldn’t tell them apart. The only modern concession made is the addition of a tonally transparent Series Effects Loop, complete with a True Bypass switch for the purist.

1987X 50 Watt Head – While the 1987X shares the same front and rear panel features as the 1959SLP, it has its own distinctive sonic personality – sweet, warm and singing are the tonal trademarks of this much respected, all-valve head. Great care has been taken to ensure that this re-issue remains as true to the original as humanly possible, including its classic look. Mission accomplished! Once again, the only “modification” is the addition of a switchable Series Effects loop, with that all-important True Bypass switch.

2245 (JTM45) Head – The very first Marshall amp made back in 1962 was the JTM45. It was an instant hit and launched a whole new generation of groundbreaking guitar players and sounds. Since then, tone connoisseurs have searched high and low for originals of this beautiful amp. Now their quest is over, thanks to this meticulously accurate re-issue. By including GZ34 valve rectification, as in the original, we have ensured a faithful recreation of the JTM45’s much sought-after signature-sound. The rectifier interacts with the rest of the valves causing subtle harmonics to shift and smoulder beneath every note you play.

SPECIFICATION 1959SLP 1987X 2245

MODEL TYPE Head Head (small box) Head (small box)POWER (RMS) 100 Watts 50 Watts 30 WattsPRE-AMP VALVES 2 x ECC83 2 x ECC83 2 x ECC83POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 2 x EL34 1 x ECC83, 2 x 5881GZ34 VALVE RECTIFIER No No 3

TRUE BYPASS FX LOOP 3 3 NoDIMENSIONS (WxHxD in mm) 750 x 310 x 215 665 x 265 x 205 665 x 265 x 205WEIGHT (kg) 20.5 15.3 14.6

2245 (JTM45)1960TV

1987X1960AX

1959SLP1960AX1960BX

For more information visit www.marshallamps.com

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JCM800 2203 100 Watt Head – The all-valve 2203 is one of the most highly respected 100 Watt Marshall heads in the company’s long history. Evolving from the legendary ‘Plexi’ head, it was one of our first amplifiers to feature a Master Volume (MV) control. The very essence of simplicity, the 2203 is a one channel, valve amp with no reverb or built-in effects. Its foolproof front-panel and distinctive, punch-in-the-sternum roar immediately set the standard by which all other rock amps were judged. Now by popular demand and continued artist use, it’s back! As with the 1959SLP and 1987X re-issues,

we’ve added a Series Effects Loop with a True Bypass switch that takes the loop completely out of the signal path, thus ensuring the original tone isn’t compromised in any shape or form.JCM900 4100 100 Watt Head – Another players’ favourite, the Hi Gain Dual Reverb 4100, all-valve 100 Watt head is available once again. Known for its tone and tried-and-tested roadworthiness, the 4100 won many fans due to its incredible versatility and feature set. Channel A is voiced for a sparkling clean on lower gain settings, building up to a raunchy crunch when driven hard. Channel

B takes off from where Channel A finishes and is perfect for lead – from silky smooth to a searing scream and all tones between. As well as having separate Gain controls, each Channel has its own Master section containing controls for Master Volume and Master Reverb. A Series Effects Loop with Loop Level control allows you to use either stomp-boxes or rack-effects. Whatever style of rock you play the 4100 provides tonal flexibility without compromise.1962 ‘Bluesbreaker’ 30 Watt 2x12″ Combo – After the huge success of the JTM45 amplifier, a 2x12” combo version was

released to satisfy players’ demands and thus the now legendary 1962 combo was born. As already mentioned on the previous pages, a GZ34 valve rectifier plays a pivotal role in helping to achieve the famed output-stage compression and sustain unique to both the JTM45 and 1962. Though tonally similar to a JTM45 for obvious reasons, the 1962 combo is loaded with two re-issue Celestion ‘Greenback’ 25 Watt speakers to re-create that classic sixties tone. The ‘Bluesbreaker’ combo also comes with the addition of a footswitchable Tremolo effect.

