Marshall Laws

#1: Impedance settings 'n' tube heads

"What impedance do I set my head to?" This is one of the most common question that customers
ask and is also one of the questions that invariably receives a wrong/misleading answer. Getting
the answer to this question correct is vital due to the fact that setting a tube head to the wrong
impedance can and WILL do damage to its output stage. In a nutshell there are two essential
rules that HAVE to be followed when hooking-up a tube head to a cabinet or cabinets:

1. Always use speaker cable(s); never use a guitar (a.k.a. "signal" or "instrument") cable.

2. Always ensure that the impedance of the tube head is set to the EXACT same impedance of
the impedance of the cabinet(s) being used.

With regards hooking tube heads 'n' cabs up, this small chart should clear up any confusion that a
dealer or customer might have. I know the below is common sense to anyone who remembers
elementary electronics from school but as it turns out, most guitar players have zero recall of
those days - myself included!

If the cabinet is: Set the head to:

16 Ohms mono 16 Ohms
8 Ohms mono 8 Ohms
4 Ohms* mono 4 Ohms*
*IMPORTANT NOTE: Some Marshall tube heads (i.e.: 4100, 4500, 2100SL-X and 2500SL-X) need to have a
modification performed on the transformer to run at 4 ohms - and this modification should ONLY be carried out by
an authorized service technician. That’s the reason 4 is in parenthesis on the back of the chassis. The newer DSL and
TSL models have the ability to run at this impedance without any internal modification as do the Plexi re-issues.

If 2 cabinets are used and they're: Set the head to:

16 Ohms (mono) each 8 Ohms
8 Ohms (mono) each 4 Ohms*
4 Ohms (mono) each This can’t be done…unless
you like flames & smoke!!

"Does the same exact set of rules apply to Valvestate amps?" Do I hear you ask? The answer, in
a word, is NO! Valvestate amplifiers have a solid-state power stage that doesn't obey the same
laws. As it happens, these amps are self-adjusting so you can run them anywhere between 4
Ohms and 16 Ohms but NEVER below 4 Ohms. As you increase the impedance, the output
wattage gradually decreases. Let's take a look at the VS100RH for example. This critically
acclaimed brute delivers its full 100 Watts @ 4 Ohms. If you hook the VS100RH up to an 8-
Ohm cabinet (using a speaker cable of course!) the head will be capable of delivering
approximately 80 Watts of power.
 Ohm’s Law (or the reason we took math in High School)
Hey Kids,
This week we will be discussing the “Law of Ohms” or "Ohms Law"…whatever you
feel like calling it. It's pretty straightforward stuff and, seeing as I’m a guitar player, I prefer to
keep things simple…real simple! So, let's learn by looking at an example of “Ohms Law” at
work. First though, let's remind ourselves of Mr. Ohm's often forgotten formulas. There are two
of 'em and they enable us to find out the combined impedance of speakers (or cabinets) when
joined together in either Series or Parallel (note: if you don't know the difference between series
and parallel in electrical terms, go look 'em up!).

Let's imagine that R1 is the impedance of our first speaker (or cabinet); R2 in the
impedance of the second one and R3 is the resulting impedance when they are hooked-up
together. Got that? Good Here are the two formulas:

The Parallel formula is R3 = R1 X R2 & the Series formula is R3 = R1 + R2

R1 + R2

So, let's look at the Parallel law in action (if you need to also see an example of addition
in action, stop drinking and go to bed!). This is the one you need to be most familiar with
because although speakers inside cabinets are often wired up in series, when it comes to
hooking-up cabinets to combos or heads it is ALWAYS done in parallel (well it is in Marshall
land and that's all we care about).

The most common question asked in stack world is, in my experience this, "Hey dude,
what impedance do I set my tube head to when I'm using two cabs?" Well, let's take a look shall
we…
Let's suppose that our pal has a DSL100 head and a 1960A and 1960B. Here's an idiot-
proof hook-up list:

1. Make sure both cabinets are switched to Mono operation.

2. Make sure you have two SPEAKER cables to do the hook-up with (NEVER use
guitar cables).
3. Plug one end of one lead into the 16 Ohm MONO input of the 1960A (NOT the 4
Ohm input…remember, there are two 'cos of the stereo option).
4. Plug one end of the other cable into the 16 Ohm MONO input of the 1960B.
5. Now, as we're hooking two 16 Ohm cabinets up to our DSL100 head in parallel, let's
plug R1 (16) and R2 (also 16) into our trusty formula:

R3 = 16 x 16 = 256 = 8 Ohms
16 + 16 32

6. Set the 4 Ohm/8 Ohm switch below the two parallel speaker outputs on the back
panel of our DSL100, plug the speaker cable ends into said outputs….
7. Switch the amp on, plug in yer axe, dial in a tone and rock!!
 And there you have it. In fact, a simplified offshoot of the Parallel law we've just learned
is this:

Whenever you're hooking-up two cabinets of the same exact impedance (and let's call
that impedance "X") in parallel, the resulting impedance is X/2.

So, 16 & 16 = 8; 8 & 8 = 4; 4 & 4 = 2, etc…

Get it? If not, try learning this phrase as it'll be very useful in your next job:
"would you like fries with that?!"

Linking Channels on Marshall and VOX AC-30 Amplifiers

Marshall

All of the reissue Marshall amplifiers (JTM45, JTM45 Offset, 1959SLP, 1987X, 1962) can
easily be identified by their appearance and the four inputs located on the right front panel. What
exactly is the purpose of these four inputs? You will notice that the upper and lower left inputs
are labeled “1”. The upper and lower right inputs are labeled “2”. The “1” inputs are the high
sensitivity (higher gain and somewhat brighter) inputs. The top “1” input is the higher gain of the
two “1” inputs (the preferred input of most players). The “2” inputs are the low sensitivity (lower
gain than the “1” inputs and somewhat bassier). The top “2” input is a higher gain input than the
lower “2” input. Each of the four inputs has its own distinct sound.

