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ENGLISH
1. Power Switch
This is the On/Off switch for the mains electric power to the amplifier.
Note: Please ensure the amplifier is switched off and unplugged from the mains electricity supply whenever it is moved!
2. Standby Switch
The Standby Switch is used in conjunction with the Power Switch (1) to ‘warm up’ the amplifier before use and to prolong the life of the valves. When powering up the amplifier always engage the Power Switch (1) first, leaving the Standby switch in the ‘OFF’ position. This enables the heater voltage, allowing the valves to come up to their correct operating temperature. After approximately two minutes the valves will have reached their correct operating temperature and the Standby Switch can be engaged, enabling the HT. In order to prolong valve life, the Standby Switch alone should also be used to turn the amplifier on and off during breaks in a performance. Also, when switching the amplifier off, always disengage the Standby Switch prior to the main Power Switch.
3. Deep Switch
The Deep Switch adds a tuned or resonant bass boost to your sound, increasing bottom end thud, without making your tone woolly around the all important low end.
4. Presence Control
Adds higher frequencies to the guitar tone, creating crispness and bite. Turning this up will make the sound more cutting and in your face.
5. Treble Control
Controls the high frequencies of the guitar tone, making your guitar sound brighter when increased.
6. Middle Control
Dictates the middle register of the amplifier. Turning this up will make your guitar sound fatter. Conversely reducing the amount of middle in your tone will result in a sharper and thinner guitar sound for the classic “scooped” tone.
7. Bass Control
Controls the amount of low frequencies or bottom end in your tone.
8. Tone Shift
The Tone Shift Switch reconfigures the tone network components to give a new dimension to passive tone shaping. With the switch selected to the ‘in’ position and the Middle Control (item
6)turned down the result is a scooped mid sound ideal for certain classic metal styles.
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Reverb
9. Channel B
Controls the reverb level on Channel B.
10. Channel A
Controls the reverb level on Channel A.
Ultra Gain / Channel B
11. Volume
Governs the volume level of Channel B.
12. Lead 1 / Lead 2 Switch
The Channel B features two modes. The first, Lead 1, gives an open high gain crunch, with traditional Marshall characteristics, similar to a
13. Gain
Controls the gain level for Channel B. As the amount of gain increases so will the distortion level in your sound.
14. LED
Indicates when Channel B has been selected.
15. Channel Switch
Selects Channel A or Channel B.
16. LED
Indicates when Channel A has been selected.
Classic Gain / Channel A
17. Volume
Governs the volume level of Channel A
18. Clean / Crunch
As with Channel B, Channel A features two modes. The first, Clean, is reminiscent of an early 1959 Plexi Super Lead head. Depending on Gain settings (item 19) this mode will take you from clean to a controlled Plexi style crunch. Crunch will take you up to a JCM 800 2203 style grind.
19. Gain
Controls the gain level for Channel A. As the amount of gain increases so will the distortion level in your tone.
20. Input Jack Socket
This high impedance input is where you plug your guitar into the amp. You must use a screened (shielded) guitar cable. Never use an unscreened (unshielded) speaker cable because you will find it very noisy to the point of annoyance. The input to any guitar amplifier is a very sensitive part of the signal path and is therefore susceptible to air born radio interference, hence the need for a screened guitar cable. This screened cable should preferably be of good quality. If you are in any doubt regarding this, your Marshall dealer will be more than happy to help, advise and supply you.
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