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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.
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
hot-rodded JCM 800 2203 master volume. The
Lead 2 mode however gives a mid-boosted tone
coupled with even higher gain possibilities.
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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20 19 17 13 11 10 9 7 6 5 4 2 116 141518 12 8 3
2 3 4 5 6 7 9 10 11 13 17 19 208 12 1514 16 18
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