While any of these inputs can be used on their own, linking them (with a short, shielded
instrument cable), will blend the high and low sensitivity channels together. The most common
channel-linking scenario is as follows:

1. Connect the bottom “1” input to the top “2” input (with a short, shielded instrument
cable).

2. Plug your guitar cable into the top “1” input.

3. Adjust the two channel volumes to the desired level and tone combination.

Essentially, this allows the player to blend the brighter channel (“1”) with the bass channel (“2”)
to their liking. Although, the stated example is the most common way to link channels, there are
not any set rules (it really comes down to the player’s preference).

VOX AC-30
The VOX AC-30 has a total of six inputs (2 per channel). Each channel (Brilliant, Normal and
Vib-Trem) has a high sensitivity and a low sensitivity input. Most players connect their
instrument to the high sensitivity input (when the AC-30 is facing you, the high sensitivity inputs
are the furthest from you) on the Brilliant channel. Any of the AC-30’s channels can be linked
together (In fact, all three can be linked together if desired). The AC-30’s channels can be linked
as follows:

1. Connect your guitar cable to the high sensitivity input of the channel of your choice.

2. Using a short, shielded instrument cable, connect the low sensitivity input (of the same
channel that your guitar is connected to), to the high sensitivity input of the channel that
you would like to link with. (ie: Plug your guitar into the Brilliant channel high
sensitivity input. Connect a short, shielded instrument cable from the Brilliant channel
low sensitivity input, to the Vib-Trem input. Voila! You have linked the Brilliant channel
and the Vib-Trem channels.)

* Tip- When linking the AC-30’s channels, a cool phase cancelled sound will occur when both
linked channels volume controls are set at the half way mark.

Marshall Amplifier Date Codes

We've had several requests for this topic of this week's tip and it concerns dating…amps that is!
As it turns out, it’s fairly easy to do and it is useful information that can save time and make our
customers, service centers and dealers happy. The newer models are incredibly easy to date (read
on, if you aren't already aware of the current serial numbering system) but dating older amps
(pre-1993) are slightly more involved. Here's the story so far…

July 1969 - September 1992

In July of '69, Marshall introduced their first date code system. To determine the year of
manufacture, a letter of the alphabet was included in the serial number. Here's how it works:

A – 1969/1970 C – 1971 D – 1972 E – 1973

F – 1974 G – 1975 H – 1976 J – 1977
K – 1978 L – 1979 M – 1980 N – 1981
P – 1982 R – 1983 S – 1984 T – 1985
U – 1986 V – 1987 W – 1988 X – 1989
Y – 1990 Z – 1991/1992

“B” was skipped because “A” ran for 18 months and “I,” “O” and “Q” were also skipped
because they looked too similar to numbers.

As a rule, the serial number is usually located on the back panel of the chassis but some
amplifiers made between 1979 - 1980 had them on the front panel. Now, at this point you're
probably wondering where exactly this letter can be found within the serial number. That's a very
good question so here's the answer. From July 1969 to December 1983, the letter was put after
the serial number. For example, let's say you found this stamped on the backpanel:

SL/A 14532 D

What does it mean? Read on:

SL/A = model number

12532 = serial number

D = Date code (1972)

From Jan 1984 to October 1992 however, the date code letter was before the serial
number. For example:

S/A F 14235

This time:

S/A = model number

F = date code (1974)

14235 = serial number.

Geddit?

As already revealed in the two above examples, in the early days Jim also used a lettering
system for determining the model of the amp. The codes used are as follows:

A/ - 200 Watt SL/ or SL/A - 100 Watt Super Lead

SB/ or SB/A - 100 Watt Super Bass SP/ - Super P.A.
ST/ or ST/A -100 Watt Tremolo S/ or S/A - 50 Watt
T/ or T/A - 50 Watt Tremolo RI – Re issue

Interesting stuff and pretty easy too…learn it and you're bound to impress the folk in the stores
with your vast knowledge! FYI, all the information you've just read (and more) can be found in
our old pal Mike Doyle's excellent book, "The History of Marshall." Despite the fact Mike now
works for the "F" company (the traitor!), this book is a great reference source so always keep
your copy handy. Anyway, enough of that, let's get back to the dating game…

1993 to 1997
Starting in 1993, Marshall switched over to yet another serial number system. This time they
designated the year in which the amplifier was made in the first two digits of the number and the
week of manufacture in the last two.

Examples:

93877536: this tells us that the amp was made in week 36 of '93.

94923403: this tells us that the amp was made in week 03 of '94,

1997 and on…

In 1997 Marshall changed to the latest dating system which is the easiest to decipher of them all.
It is simply the year followed by the week.

Example:
1999-45-1234: this (surprise, surprise) tells us that the amp was built in week 45 of 1999…and
yes, I do have a degree in rocket science in case you're wondering!

DIFFERENCES BETWEEN 1906A, 1960AV, 1960AC

A (Angle) Cabinets – Wider dispersion due to the top speakers slight upward angle.
B (Bottom) Cabinets – Lower resonant frequency due to the larger cabinet gives more bass
response.

1960A (loaded with 75 Watt, 12" Celestion speakers): this 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 this our best selling cab.

1960AV (loaded with 70W, 12" "Vintage 30" Celestion speakers): this has a thicker, warmer
sound than the 1960A 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 30's bass kick "tuneful." Although the low end of
the 75 Watt Celestion used in 1960As and Bs is more "in your face" (or should I say, "chest"?!)
than the VIntage 30, it might interest you to know that the latter is the first choice of modern
metal "crunch" masters such as James Hetfield (Metallica), Dave Mustaine (Megadeth) and Dino
Cazares (Fear Factory)...all of whom use 1960BV cabs.