Here we take a look at the following trio of re-issues. The head that dominated the ‘80s – the infamous JCM 800 Series 2203; the head that took the ‘90s by storm – the JCM900 Hi Gain Dual Reverb 4100; plus the 2x12″ combo born in the ‘60s, the legendary model 1962 ‘Bluesbreaker.’

VINTAGE RE-ISSUES continued

SPECIFICATION 2203 4100 1962 ‘Bluesbreaker’

MODEL TYPE Head Head 2 x 12″ ComboPOWER (RMS) 100 Watts 100 Watts 30 WattsPRE-AMP VALVES 2 x ECC83 2 x ECC83 2 x ECC83POWER AMP VALVES 1 x ECC83, 4 x EL34 1 x ECC83, 4 x 5881 1 x ECC83, 2 x 5881GZ34 VALVE RECTIFIER No No 3

CHANNELS 1 2 (footswitchable) 23 BAND EQ 3 3 3

TREMOLO No No 3(footswitchable)SPRING REVERB No 3(footswitchable) NoSERIES FX LOOP 3(w/True bypass) 3 NoSUPPLIED FOOTSWITCH No PEDL-10013 PEDL-10008SPEAKERS - - Celestion ‘Greenback’ (T1221)DIMENSIONS (WxHxD in mm) 750 x 315 x 215 750 x 310 x 210 740 x 610 x 265WEIGHT (kg) 20.5 18.8 30.2

2203 JCM8001960A

4100 JCM9001960A

1962 “Bluesbreaker”

For more information visit www.marshallamps.com

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Given the company’s rich legacy of loud, high-gain stacks, the idea of there being a Marshall Acoustic Series might seem a little odd to some. To a veritable legion of acoustic performers though – from the likes of Corey Taylor (the menacing, masked Slipknot frontman) to French phenomenon, Pierre Bensusan – Marshall’s Acoustic Soloist combos are the only way to go. In fact, pound-for-pound, the AS50D is one of the best selling acoustic amps on the planet…

ACOUSTIC SOLOIST

The AS50D is a 50 Watt combo housing 2x8″custom voiced speakers and a single highfidelity soft polymer dome tweeter as used onthe AS100D, a combination which allows forclear and detailed sound reproduction acrossthe entire range. This compact and highlyportable combo features two channels, eachof which has its own independent volume andtone controls.

A variety of inputs give the AS50D the abilityto handle all-comers: the high impedance

input on Channel 1 is perfect for piezo ormagnetic pickups.

Channel 2 boasts RCA phono inputs plus abalanced phantom powered XLR type input inaddition to its jack input, making it the perfecthost for voice, instrument or even backingtrack. Another useful AS50D feature is aninternal Limiter which allows you to drivethe maximum level from the 50 Watt powerstage, yet remain distortion free. Neat andaffordable, flexible and portable, the AS50D isideal for the acoustic musician who wants anamp which is perfectly suited to intimate gigs.

For the acoustic player who wants it all,we offer the comprehensively featured andpowerful AS100D – a 50 Watt + 50 Watt, 2x8″combo with two high fidelity polymer dometweeters. The AS100D has been speciallycreated for use with a variety of acousticinstruments and now boasts new andimproved speakers conceived by our designexperts in conjunction with Celestion.Between its four channels, this combo hasthe flexibility to handle instruments withpiezo transducers or magnetic pick-ups, plusmicrophones, for both vocal and instrumentreproduction.

For those using two pick-ups via a singlestereo jack, the two main Acoustic Channels(1 and 2) can be linked together via a ‘Link’switch, affording you independent Volume andEQ controls for each pick-up. The other twochannels are a dedicated Microphone (Ch.3)and an Auxiliary (Ch.4), the latter of which hasphono (RCA) stereo inputs specifically for usewith external audio equipment.

