2245 (JTM45)

2245 (JTM45) Front Panel

 

 

 

 

 

 

 

 

 

 

 

 

10

 

12

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MAINS

STANDBY

PRESENCE

 

BASS

MIDDLE

TREBLE

HIGH TREBLE

NORMAL

1

 

2

 

 

4

6

4

6

4

6

4

6

4

6

4

6

 

MK

 

2

8

2

8

2

8 2

 

8

2

8

2

 

8

INPUTS

JTM

II

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

45

 

 

0

10

0

10

0

10

0

10

0

10

0

10

1

 

2

ON

ON

 

 

 

 

 

 

 

 

LOUDNESS 1

LOUDNESS 2

 

 

 

2245 (JTM45) Rear Panel

MODEL: JTM45

!

WARNING!: RISK OF HAZARDOUS ENERGY

OUTPUT

H.T. FUSE

MAINS INPUT

MAINS FUSE

 

AVIS!: ENERGIE ELECTRIQUE DANGEREUSE!

 

 

SPEAKERS

 

 

 

 

JTM

MANUFACTURED BY

 

 

 

 

 

45

MARSHALL AMPLIFICATION PLC

 

 

 

 

 

BLETCHLEY, MILTON KEYNES, ENGLAND.

 

 

 

 

 

 

 

CONNECT SPEAKERS BEFORE USE

 

 

117V ~ 60Hz

T1.6A 230V

 

 

OUTPUT: 30 WATTS RMS

SELECTOR

T500 mA

 

 

 

175 Watts

T3.15A 117V

ENGLISH

1

2

3

4

5

6

1. Power Switch

On / Off Switch for mains power to the amplifier.

Please ensure the amplifier is switched off and unplugged from the mains electricity supply before

7 8 9 11 13

7. Treble Control

Controls the high frequencies of the guitar tone, making your guitar sound brighter when increased.

(Note: The tone network is highly interactive and

1

2

3

4

5

6

1/2. Loudspeaker Outputs

4. H.T. Fuse

These are for connection to an external load, i.e.

The correct value of H.T. fuse is specified on the

speaker cabinet(s). (See item 3).

rear panel of the amplifier. Please refer to Important

Please refer to Important Safety Instructions, page 2.

Safety Instructions, page 2.

 

ENGLISH

being moved.

2. Standby Switch

The Standby Switch is used in conjunction with the Power Switch (item 1) to ‘warm up’ the amplifier before use and to prolong the life of the output valves.

When powering up the amplifier always engage the Power Switch (item 1) first. This allows the application of the voltage required to heat the valves to their correct operating temperature. After about 2 minutes, when the valves are up to the correct temperature, the Standby Switch can be engaged. Upon doing this the H.T. (High Tension) which is the high voltage required by the output valves to pass signal (and hence produce sound) is applied.

To prolong valve life, the Standby Switch alone should be used to turn the amplifier on and off during breaks in a performance. Also, upon full power down always disengage the Standby Switch prior to the main Power Switch (item 1).

3. Indicator

The Indicator will be lit when your amplifier is on and will not be lit when the amplifier is switched off.

4. Presence Control

Adds higher frequencies to the guitar tone, creating crispness and bite. Turning this up will make the sound more cutting and ‘present’.

altering one control can change the shape of the sound in relation to the other tone controls. Experimentation is the best way to achieve your desired sounds.)

8. High Treble Loudness 1

Controls the overall output level of Channel 1. Note: This channel is voiced for a higher treble response than Channel 2.

9. Normal Loudness 2

Controls the overall output level of Channel 2. Note: Channel 2 is voiced for normal response.

10. Input Jack

Connects the guitar to Channel 1.

Note: Though the first input of the first channel is the input that most guitarists use, don’t be afraid to experiment. Some guitar players prefer to mix the two channels together by connecting a short, screened patch lead between the second input of Channel 1 and the first input of Channel 2. If you then plug your guitar into the

first input of Channel 1 (item 10),

1

2

you can mix the different tonal

 

INPUTS

characters of each channel for

1

2

greater flexibility. (See diagram).