1960AC (or AX) (loaded with Celestion 25W "Greenbacks"): (AC – Modern looking with
Black Grill cloth. AX - Checked Grill Cloth) tonally, this falls somewhere between the 1960A's
brightness and the 1960AV's warmth. Greenbacks have a very distinctive sound with a fast,
snappy response that adds detail and dynamics to both clean and distorted playing. Obviously,
for a vintage/Hendrix type tone, Greenbacks are the way to go...duh! Heavily distorted lead lines
sound extremely full too, but when these speakers are driven really hard, they can get rather
piercing and thin. Due to the fact that a 100W 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 1960AC or
BX as a halfstack, if the head is going to be turned up to "eleven!" (unless a powerbrake is being
used, of course). Such a set-up might sound wonderful but there's a fine line between clever and
stupid and doing this crosses it...unless the user doesn't mind the inconvenience and expense of
replacing blown speakers!

AVT Combos: how and why their closed-back design works!

As you all know, each and every one of our five (yes, 5!) new AVT combos boast a closed-back
design - starting with the compact, 20 Watt, 1x10” AVT20 and going all the way up to the
manly, 75W + 75W Stereo, 2x12” AVT275. The reason Jim’s team of designers decided to close
the back of all of the AVT combos’ cabinets? Because the classic “Marshall Sound” that
everyone recognizes and lusts after, emanates from an all-tube stack, that’s why! And, as you
know, the 4x12” cabs used in the iconic Marshall stack have always had a closed-back design.

So, armed with this knowledge, it would seem perfectly logical that the first step one
should take when trying to impart a combo with a sound similar to a stack would be to close up
its back. After all, there’s no way an open backed cabinet will sound anything like a closed-
backed 4x12”, regardless of how big it is and how many speakers it houses. Why? Well folks,
once again, simple logic tells us that in an open backed situation, sound is allowed to “escape”
through the back while, in a closed-back situation, the sound has only one way to go – forward.
And that simple but undeniable truth goes a long way in explaining the unique tightness, low end
“thump”(focus) and projection our 4x12” cabs are world famous for.

So, all you have to do to give a combo the same sort of desirable sonic properties I’ve
just reeled off is close its back off – right? The answer, I’m afraid, is a resounding NO! The
problem is this, when you close the back of a relatively small cabinet (and all of our AVT combo
cabinets are relatively small compared to a 4x12”), you inadvertently end up “messing with” the
inherent resonant frequency of the speaker you load into it. And, the smaller the box, the worse
said “messing with” becomes. Wanna know more? Good, read on….

Before we go any further though, in order to (hopefully!) minimize confusion, I guess I should
talk a little bit about a speaker’s resonant frequency and explain what it is….

All guitar speakers are designed with a resonant frequency which lurks in the low-end
region of the guitar’s sonic spectrum – and said resonant frequency is usually somewhere
between 75 Hz and 100 Hz. And, just so you know, the resonant frequency of a speaker is the
frequency at which it is most efficient – thus resulting a peak in the bass response where its
output is raised above the normal level. Another important thing to note it this, once the
frequency of the signal hitting the speaker goes lower than this resonant frequency, there’s a
sharp roll off in speaker efficiency (loudness) and said notes are projected by the speaker in a
very puny (quiet) fashion. Got it? Good, let’s get back to the subject in hand – namely, what
happens to a speaker’s resonant frequency when you put it inside a small, closed-back cabinet….

As soon as you “trap” a speaker inside a relatively small, closed-back cabinet, the
resulting close confinement forces the speakers resonant frequency up by a fairly significant
amount. This is the nature of the “messing with” I mentioned a couple of paragraphs ago. And,
as I’ve also already mentioned, the smaller the closed-back box, the worse this unavoidable
“messing with” becomes and the amount by which the speaker’s resonant frequency is raised,
gets bigger. As a result, by closing the back of a combo’s cabinet, we’ve effectively not only
taken one step forwards but have inadvertently taken one step backwards as well.

Sure, closing the combo’s back increases projection, tightness and focus, the only
problem is this – these desirable sonic additions we’ve achieved are occurring in the low mids as
opposed to the lows. Why? Because, by closing the back of the cabinet, we’ve forcibly raised
the resonant frequency of the speaker out of the lows and into the low mids. And, to make
matters worse, because the speaker’s all-important resonant frequency now resides in the low
mids, the lows we wanted to enhance are so puny (they now fall below the speakers resonant
frequency, remember!?),they’re effectively inaudible. So, by closing the back of our small
combo, although we’ve got a great low mid “thump” happening, we’ve effectively lost a low
octave. Not good…

So, what can we do to restore those missing lows and move the desired thump and
projection down as well? Once again, let’s call on our friend Mr. Logic and see what he has to
say on this subject. Well, according to him, there are two possible solutions:

1. Increase the size of the closed-back cabinet being used to a point where the resonant
frequency of the speaker being used is hardly “messed with” at all and remains in the lows,
as opposed to being forced up into the low mids by the smallness of the cab. True, this is a
surefire solution to the problem we are faced with…but it has a huge negative attached to it,
namely size. One of the main reasons people buy combos is the fact that they are relatively
small and portable. And, I dunno about you but I can’t see many people opting for a 20 Watt
combo that’s the size of a 1936 cab! So, this solution is a definite no, no…

2. Find a speaker that has a resonant frequency that is so low that when it is forcibly raised by
being put inside a small, closed-back cabinet, it still remains in the lows as opposed to being
pushed up into the low mids. Make sense? Of course it does…thanks Mr. Logic! And, that
my friend, is where the specially designed Celestion Extended Bass Response speakers used
exclusively in AVT come into play. And that’s also why they are so named (duh!)…because
they have a lower than normal resonant frequency to counteract the “messing about” a small
closed-back cabinet is responsible for. Geddit?!