The AS100D also houses an internal limiterto ensure you can achieve maximum outputwhile your sound remains distortion free.Even though the AS100D’s 50 Watt + 50 Watt

stereo configuration offers more than enoughpower for many typical acoustic music venues, a stereo pair of balanced XLR DI Outs and Line Outs allow you to connect directly to an external PA system for larger venues.

Compact and portable, the stylish AS100Doffers great flexibility and is the ideal amplifierfor the acoustic player who wants the highestquality performance with absolutely naturaltonal reproduction.

Overview SPECIFICATION AS50D AS100D

MODEL TYPE 2 x 8″ Combo 2 x 8″ ComboPOWER (RMS) 50 Watts 50 Watt + 50 WattCHANNELS 2 4MICROPHONE INPUT 3 Ch. 2 & 3PHASE SWITCH 3 Ch. 2, 3 & 4PHANTOM POWER Ch. 2 Ch. 2 & 3PHONO INPUTS Ch. 2 Ch. 4ANTI-FEEDBACK FILTER 3 Ch. 1 & 2DIGITAL FX Mono Chorus 6 (Stereo)REVERB Mono 10 (Stereo)FX LOOP Mono StereoD.I. OUTPUTS & LINE OUTS Mono Stereo BalancedSPEAKERS 2 x 8″ 2 x 8″ (Celestion)TWEETER 1 x Polymer Dome 2 x Polymer DomeDIMENSIONS (WxHxD in mm) 550 x 415 x 255 605 x 530 x 270WEIGHT (kg) 16 21

AS50D

AS100D

The AS50D contains a high quality digital effects section featuring an adjustable Chorus which is assignable to either or both channels. The studio quality natural sounding digital Reverb and the parallel Effects Loop can be balanced between the two channels.

The AS100D features sixteen built-in, adjustable stereo digital effects (including 10 Reverbs, Delay, Chorus and more) which add an entirely new dimension to the already wide range of sounds this professional combo has to offer. Additionally, there is also a stereo Parallel Effects Loop, complete with Level Control, on the rear panel.

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One of the most difficult aspects of amplifying certain acoustic instruments is feedback. Therefore, the AS50D anti-feedback controls include a Phase switch and a frequency controllable Notch Filter. The AS100D also features several anti-feedback controls. These include an individual Phase switch on channels 1, 2 & 3 plus two frequency controllable Notch Filters with selectable extra depth for channels 1 & 2.

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For more information visit www.marshallamps.com

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Digital guitar amps aren’t a new thing – modelling offerings have been around for the best part of a decade and are now ten-a-penny. While such units have earned huge popularity at the low end of the price spectrum, seeing one as part of a professional touring rig or hearing one on a best-selling CD is as rare as a Slayer ballad. Enter the Marshall JMD:1 Series…pro level amps that take digital to the next level.

JMD:1 SERIES

The JMD:1 Series all boast EL34 valve driven power-stages that deliver the world renowned, 3-dimensional, powerful Marshall punch. The four JMD variants are a 100W head (JMD100), a 50W head (JMD50), a 100W 2x12″ combo (JMD102) and a 50W 1x12″ combo (JMD501).

First and foremost, let’s get one thing straight – these aren’t modelling amps, they’re Marshalls and they don’t pretend or claim to be anything else. Granted, they each offer up 16 very different sounding, programmable

preamp options but each and every one is 100% Marshall.

When we decided to enter the digital arena, we partnered with globally respected amp software experts Softube, utilising their groundbreaking, patented “Natural Harmonics Technology.” Two years of intense R&D later, the JMD emerged – a hybrid amp with a sophisticated digital preamp stage that not only sounds and feels like it’s analogue but reacts to playing dynamics in exactly the same way too. Add to this, built-in, studio-quality, digital effects, a mighty EL34 valve power

amp plus the ability to store and instantly recall 128 settings via MIDI and you’ve got a fire-breathing, tonal monster with literally 128 heads!