11. Input Jack

Connects the guitar to the lower sensitivity input on Channel 1.

3. Output Selector

Matches the amplifier’s output to the load impedance.

With all-valve amplifiers it is imperative that the amp is connected to a load whilst in operation and that the impedance selected on the amp matches the total impedance of the speaker cabinet(s) being used. For example, if the amp is running into a single 16 Ohm cab, the amp should accordingly be set to 16 Ohms. If running into two 16 Ohm cabs, the amp should be set to 8 Ohms. If running into two 8 Ohm cabs, the amp should be set to 4 Ohms.

Failure to comply with these points will result in damage to the amplifier.

Your amp should be completely powered down before the selector is turned.

5. Mains Input

Your amp is provided with a detachable mains (power) lead which is connected here. The specific mains input voltage rating that your amplifier has been built for is shown on the back panel. Before connecting for the first time, please ensure that your amplifier is compatible with your electricity supply. If you have any doubt, please get advice from a qualified person. Your Marshall dealer will help in this respect.

6. Mains Fuse

The correct value of mains fuse is specified on the rear panel of the amplifier. Please refer to Important Safety Instructions, page 2.

5. Bass Control

Controls the amount of low frequencies or bottom end in your tone.

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 a more ‘scooped’ tone.

12. Input Jack

Connects the guitar to Channel 2.

13. Input Jack

Connects the guitar to the lower sensitivity input on Channel 2.

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Marshall Amplification 1962, 1959SLP, 2245 `JTM45 2245 JTM45 Rear Panel, Loudspeaker Outputs T. Fuse, Middle Control

2245, 1987X, 2245 `JTM45, 1962, 1959SLP specifications

Marshall Amplification, a legendary name in the world of electric guitar amplifiers, has played a pivotal role in the music industry since its inception in 1962. The company’s steadfast dedication to craftsmanship and innovation is exemplified in its iconic amp models, such as the JTM45, 1959SLP, and 1987X. These amplifiers have become staples for musicians seeking powerful sound and tone.

The Marshall JTM45, introduced in the early 1960s, was one of the brand's first commercially successful amplifiers. It featured a 45-watt design, driven by two EL34 power tubes, which contributed to its rich and warm tone. The JTM45 utilized a simple layout of just two channels: Normal and Bright, allowing guitarists to achieve a breadth of tonal variety. This model was heavily inspired by the Fender Bassman circuit but refined with Marshall’s distinct twists, giving it a unique British voice. Its durability and versatility made it the choice of many rock legends.

Another notable model is the 1959SLP, referred to as the "Plexi." This 100-watt amplifier gained immense popularity during the late 1960s and early 1970s. Characterized by its four EL34 power tubes and seven preamp tubes, the 1959SLP is famed for its ability to produce a harmonically rich overdrive, perfect for rock and blues music. The amp's straightforward control layout lets players dial in precise tones with ease, encompassing a wide range of sonic possibilities. It has been used by countless famous guitarists, solidifying its status as a rock icon.

The 1987X, a quintessential representative of the Marshall sound, is a 50-watt tube amp that caters to modern musicians wanting classic vibes. This model is designed to replicate the vintage aesthetic and tonal characteristics of its predecessors while incorporating improvements in reliability and practicality. Featuring two channels and a simple control set, the 1987X delivers a powerful crunch that many desire for genres spanning from classic rock to heavy metal.

Marshall Amplification distinguishes itself not only through its iconic amps but also through its commitment to sound quality and performance. The use of premium materials, meticulous hand-wiring in certain models, and a focus on authenticity allow the company to deliver products that resonate with musicians around the world. Ultimately, Marshall’s legacy continues to influence the sound of rock music, forging an unbreakable bond between amplifier technology and the evolving landscape of guitar-driven music.