In closing I’d just like to leave you with the following trio of facts:

i) Each of the AVT combo speakers was specifically designed to work with both the
size of the cabinet being used and the exact nature of the amp too.
 ii) Like many things in life, simply lowering the resonant frequency of a loudspeaker
is relatively easy…what’s hard is to do it well! And by “well” I mean be left
with a speaker that is still efficient and works well across the entire range of the
guitar’s sonic spectrum.

iii) AVT rules….good selling!!

Terminology
Plexi

A "plexi" Marshall is one from around 1965 through the middle of 1969. What distinguishes
"plexi" Marshalls from others is the material that the front (and sometimes back) panel is made
from. The "plexi" panel is a plastic called "perspex" that is clear with lettering and gold on the
back surface. It is mounted to the front of the amp chassis and becomes the front panel that the
jacks and pots are mounted to. The amps before the plexi models had either white panels or on
some, lettering was screened to the aluminum chassis. There are some JTM45s and JTM45/100
(the first production 100 watt heads) amps that have plexi front panels and a cream colored back
panels. Plexi does not mean see-through.

Bluesbreaker

The term “Marshall Bluesbreaker” (when it comes to vintage amps) was coined for the amp used
by Eric Clapton on the album “John Mayall and the Bluesbreakers”. The amp is pictured on the
back of the album cover and is the 1965/6 version of the model 1962. The 1962 was a JTM45
(model 2245) with tremolo in a 2x12 combo. The speakers were 20 watt Celestion Greenbacks.
Since these amps have become highly collectable, other Marshall combos have been dubbed
Bluesbreakers as well. In my mind, the only true Bluesbreaker combos are those that have the
same amp chassis (JTM45 with tremolo) including the first version which had a slightly different
cosmetic configuration. In the earlier version , the wood sides were thicker, they had two Vox
style brass vents and 15 watt AlNiCo speakers. Included in the Bluesbreaker category would be
the 2x12 and 4x10 combos from 1964 through about 1966. The front of these amps had the split
look with vinyl on the top and pinstripe grill cloth on the bottom. Later combos used the 50 watt
chassis that had EL34’s rather than the KT66’s used in the JTM45. Most of these later amps had
basketweave grill cloth on the entire front of the amp. An even rarer version of the later combos
had vinyl on the top and salt and pepper grill cloth on the bottom. While both of these 50 watt
combos are fine amps, and actually preferred by many because they sound more like “true”
Marshalls, they are not Bluesbreakers. The biggest "stretch" of the Bluesbreaker name is its use
for the 10, 18 and 20 watt combos of the 60's and early 70's. These amps came in all the
cosmetic configurations described above and came in 1x12, 2x10 and 2x12 versions. Reverb
was an option although very rare. The 18 watt amps sound far superior than the 10 or 20 watters.

The other “Bluesbreaker” products are Overdrive pedals. They are the “Bluesbreaker” and the
“Bluesbreaker II”.
 Model Numbers

Many of Marshall's model numbers start with "19" such as 1959, 1987, 1962, etc. These are
model numbers only and do not represent a date. So the amp with the model number 1959 is the
100 watt Super Lead. Manufacturing on this amp did not start in 1959 since Marshall started
making amps in 1962!

JTM

Stands for Jim and Terry Marshall, Terry being Jim's son.

JCM800

JCM800 is a name for a range of amplifiers, not a single amp. The JCM800 range included both
Master Volume (2203 and 2204) and Split Channel Reverb (2210 and 2205) heads as well as a
variety of combos. The Split Channel Reverb amps far outsold the Master Volume ones but the
Master Volume ones are usually the amps people refer to when they say JCM800 because they
were preferred by touring bands.

JCM900

Similar to the above situation in that it is a name for a range of amps, not a single model.

JCM2000

Similar to the above situation in that it is a name for a range of amps, not a single model.

Hand Wired

There are various techniques of wiring that are considered hand wired. Each has a varying
degree of handwork. A totally hand wired amp has it’s components mounted either on rails
(with or without a board and from part to part), on a board with turrets (early Marshall), on a
board with eyelets. Some amps that have a printed circuit board are partially hand wired with
hand wired pots, switches, tube sockets and jacks that are mounted to the chassis.

Point to Point wiring

True point to point (sometimes abbreviated "P2P") wiring uses rails without any circuit board.
The components are basically mounted in air. A board that is used with either turrets or eyelets
is also wired by hand but is different than rails in that they will have some effect on the sound of
the amp. I do not make a judgment on whether the effect is positive or negative because that
depends on whether the designer took this effect into account when designing the product.

Myths

The JTM45 is a 45 watt amp

Actually, the JTM45 puts out about 30 to 35 watts of clean power. JTM45's will however, put
out 45 watts into full distortion.

British watts are different than American watts

This is an interesting situation. About 25 years ago, Rose Morris (the worldwide Marshall
distributor) and Unicord (the US Marshall distributor), put out ads that said something like "the
reason Marshall's are louder is that we use British watts which are louder than American watts".
The way that this came about is that in England, the people in charge of standards chose RMS
watts as the way to measure power. At that time, in the US, there were different ways that
companies could use to measure power. They were RMS, peak power and I??. Peak power and
I?? allowed the companies to rate their amps with higher numbers while the amps put out less
power than amps with a similar power rating using RMS as the standard. What confirmed this
situation to me is that I recently saw old Goodmans speakers that had two ratings, one in British
watts and the other in American watts where the American rating was twice the British rating.