In addition to 16 programmable pre-amps, each JMD:1 offers 10 programmable, custom-voiced effects - Modulation (Chorus, Phaser, Flanger or Tremolo) or a highly responsive Noise Gate; Delay (Analog, Tape, Hi-Fi or Multi); or Reverb. Three flavours can be used simultaneously - a Modulation or Gate, a Delay and Reverb. A programmable FX loop adds to the JMD’s already impressive tonal versatility.

Reviews have been stellar, awards have been won but, more importantly, the JMD has earned the golden-seal of approval from a much respected, top-level rock guitar icon, Doug Aldrich of Whitesnake. “I own a load of vintage and classic Marshalls,” Aldrich admits. “I never thought it possible to get all those tones in one amp, but the JMD:1 nails ‘em all! I used to have a crazy amount of gear on tour, but the JMD makes everything simple and I love it. It’s effectively a ‘Best Of’ from the originators of Tone.”

Overview SPECIFICATION JMD100 JMD102 JMD50 JMD501

MODEL TYPE Head Combo Head ComboPOWER (RMS) 100 Watts 100 Watts 50 Watts 50 WattsCHANNELS 4 4 4 4PROGRAMMABLE DIGITAL PRE-AMPS 16 16 16 16POWER AMP VALVES 1 x ECC83 4 x EL34 1 x ECC83 4 x EL34 1 x ECC83 2 x EL34 1 x ECC83 2 x EL34MODULATION & DELAY FX 4 of each 4 of each 4 of each 4 of eachREVERB & NOISE GATE 3 3 3 3

SERIAL/PARALLEL FX LOOP 3 3 3 3

FOOTCONTROLLER INCLUDED 3 3 3 3

MIDI IN & THRU 3 3 3 3

EMULATED LINE OUT 3 3 3 3

HEADPHONES OUT & MP3/CD INPUT 3 3 3 3

MEMORY LOCATIONS 128 128 128 128SPEAKER(s) - 2 x 12″ - 1 x 12″DIMENSIONS (WxHxD in mm) 750 x 310 x 220 685 x 530 x 260 750 x 310 x 220 635 x 525 x 255WEIGHT (kg) 20.2 31 15.7 22.6

Included with all JMD:1 units is the dual-mode, 6-way JMD:1 Footcontroller. Containing Marshall’s patented Stompware footswitching technology, it unlocks the vast versatility of the JMD range. Its two modes are:

• Switch Store Mode: allows you to assign any front panel switch (eg: Tap Tempo, FX Loop, Modulation, any of the 4 channels) to any footswitch.

• Preset Store Mode: the footswitch delivers access to 28 programmed sounds via seven “banks”, each containing four “patches” each.

Connection to the amp is via a regular guitar cable so you’re not hampered with a “one-length fits all stages” specialist cord. Now that’s user-friendly!

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Front Panel features common to all JMD heads and combos

“Wow. That’s really the bottom line on this amp…with its historic model library and onboard effects, it’s pretty much

a one-stop tone machine for the stage and studio.

KUDOS - Fabulous versatility. Historic collection of amp models. Good effects. Stunning roar.

CONCERNS - None.”Guitarist magazine, UK

For more information visit www.marshallamps.com

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GV-2 Guv’nor PlusShedloads of gain and loads of level, the GV-2 has all the power and tone of our original, much-loved Guv’nor pedal – and beyond! The GV-2’s expanded Gain structure 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.

BB-2 Bluesbreaker IIThis bluesy bruiser is effectively two pedals in one – a tonally transparent booster that gives your solos that extra lift, and a truly valve-like overdrive that’s so rich in second order harmonics it’ll make your guitar gently weep. Blues Mode is reminiscent of the tonal and distortion characteristics of our non-Master Volume amps such as the classic Bluesbreaker combo from the 1960s.

JH-1 Jackhammer This metallic monster boasts two modes (O/D and Dist), both of which are loaded with ungodly gain plus all the tonal control you need to push your guitar’s sound straight over the edge. From cranium-crushing crunch and scooped modern metal mayhem to savage slamming solos,its unique dual-control contour section gives you fearsome flexibility across the mid-range.

