ENGLISH
6. Crunch Channel Volume
This control adjusts the level of sound coming out of the overdrive preamp channel and allows you to balance it against the Clean channel.
7. Lead Channel Gain (OD2 - Red LED)
As 5 above but controlling the Lead channel gain, and making even more saturated tones available.
signal is returned to the amp, this way the tone integrity of the direct amp signal is unimpaired.
12. Clean Reverb
This controls the level of the internal spring reverb circuitry from a slight shimmer to a cavernous depth for the Clean channel only.
13. Overdrive Reverb
18. Power Switch
This turns the mains electricity that feeds your amp on and off. As stated before, turn this switch on for at least a minute or two before turning the Standby on, to allow your amp to warm up.
✪User Hint - For environmental reasons at least, if leaving your amp for more than a normal gig type break or so, turn your amp off at this switch,
it will save electricity. Also, if leaving your amp unused for a long time, always remember to disconnect your amp’s power cord from the mains supply, at the very least it will prevent someone else accidentily turning it on without realising.
ENGLISH
8. Lead Channel Volume
As 6 above, this control balances the output of the Lead channel.
✪ User Hint - When using the less gain/more level |
Controls the reverb depth for both the Crunch and Lead channels.
Remember that the Reverb has an on/off function on the foot controller.
TSL60, TSL601 & TSL602 Rear Panel Features
(pages 32
- 35)
1. Footcontroller DIN Socket | 6. FX Loop Return Jack |
way of driving the power stage, keep the overdrive |
gain low and use this volume control to drive the |
power amp. |
9. Overdrive Treble, Middle, Bass |
As opposed to the ‘Clean’ channel, these controls are placed after the distortion generating circuitry of your amp and as such affect the texture of the tone, rather than the gain of the channel, especially when using high levels of preamp gain.
✪User Hint - Although many textures are available from this relatively simple configuration, a good starting point (again) is to set everything midway. For a more modern ‘heavy’ tone, turn the mid control down and boost the treble and bass. For a more classic ‘rock’ tone bring back the mids and bring the treble and bass down a bit.
✪User Hint - When using the less gain / more volume approach, the tone controls can be used to help ‘push’ the power amp for a more refined tone.
10.Overdrive Tone Shift
Pushing in this switch reconfigures the components used in the tone forming circuit. By doing this the Mid frequency is shifted and deepened, which, depending on how you set up the tone controls will help you get a modern ‘scooped’ rock sound, i.e. cutting the Mid control. Even though this may not be your ‘thing’, the range of tones available can be very expressive in other ways. As always, experiment.
11. Master FX Mix
This controls the balance of the return from the parallel FX loop (see rear panel details for connection) with the amps direct signal.
✪User Hint - As the FX loop is of the parallel kind, this is where you should use time delay effects (i.e. echo, reverb, pitch shifting, chorus, etc.). For optimum use the direct signal in your processor should be turned to zero so that only the effect
14. Master Presence Control
This works on the power amp circuit, and enables you to brighten up the sound, especially useful when the room acoustics of where you are playing are very dead sounding.
15. Deep Switch
Pushing in this switch activates a unique Marshall circuit that expands the resonance of the speaker system used, and thus gives a very deep and resonant depth to the bass of your sound.
16. Master Volume
This controls the overall volume level of the total amplifier, thus allowing you to set up the tone and balance of all three channels, and then setting the required suitable level for your requirements with just one control. Additionally, using this control allows you to turn up the gain of the clean channel for a warmer, crunchier sound, without having to have the full power of the amp blasting away.
✪User Hint - As the (rear panel mounted) speaker emulated D.I. output is derived from this circuit you can balance the sound coming out of the loudspeaker from zero to full, whilst maintaining a constant level out of the D.I. output - ideal for silent recording, direct to the desk.
17.Standby Switch
This turns the high voltage feed to operate the valves on and off.
✪User Hint - This switch should be used for (a) allowing the amp to warm up before turning the Standby on (at least a minute - preferably 2/3 minutes if possible) and (b) turn the Standby switch off when taking a break (rather than turning off the whole amp), thereby keeping your amp at the ‘ready’, without waiting for it to warm up again. Remember to do these two simple rules and your valves will love you for it and should last an awful lot longer before replacement is needed.
This socket is used to connect the
The footcontroller allows you to immediately switch between all three channels, turn the reverb on or off, and also the FX loop on or off.
2. Loudspeaker Output Select
This switch selects the output impedance of the amplifier for either 8 or 16 ohm use, to match to alternate speaker systems. Although more on this will be covered later, it is important to remember that the internal loudspeaker(s) on the TSL601 and TSL602 combos is 16 ohms and that the amp must be set to match that (16 ohms). Of course the TSL60 head does not have any in built loudspeakers, but the impedance matching rule still applies
3. Loudspeaker Output Jacks
These are identified by having RED jack socket nuts, and connect the amplifier output to either the internal, or, external loudspeaker system. WARNING! At no time must the amplifier be allowed to run with no loudspeaker (or appropriate loudspeaker type load) connected to its output. Otherwise serious and expensive damage may occur.
4. FX Loop Send Jack
Connects the TSL amp to the input of the external FX processor.
5. Loop Level Switch.
This switch alters the signal level present in the FX loop, allowing the connection and use of differing makes and standards of FX units. The nominal levels available are +4dBm (switch out) or
Connects the output of the external FX processor back into the TSL amp circuit.
7. Speaker Emulated D.I. Out XLR.
Line level, balanced, emulated output signal for connection into PA or recording Mixing Desks etc.
8.H.T. Fuse - See specifications for correct value
This fuse protects your amp in the case of a fault occurring with any of the high voltage circuitry. The usual reason for this to blow is when an output valve has become faulty.
9. Mains Input
Use the supplied power cord to connect your amp to the mains supply.
10.Mains Fuse - See specifications for correct value
This fuse provides overall safety protection in the case of your amplifier developing a major electrical fault.
✪User Hint - The fuses fitted to your amp are there to provide you with safety protection in the case of a fault developing. If they blow it means something is wrong, usually a valve is getting old, but under no circumstances fit a fuse of a different value to stop it from blowing, as this could be very expensive in terms of safety and cost. Remember, if a fuse blows, it has blown for a reason.
LOUDSPEAKER SYSTEMS
The TSL601 and TSL602 combo amps are each fitted with exclusive Marshall 12” ‘Wolverine’ loudspeakers. The 601 having one 16ohm loudspeaker, and the 602 having two 8ohm units wired in series for 16ohm use.
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