Tubes --- FAQ

How long will my tubes last?

The usable life of any tube will depend on how hard it’s actually used in the circuit. Some
circuits will use tubes harder than others and we all know that some players play harder than
others?! Power tubes can last years in a light playing situation while lasting only 6 months in
heavy playing conditions. It is also dependent on how loud you play and for how long. Also if
you don’t correctly match up the impedances, this will put strain on the power tubes and wear
them down much faster. Some guys keep the amp on all day wide open and this greatly reduces
the life. The bad news is that tubes have no definite life span much like light bulbs. I had a
customer the other day who said he went through five sets of NOS Groove Tubes in 6 months!
Now that's an ass load of money, especially seeing as he is using a 6100 (11 tubes!!). He never
had a problem with the Marshall supplied Sovtek 5881s but hey, it’s his hard earned money!
Pre amp tubes however will generally last much longer than power tubes. Basically the pre amp
tubes will last twice as long as the power tubes but again, there is no definite life span so no one
can be 100% sure.
I’ll be covering more on tubes in the weeks to come such as when to replace them, how do you
know if they are wearing down and what the hell does a rectifier tube do anyway!!!????

What the hell is a rectifier tube????

All of our tube amps require DC (direct current) to work. However, as you know, the power we
get from the wall is AC (alternating current). So, a device known as a rectifier is utilized within
the power supply of an amp and its job is solely to convert AC into DC - hence the name
"rectifier." In most modern tube amps this "rectification" is done by a solid-state device known
as a diode. However, a few "older" amps use a tube as their rectifying device and we happen to
distribute four (4) of 'em! They are the Vox AC30 (GZ34 rectifier tube) AC15 ( 5Y3 rectifier
tube), the re-issue JTM45 (GZ34) and the 1962 Bluesbreaker combo (also aGZ34).

Now, as the guitar's signal never actually passes through this part of the amp's circuit, one would
think that a rectifier tube has no direct effect on the sound of the amplifier…well, that's the
theory anyway! The truth however is different. The thing is, the rectifier tube has a direct bearing
on the power supply tube for the other tubes and, due to its relative inefficiency (compared to a
solid-state rectifier), it can and will “sag” when the demand for power is higher than it can
handle. And, as it happens, a lot of players like the sound and feel that results from this
"inefficiency." To hear and feel this "sag" in action, plug into a JTM45 or a 1962, crank the thing
up and then start attacking those strings! Believe me, once you've experienced this "sag" in
action, you'll fully understand why it is so named. I hope this information helps. Be careful out
there, wherever you are…

Why do I need to change tubes?

There are two main reasons why amplifier tubes need to be changed. The first reason is that the
tube(s) simply burn out, causing a malfunction with the amplifier. On the JCM900 series
amplifiers there is the fail safe fuse which is built in to indicate power tube failure. The tubes
need to be changed immediately so damage to the transformer is avoided. As I stated in my
previous tip, tubes have no definite life span and can burn out at any time. Thus the 90 day
warranty on them!

The second reason and perhaps the more important is to improve the performance (tone) of your
amp. The effect the tubes have on your amp is much like the effect that strings have on your
guitar. The more often you play and the more aggressive you play, the faster the tubes/strings
will wear out. Playing loud and hard will cause your tubes to lose power and tone long before
they finally die. This wear down process is very gradual and most people (including myself)
wouldn’t recognize the difference in tone until new tubes were put in and biased by an
authorized technician. I always mention to customers that if a power tube goes that they should
replace all of them so they will have equal wear over time. This will help provide a more even
tone and back up tubes are always a good thing.

A common problem that we’ve all seen with tubes is a microphonic pre amp tube. This is the
culprit that causes that high end squealing even without a guitar plugged in. I think Ted does that
also….. A way to check this is to unplug the amplifier, remove the back panel, turn the amp back
on and then let the tubes warm up. Take a pencil and gently tap each pre amp tube to see which
one has a loud ringing or crackling sound. They will all ring to a certain degree but the “bad” one
will be much more noticeable. Replace this one immediately. A second way to find it is to pull
out the suspect one(s) and replace it with new ones. This is simple because as you know there is
no bias procedure for pre amps tubes and any non –idiot (read: non-keyboard player) can do this
without hurting themselves, the amplifier or others. Plus it’s always a good idea to have
replacements for gigs anyway.
 How do I know if my tubes are wearing down?

These are the most common signs that tubes need replacement.
1) Excessive noise (hiss, hum) including squealing or microphonic tubes
2) Loss of high end. Little or no treble.
3) A muddy bottom end. Sounds like there is too much bass and note clarity is lost.
4) Erratic changes in the overall volume. Can go up and down but generally it goes much lower.
5) A blown H.T. fuse.
6) The freaking amp doesn’t work!

POWER AMPLIFIER DESIGN

Class A (Vox) vs. Class AB (Marshall & Fender) In order to understand the difference
between these two types of amplifier designs (there are others) you must first understand a little
about tubes.

Simple tube theory part 1 - The most basic tube used as an amplifier consists of three elements:
Cathode, Plate and Grid.
The Cathode is heated (by the heater, another element in all tubes except in very old
designs where the cathode is the heater) and forms a cloud of negatively charged electrons. The
Plate has a positive charge that attracts the electrons. The Grid is the audio input to the tube and
usually controls the flow of electrons. There is another part of the tube called a heater which
heats the Cathode
Amplification happens when a signal is applied to the grid and flows through the plate.
Because the signal voltage is relatively low and the plate current is relatively high, the small
changes produced by the audio signal at the Grid becomes much larger at the Plate, hence
amplification.
In a class A circuit, a positive voltage is applied to the Grid which controls the flow of
electrons. In this circuit design current is flowing at all times through the tube.
In a class AB design a negative voltage is applied to the grid which controls the flow of
electrons.
Each type of design has its advantages and disadvantages.