RF-1 ReflectorThe cavernous Reflector reverb pedal projects your sound into the third dimension. Six reverbs add diffuse trails to your playing without ever swallowing your tone. Its stereo outputs create reverbs with wide spacious fields. With controls for Reverb Time, Damping and Level for each mode - Hall, Plate, Room, Spring 1, Spring 2 & Reverse; you’ll easily find the sound you’re looking for.

EH-1 EchoheadCreate pulsing tones and add dense rhythmic textures to your sound. The Echohead features a maximum delay time of 2000ms, stereo outputs and a Tap Tempo input. In addition to controls for Time, Feedback and Level, the EH-1 offers you six versatile modes - Hi-Fi, Analogue, Tape Echo, Multi Tap, Reverse & Mod Filter.

RG-1 RegeneratorThe Regenerator is a chorus, a flanger and a phaser all in one sturdy shell. This stereo modulation pedal offers six different modes for you toexplore. Vintage Chorus, Multi Chorus, Vintage Flanger, Phaser, Step Phaser & Vintage Vibe. The Regenerator will entwine itself around your tone while leaving you in full control. It’s every modulation pedal you’ll ever need.

VB-1 VibratremTake a step back in time to the British amps of the early sixties with the Vibratrem’s authentic vintage effects. Its wave-shaping control allows you to meld between two modulation pattern options, offering you everything from groovy, trembling tremolos to psychedelic quasi-vibratos.

ED-1 The CompressorAdd sustain to solos, even-out attack and get rid of unwanted peaks and troughs. For liquid leads, funky clean chords or choppy yet consistentchicken pickin’, call on “Edward” The Compressor. In addition, target the frequencies you want to compress with the Emphasis control, which means that you can, for example, tighten up or compress your bass notes and let your treble notes ring out.

Despite the proliferation of digital devices that claim to “model” everything including the kitchen sink, simple stompboxes that deliver the goods remain essential weapons in most guitarists’ set-ups. That’s why we offer no fewer than eight – all built like tanks, thoroughly road tested and all boasting true, passive bypass. Meaning, when they’re off, your sound is 100% pure and untouched…an essential tonal attribute.

FX PEDALS “All of these Marshall 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.”Guitar Buyer review of EH-1, RF-1 and RG-1

For more information visit www.marshallamps.com

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If the term “Marshall bass amp” strikes you as an oxymoron, think again. Two of the most prominent, rock pioneering, power trios of the ‘60s featured bassists plugged into Marshalls. Then, of course, there’s that living legend and Marshall bass amp loving diehard, Lemmy of Motorhead. As for VBA: try talking to Slayer’s Tom Araya or Whitesnake’s Michael Devin – both bassists have toured the globe with their trusty VBA rigs behind them every step of the way.

VBA VALVE BASS RIG

The Marshall name, together with our famous scripted logo, has always been synonymous with world-class, valve-driven tone. In keeping with this tradition, our 400 Watt, all-valve VBA400 bass head is being hailed by players and press alike as another true classic.

Designed with the serious bass player in mindand drawing from our many years of valve‘tone crafting’ experience, the VBA400 utilisesa staggering quantity of 12 valves: 8x6550,3xECC83 plus 1xECC82.

One of the main things that makes this amp special is the sheer vastness of pure valve power on tap from the twelve valves it houses. Consequently, we didn’t want to dilute any of this natural purity by incorporating unnecessary features and controls. For this very reason, only the essential front panelcontrols have been included. This said, the VBA400’s 3-band passive EQ network for Bass, Middle and Treble has been designed so that it offers you all the tonal adjustment you’ll need. Furthermore, this tone network can be totally changed by means of the 3-position Contour switch which reconfigures

the mid range as follows:• Contour Position 1 – drops the low mids and creates a rounder, fuller, fat bottom end.

• Contour Position 2 – boosts the mid range, giving greater edge and aggression to your sound.