Class "A"

Advantages - The tube is ready to amplify the signal at all times. The signal is instantaneously
amplified because the tube does not have to "wake up: from a less than full operational state. A
30 watt Class "A" amp will sound louder than a 30 watt Class "AB" amp. Because current is
maximum at all times, the amp will have a smooth compression. There is not a lot of headroom
because of the lower plate voltages used in Class "A" amps. Instantaneous amplification and
smooth compression make for an amp that is responsive to the touch: the amp feels good and
playing it is a satisfying experience. Combined with EL84's in push-pull operation, the amp will
emphasize high order harmonics and the amp will "sing".

Disadvantages - Maximum current at all times means that the tubes are being strained even
without playing. Shorter tube life, lower power rating than a Class "AB" amp with the same tube
configuration. Power transformer needs to be upgraded in order to handle the high current
demands.

Class "AB"

Advantages - Longer tube life because the tubes are "idling" with lower Plate Current. Higher
power ratings with the same tube configuration. More headroom, tighter bass response and less
continuous demand on the power transformer.

Disadvantages - Not as "responsive" as a Class "A" amp.

TUBE CHART
MODEL # TUBE (# Used) IND. PART# PACK #
TSL100, TSL122 Svetlana EL34 EL34SVET PACK00026
(4) C3B99001A MPRE/3
ECC83/12AX7 (4)
TSL60, TSL601 Svetlana EL34 EL34SVET PACK00026
TSL602 (2) C3B99001A MPRE/3
ECC83/12AX7 (4)
DSL100 Svetlana EL34 EL34SVET PACK00026
(4) C3B99001A MPRE/3
ECC83/12AX7
(4)
DSL50 Svetlana EL34 EL34SVET PACK00026
(2) C3B99001A MPRE/3
ECC83/12AX7
(4)
DSL201 Edicron EL84 EL84EDI No Pack #
(2) C3B99001A MPRE/3
ECC83/12AX7 (4)
DSL401 Edicron EL84 EL84EDI No Pack #
(4) C3B99001A MPRE/3
ECC83/12AX7
(4)
4100 Sovtek 5881 (4) 5881/6L6WGC MOPV/2
ECC83/12AX7 C3B99001A MPRE/3
(3)
1959SLP Svetlana EL34 EL34SVET PACK00026
(4) C3B99001A MPRE/3
ECC83 /12AX7
(3)
1987X Svetlana EL34 EL34SVET PACK00026
(2) C3B99001A MPRE/3
ECC83 /12AX7
(3)
JTM45 Sovtek 5881 (2) 5881/6L6WGC MOPV/2
ECC83 12AX7 (3) C3B99001A MPRE/3
GZ34 Rectifier (1) C3D94001 No Pack #
1962 Sovtek 5881 (2) 5881/6L6WGC MOPV/2
ECC83 /12AX7 (4) C3B99001A MPRE/3
GZ34 Rectifier (1) C3D94001 No Pack #
JTM45 Offset KT66 N/A N/A
(2) C3B99001A MPRE/3
ECC83/12AX7 C3D94001 No Pack #
GZ34 Rectifier (1)
EL34 100/100 Svetlana EL34 EL34SVET PACK00026
(8) C3B99001A MPRE/3
ECC83 /12AX7 (2) ECC81 No Pack #
ECC81 /12AT7 (2)
EL34 50/50 Svetlana EL34 EL34SVET PACK00026
(4) C3B99001A MPRE/3
ECC83 /12AX7 (2) ECC81 No Pack #
ECC81 /12AT7 (2)
EL84 20/20 Edicron EL84 (4) EL84EDI No Pack #
ECC83 /12AX7 (2) C3B99001A MPRE/3
ECC82 /12AU7 (1) ECC82 No Pack #
JMP-1 ECC83 /12AX7 (2) C3B99001A MPRE/3
VS265R, VS102R, ECC83 /12AX7 (1) C3B99001A MPRE/3
VS100R, VS100RH,
VS65R

Speakers used in Marshall Cabinets

1960A/B – Celestion G12T-75 – four 12 inch 75 watt guitar speakers. Number one selling
cabinet offers the least coloration. A flat response, with great bass and sparkling highs. This
cabinet reproduces the amps sound most faithfully.
1960AV/BV – Celestion Vintage (30) – four 12 inch 70 watt guitar speakers. These speakers
offer a strong midrange punch and a very aggressive, in your face tone. The speakers use metal
magnets.

1960AX/BX – Celestion G12M Greenback – four 12 inch 25 watt guitar speakers. These
speakers offer the traditional Marshall sound and use a ceramic magnet. Very warm, but when
driven hard, the cone breaks up and sounds papery and thin. Not recommended with a 100-watt
head. Marshall 100 watt tube heads can put out well over 100 watts when cranked…You’ll be
buying lots of replacement Greenbacks.

1960TV- Celestion G12M Greenback – four 12 inch 25 watt guitar speakers. TV stands for Tall
Vintage and the cabinet is just that and is 4 inches taller that a standard 4x12 cabinet. This cab
recreates the classic look and tones of yesteryear.

1936 – Celestion G12T-75 – two 12 inch 75 watt guitar speakers

TSLC212 – One Marshall/Celestion Heritage 12 inch 80 watt guitar speaker and one Celestion
Vintage (30) 12 inch 70 watt guitar speaker. An extension cabinet for the TSL122, the mix of
two different speakers offers optimuim tone and performance.

VS212- Two Marshall/Celestion Gold Back 12 inch 80 watt guitar speakers

Marshall Amplifier Cover Chart

Model Part # List Price
All full size heads except BC40 $30.00
1959SLP
DSL201, DSL401 COVR00033 $35.00
1960A, 1960AV, 1960AC, BC94 $40.00
1960AX
1960B, 1960BV, 1960BC, BC95 $40.00
1960BX
1960TV BC43 $40.00
1922 BC42 $35.00
1962 BC52 $35.00
1912, 2101, 2501,4501,4101 BC41 $33.00
1922, 2102, 2502,4502,4102 BC42 $35.00
6101 BC75 $33.00
VS412B, 8412 BC841 $35.00
JCM602, JTM622 COV2 $35.00
JCM601, JTM312, JTM612 COV3 $35.00
JTM310 COV5 $35.00
JCMC12, JTMC12 COV6 $33.00
JCMC212, JTMC212 COV4 $33.00
VS100RH, 8100 BC810 $25.00
 VS30R, 8020 BC802 $25.00
VS65R, 8040 BC804 $27.00
VS232R, VS265R, VS102R BC824 $30.00
VS212,8240, 8280
VS100R, VS230R, 8080 BC808 $29.00
AS80R BCAS80 $35.00
JTM600, JCM600 COV9 $35.00
JTMC410B, JCMC410B COV8 $38.00
2555SL C40S -snakeskin $27.00
1960BSL C95S-snakeskin $40.00
1960ASL C94S-snakeskin $40.00
Pathfinder, Cambridge 15 VCOV1 on order, should be $27.50
here soon
Cambridge Reverb 30 & 30 VCOV2 on order, should be $29.50
Twin here soon
AC30/6TB and TBX VCOV30 on order, should be $45.00
here soon
AC15TB, TBX, TB2 V8015 $40.00
1987X, JTM45 BC53 $21.00

Amplifiers that DO NOT have Covers Available as of 5-7-00

Model Part # List Price

MG100RCD N/A
MG80RCD N/A
MG50RCD N/A
MG30RCD N/A
MG215RCD N/A
MG15RCD N/A
MG10MKII N/A
B25MKII N/A
VS15, VS15R N/A
TSL601 N/A
TSLC212 N/A
1959SLP N/A
JTM45OS N/A
TSL122, TSL602 N/A
1936 TBA
AS100D N/A
T25 N/A

Current Marshall Product Dimensions & Weights

All dimensions are in inches and weight in pounds
MODEL LENGTH HEIGHT DEPTH WEIGHT
AVT20 18.9 18.3 10.6 31.3
AVT50 20.3 21.8 11.2 41.0
AVT50H 26.5 9.8 10.0 27.3
AVT100 23.5 20.3 11.2 53.4
AVT150 23.5 20.3 11.2 53.4
AVT150H 26.4 10.7 9.8 33.1
AVT275 26.4 20.3 11.2 60.8
AVT112 23.5 20.3 11.4 44.2
AVT412A 26.5 28.0 12.0 (TOP) 14.0 (BOT) 68.0
AVT412B 26.5 28.0 14.0 71.8
DSL201 22.4 18.5 10.2 44.1
DSL401 22.4 18.5 10.2 50.7
DSL50 29.4 11.7 8.4 41.9
DSL100 29.4 11.7 8.4 46.3
TSL601 22.4 18.9 10.5 65.0
TSL602 26.7 19.9 10.5 79.4
TSL60 29.4 11.7 8.4 48.5
TSL122 26.7 19.9 10.5 75.0
TSL100 29.4 11.7 8.4 50.7
JTM45OS 24.5 9.1 8.7 40.9
1987X 26.0 10.2 10.2 33.7
JTM45 26.0 10.2 10.2 32.2
1959SLP 29.5 12.2 8.3 45.2
1962 29.1 23.6 9.3 (*10.4) 66.6
(*10.4 is the new depth on all 1962’s starting with # 2001-07-0185)

4100 29.5 12.2 8.7 41.4

TSLC212 26.7 19.7 10.5 50.3
JCMC12 22.2 18.1 10.4 28.7
JCMC212 26.1 20.3 10.6 41.9
1936 29.5 23.6 12.2 54.2
412OS 34.0 25.0 12.1 90.2
1960TV 29.9 35.8 11.2 (TOP) 15.0 (BOT) 86.0
1960A 29.9 32.7 11.2 (TOP) 14.2 (BOT) 80.2
1960AV 29.9 32.7 11.2 (TOP) 14.2 (BOT) 89.5
1960AC 29.9 32.7 11.2 (TOP) 14.2 (BOT) 83.6
1960AX 29.9 32.7 11.2 (TOP) 14.2 (BOT) 83.1
1960B 29.9 32.7 14.2 81.6
1960BV 29.9 32.7 14.2 91.3
1960BC 29.9 32.7 14.2 84.7
1960BX 29.9 32.7 14.2 84.2
MG10MKII 11.4 11.4 6.7 9.9
MG15RCD 14.8 14.0 7.9 14.3
MG15MS 14.8 37.0 8.0 (TOP) 9.5 (BOT) 46.3
MG30RCD 18.7 15.6 8.7 25.4
MG215RCD 19.3 14.0 9.1 22.0
MB25MKII 14.4 15.7 8.1 22.0
MG50RCD 20.9 18.1 10.6 44.1
MG80RCD 22.4 18.1 10.6 55.1
MG100RCD 22.4 9.1 10.6 39.7
MG412A 26.4 26.4 12.0 (TOP) 14.0 (BOT) 67.0
MG412B 26.4 26.4 14.0 69.0
AS50R 21.5 16.4 10.3 35.3
AS100D 23.6 21.0 9.8 (TOP) 10.2 (BOT) 46.3