• Contour Position 3 – moves the mid range higher than you would normally expect on a bass amplifier. This adds an aggressive twang while leaving the essential body of your tone intact, making it ideal for percussive styles such as slap bass.

Further tone control is provided by Deep and Bright switches. Engaging the Deep switch increases low-end thud without losing definition while the Bright option adds extra high-end brilliance and bite to your sound. Other essential features include Active and Passive inputs, an XLR DI Output, complete with switches for Earth (ground) Lift and pre/post EQ selection, a Series FX Loop and a High/Low Fan Speed switch to ensure the valves are kept at a safe operating temperature.

Another very practical ‘bassist friendly’ addition is a Tuner Mute facility which,

when activated, mutes the signal to both the loudspeakers and the DI Output, enabling the user to tune ‘silently’ in any situation – providing a tuner is hooked up of course!

Overview SPECIFICATION VBA400

MODEL TYPE Bass HeadPOWER (RMS) 400 WattsPRE-AMP VALVES 2 x ECC83POWER AMP VALVES 1 x ECC83, 1 x ECC82, 8 x 6550ACTIVE/PASSIVE INPUT 3

GAIN CONTROL 3

3 BAND ROTARY EQ 3

3 POSITION MID CONTOUR 3

DEEP & BRIGHT SWITCHES 3

MASTER VOLUME 3

TUNER OUTPUT & MUTE 3

DI PRE/POST SWITCH 3

FX LOOP 3

IMPEDANCE SELECTOR 3

DIMENSIONS (WxHxD in mm) 685 x 275 x 330WEIGHT (kg) 36

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CAB SPECIFICATION VBC412 VBC810

SPEAKER CONFIGURATION 4 x 12″ 8 x 10″POWER HANDLING 400 Watts 640 WattsIMPEDANCE 4Ω 4ΩDIMENSIONS (WxHxD in mm) 775 x 760 x 395 675 x 1260 x 425WEIGHT (kg) 49 72

For more information visit www.marshallamps.com

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The rugged MB Series of feature-loaded, twin channel bass amps starts off where most lines finish. The comprehensive MB family is 10 members strong, comprising of six combos, one head and three cabinets. It’s also very affordable and the range runs from a compact 15 Watt 1x8″ combo all the way up to the MB450H head driving 450 Watts of heart-stopping power into 8x10″ and 1x15″ MB cabinets, and all points in-between, From rank-beginner to road-hardened-pro, the metal-grilled MB Series covers all bases.

MB BASS SERIES

The impressive feature set of the 15 Watt MGB15 1x8″ combo immediately lets you know that the MB Series means business. The MB15 boasts twin channels, 3 band EQ, Limiter, Variable Compressor, Emulated Line Out, CD/MP3 input and a Headphone socket. Like the rest of the series, its two channels cover the complete tonal spectrum – from the clean thump of the Modern Channel to the dirty roar of the Classic Channel. In addition to boasting more power and a bigger speaker, the 30 Watt MB30 1x10″ combo also offers a 3

position Voice Shift, FX loop and footswitchable channels.

Classic Valve Driven Tone – From the 60 Watt MB60 1x12″ combo and up, an ECC83 valve lies at the heart of the Classic Channel for that unmistakable valve induced warmth and overdrive. A HF (high frequency) Horn and a Classic Boost switch up the ante too. In addition to all the aforementioned features, each of the MB60’s footswitchable channels have their own EQ networks for even more flexibility. The gig ready 150 Watt MB150 1x15″ combo has the same exact feature set.

Tone Blenders – The MB4210 2x10″ and MB410 4x10″ combos plus the MB450H head are all capable of 450 Watts of power @ 2 Ohms (300 Watts @ 4 Ohms). In addition to all the aforementioned features, they also boast a footswitchable Blend control which allows you to punch in your preferred mix of the two channels – giving you a unique third tonal option.

This impressive Series is rounded off by three meaty cabinets – the 300 Watt MBC115 1x15″, the 600 Watt MBC410 4x10″ and the behemoth 1200 Watt MBC810 8x10″.

OverviewSPECIFICATION MB15 MB30 MB60 MB150 MB4210 MB4410 MB450H

MODEL TYPE Combo Combo Combo Combo Combo Combo HeadPOWER (RMS) @ 4 Ohms 15 Watts 30 Watts 60 Watts 150 Watts 300 Watts 300 Watts 300 WattsPOWER (RMS) @ 2 Ohms - - - - 450 Watts 450 Watts 450 WattsECC83 PRE-AMP VALVE No No 3 3 3 3 3

CHANNELS 2 2 2 2 2 2 2COMPRESSOR 3 3 3 3 3 3 3

LIMITER 3 3 3 3 3 3 3

DI LINE OUT Emulated Jack Emulated Jack XLR (Pre & Post) XLR (Pre & Post) XLR (Pre & Post) XLR (Pre & Post) XLR (Pre & Post)CHANNEL BLEND CONTROL No No No No 3 3 3

BOOST SWITCH No No 3 3 3 3 3

MID VOICES 1 3 3 3 3 3 3FX LOOP No 3 3 3 3 3 3

HF HORN No No No No 3 3 -SPEAKON® / JACK CONNECTOR - - - - 3 3 3

SPEAKER(s) 1 x 8″ 1 x 10″ 1 x 12″ 1 x 15″ 2 x 10″ 4 x 10″ -DIMENSIONS (WxHxD in mm) 260 x 263 x 175 295 x 315 x 180 535 x 505 x 325 580 x 585 x 355 630 x 535 x 280 630 x 720 x 410 630 x 220 x 235WEIGHT (kg) 12 14.8 23 30 33 51 15

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CAB SPECIFICATION MBC115 MBC410 MBC810

CABINET TYPE Bass Reflex Bass Reflex Bass ReflexSPEAKER CONFIGURATION 1 x 15″ 4 x 10″ 8 x 10″POWER (RMS) 300 Watts 600 Watts 1200 WattsPOWER (PROGRAM) 600 Watts 1200 Watts 2400 WattsHF HORN 3 3 3

HF HORN SWITCH 3 3 3

SPEAKON® CONNECTOR 1 1 1JACK CONNECTOR 1 1 1IMPEDANCE 4Ω 4Ω 4ΩDIMENSIONS (WxHxD in mm) 630 x 635 x 410 630 x 720 x 410 630 x 1250 x 410WEIGHT (kg) 32 42.5 70

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Front-panel controls and switches are identical on the MB4410 combo and MB450H head.

For more information visit www.marshallamps.com

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In September 1962, this pair of pioneers changed everythingby creating what guitarists christened

Thanks Jim...Happy 50th Here’s to the next 50 Years of Loud!

For more information & details on all things Marshall go to:www.marshallamps.com

The Sound of Rock

From an infamous, turban-wearing, rollerskating busker on the boardwalk of California’s Venice Beach; to the belt of a modern-day Hollywood star in a blockbuster movie about a Rock School; to being recorded in a shoebox and appearing on hit rock songs; the Marshall MS-2 lurks omnipresent.

MS2 & MS4 MICRO AMPS

Armed with a sound so big it defies its diminutive size, a headphone output and looks that kill, the MS-2 is the mighty mini Marshall that never has to leave your side…literally, thanks to its built-in belt clip! From bedroom

to tour-bus to backstage, it’s your perfect practice partner.

This beloved, battery operated micro halfstack is available in three flavours – traditional black (MS-2); vintage grey with chequerboard grille cloth (MS-2C) and an oh so subtle red (MS-2R).

And, if size is important to you, it’s also available as a full-stack (MS-4). The perfect gift for the guitarists and guitar lovers in your life, no home should be without one. Collect all four…

Overview

For more information visit www.marshallamps.com

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www.marshallamps.comMarshall Amplification plc, Denbigh Road, Bletchley, Milton Keynes, MK1 1DQ, England

Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement and development,Marshall Amplification plc reserve the right to alter specifications without prior notice.

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