FUSE CHART

MODEL # AMPERAGE VOLTS SIZE PART#

TSL100,TSL122 HT-1A 250V 20mm MFP20-1
Mains-4A 250V 32mm MFP32-4
DSL50 HT-500mA 250V 20mm PACK00006
Mains-3A 250V 20mm MFP20-3
DSL100 HT-1A 250V 20mm PACK00007
Mains-4A 250V 20mm MFP20-4
DSL201 HT-250mA 250V 20mm FUSE00011
Mains-2A 250V 20mm PACK00008
DSL401 HT-400mA 250V 20mm FUSE00050
Mains-2A 250V 20mm PACK00008
TSL60, TSL601 HT-500mA 250V 20mm MFP20-05
Mains-4A 250V 20mm MFP20-4
TSL602 HT-500mA 250V 20mm MFP20-05
Mains-3A 250V 20mm MFP20-3
EL34 50/50 HT-315mA 250V 20mm 2908201422
Mains –3.15A 125V 20mm F18
EL34 100/100 HT- 1A 250V 20mm MFP20-1
Mains-4A 250V 20mm MFP20-4
EL84 20/20 ----------------- NO EXTERNAL FUSES
8008 ----------------- NO EXTERNAL FUSES
4100 Mains-4A 250V 20mm MFP20-4
OPV-500ma 250V 20mm MFP20-05
1959SLP HT-1A 250V 20mm MFP20-1
Mains-4A 250V 20mm MFP20-4
1987X HT-500mA 250V 20mm MFP32-05
Mains-3.15A 250V 20mm MFP32-3
JTM45 HT-500mA 250V 32mm MFP32-05
Mains-3A 250V 32mm MFP32-3
JTM45 OS HT-500mA 250V 32mm MFP32-05
Mains-3A 250V 32mm MFP32-3
1962 HT-500mA 250V 32mm MFP32-05
Mains-3A 250V 32mm MFP32-3
 Marshall FOOTSWITCH CHART
(S)=SUPPLIED (O)=OPTIONAL

MODEL FOOTSWITCH RETAIL PRICE

TSL SERIES

TSL100 PEDL00021 (S) 175.00

TSL122 PEDL00021 (S) 175.00
TSL601 PEDL00021 (S) 175.00
TSL602 PEDL00021 (S) 175.00
TSL60 PEDL00021 (S) 175.00
SWITCHES CHANNELS/REVERB/FX LOOP

DSL SERIES

DSL100 PED801(S)/PED801 (O) 35.00

DSL50 PED801(S)/PED801 (O) 35.00
DSL401 PED802(S)/PED801 (O)
DSL201 PED801(S) 35.00
SWITCHES CHANELS AND OR REVERB

JCM600 SERIES

JCM600 P801 (S) 35.00

JCM601 P801 (S) 35.00
JCM602 P801 (S) 35.00
SWITCHES CHANNELS

JTM30/60 SERIES

JTM30 LINE P801 (O) 35.00

JTM60 LINE P801 (O) 35.00
SWITCHES CHANNELS

JCM900 SERIES

4100 P802 (O) CHANNELS & REVERB 40.00

4500 P802 (O) CHANNELS & REVERB 40.00
4102 P802 (O) CHANNELS & REVERB 40.00
4502 P802 (O) CHANNELS & REVERB 40.00
4101 P802 (O) CHANNELS & REVERB 40.00
4501 P802 (O) CHANNELS & REVERB 40.00
2100SLX P801 (O) CHANNELS 35.00
2500SLX P801 (O) CHANNELS 35.00
2100 MKIII P801 (O) CHANNELS 35.00
2500 MKIII P801 (O) CHANNELS 35.00
2101 MKIII P801 (O) CHANNELS 35.00
2501 MKIII P801 (O) CHANNELS 35.00
SWITCHES CHANNELS AND OR REVERB

Plexi SERIES

1959SLP NO FOOTSWITCH
1987X NO FOOTSWITCH
JTM45 NO FOOTSWITCH
1962 P801 (S) SWITCHES TREMOLO 35.00

Valvestate SERIES

VS265R PED803(S) CHANNELS & CHORUS 46.00

VS232R PED802 (?) CHANNELS 46.00
VS230 PED802 (?) CHANNELS 46.00
VS102R PED801(S) CHANNELS 35.00
VS100R PED802(S) CHANNELS 46.00
VS100RH PED802(S) CHANNELS 46.00
VS65R PED801(S) CHANNELS 35.00
VS30R PED801(O) CHANNELS 35.00
VS15R NO FOOTSWITCH
8010 NO FOOTSWITCH
8020 P801 (O) CHANNELS 35.00
8040 P801 (S) CHANNELS 35.00
8080 P802 (S) CHANNELS 40.00
8240 P803 (S) CHANNELS 40.00
8280 P803 (S) CHANNELS 40.00
8100 P802 (S) CHANNELS 40.00
8200 P802 (S) CHANNELS 40.00

POWER AMPS

VS120/120 P801 (O) SWITCHES DIMENSION 35.00

8008 NO FOOTSWITCH
EL84 20/20 P801 (O) SWITCHES DEEP 35.00
EL34 50/50 P801 (O) SWITCHES VOICING 35.00
EL34 100/100 P801 (O) SWITCHES VOICING 35.00

ACOUSTIC AMPS

AS80R P804 (S) SWITCHES REVERB/CHORUS 35.00

AS50R TBA

ANNIVERSARY AMPS

6100LM MPM3E (S) 125.00

6101LM MPM3E (S) 125.00
SWITCHES CHANNELS

PRE AMPS

JMP-1 MPM4E (O) 175.00

9001 FS04 (O) 125.00
9004 P801 (O) 35.00
SWITCHES CHANNELS
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