JCM 2000

DSL50 & DSL100 Heads
Marshall Amplification plc Denbigh Road, Bletchley, Milton Keynes, MK1 1DQ, England Tel: (01908) 375411 Fax: (01908) 376118 Web Site - http://www.marshallamps.com
Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement and development, Marshall Amplification plc reserve the right to alter specifications without prior notice. Nov 98

Handbook

WARNING !
A. ALWAYS fit a good quality mains plug conforming to the latest B.S.I. standards where necessary (UK only). B. NEVER attempt to by-pass the fuses or fit ones of the incorrect value. C. NEVER attempt to replace fuses or valves with the amplifier connected to the mains. D. DO NOT attempt to remove the amplifier chassis, there are no user serviceable parts. E. ALWAYS have this equipment serviced or repaired by competent qualified personnel. F. NEVER use an amplifier in damp or wet conditions. G. DO NOT switch the amplifier on without the loudspeaker connected. H. ENSURE that any extension cabinets used are of the correct impedance. I. PLEASE read this instruction manual carefully before switching on. WARNING : This apparatus must be earthed ! WARNING : Do not obstruct ventilation grille and always ensure free movement of air around the amplifier !

JCM 2000 Introduction

The Marshall 1959 Super Lead Plexi head and the JCM 800 Master Volume 2203 are recognised the world over as benchmarks in tone, feel, musical power and sheer size of sound. Imagine then, an amp which is like two footswitchable 1959 Super Leads in one, with the addition of reverb plus extra gain to take you into 2203 territory and beyond. If this sounds like a dream, it is no longer - now that the JCM 2000 Dual Super Lead range is here. The 100 Watt DSL 100 and 50 Watt DSL 50 Dual Super Lead heads feature two footswitchable channels, Classic Gain / Channel A and Ultra Gain / Channel B. As the names imply, each channel has a very different character, with Classic Gain / Channel A taking you from a clean to crunch 1959 and then, via a mode switch, up to a 2203 style brute. Ultra Gain / Channel B takes you from a hot rodded 2203, via a mode switch, to a higher gain response with the addition of mid-boost. Each channel also has its own individual Reverb level. The amps also feature a Deep Switch and Tone Shift which are common to both channels. The Deep Switch adds a resonant bass boost to your sound without muddying it up, while the Tone Shift selector shifts out the mid frequencies making the amp ideal for brutal metal tones, especially when combined with high gain settings. Their all round versatility and sheer size of sound make the DSL 100 and DSL 50 superb performance tools for todays most demanding playing situations and you can rest assured they are packed full of the famed Marshall TONE. Please read this handbook carefully before plugging in.

EQUALISATION

OFF OFF

REVERB

10 BASS

TONE SHIFT

ULTRA GAIN / CHANNEL B

0 GAIN

LEAD 1 LEAD 2

CLASSIC GAIN / CHANNEL A

CHANNEL 0 GAIN

CLEAN CRUNCH

JCM 2000 D S L

UAL UPE R E AD

STANDBY

PRESENCE

TREBLE

MIDDLE

CHANNEL B

CHANNEL A

VOLUME

DSL 100

DSL 100 & DSL 50

Front Panel functions

1. Power Switch
On / Off Switch for mains power to the amplifier.

Reverb

9. Channel B
Controls the reverb level on Channel B.

10. Channel A

Controls the reverb level on Channel A.

2. Standby Switch

Controls H.T. or high voltage to the valves to allow them to attain correct working temperature before playing. To prolong the life of the valves it is always advisable to switch on the Mains Power Switch (item 1) about 2 minutes before switching on the Standby (item 2). On switching off, the Standby should always be switched before the Power Switch. The standby facility is particularly useful live between sets and before playing, as it allows you to keep the valves operating at a functional temperature but without any sound being produced.

Ultra Gain / Channel B

11. Volume
Governs the volume level of Channel B.
12. Lead 1 / Lead 2 Switch
The DSL 100 and DSL 50s 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 master volume. The Lead 2 mode however gives a midboosted tone coupled with even higher gain possibilities.

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.

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.

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.

15. Channel Switch

Selects Channel A or Channel B.

5. Treble Control

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

16. LED

Indicates when Channel A has been selected.

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.

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 style grind.

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.

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 input for guitar.
DSL 100 & DSL 50 Rear Panel functions
CAUTION!: TO REDUCE THE RISK OF FIRE REPLACE FUSES WITH THE SAME TYPE AND RATING ONLY. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE. TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. ATTENTION!:
POUR EVITER LES RISQUES DINCENDIE UTILISER UN FUSIBLE DE MEME TYPE ET DE MEME CALIBRE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE. POUR EVITER LES RISQUES DE DECHARGES ELECTRIQUES, NE PAS OUVRIR LE COUVERCLE. CET APPAREIL NE COMPORTE AUCUNE PIECE SUSCEPTIBLE DETRE REPAREE PAR VOS SOINS. FAITES TOUJOURS APPEL A UN TECHNICIEN QUALIFIE POUR TOUTE REPARATION.
WARNING!: RISK OF HAZARDOUS ENERGY! AVIS!: ENERGIE ELECTRIQUE DANGEREUSE!

FOOTSWITCH

EFFECTS LOOP

LOUDSPEAKER OUTPUTS

100 Watts RMS

SELECT

MAINS INPUT

120V ~ 60 Hz 375 Watts

WARNING!: AVIS!:
SHOCK HAZARD. DO NOT OPEN. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. THIS APPARATUS MUST BE EARTHED.

Made in England by:

RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR. POUR EVITER LES RISQUES DINCENDIE ET DE DECHARGES ELECTRIQUES, NEXPOSEZ JAMAIS CET APPAREIL A LHUMIDITE OU A LA PLUIE. CONNECTER CET APPAREIL A LA TERRE.

CHANNEL

RETURN

LOOP LEVEL

Marshall Amplification plc, Bletchley, Milton Keynes, England.

16 Ohm ONLY

(4 & 8 Ohm PARALLEL JACKS)

4 Ohm / 8 Ohm

HT FUSE

MAINS FUSE

(T2A - 230V) (T4A - 120V)
Note: 16 Ohm Output Jack negates use of others. REFER TO MANUAL FOR FULL DETAILS. SE REFERER AU MANUEL POUR PLUS DE DETAILS.

Footswitch

1. Channel
By connecting the supplied PED801 footswitch to this jack it is possible to footswitch between Channel A and Channel B. The footswitch will override the front panel Channel switch position (item 15).

6. 16 Ohm Output

For the connection of a 16 Ohm speaker cabinet. It should be noted that when this Speaker Output is in use the remaining Speaker Outputs, items 7 and 8, will become inoperational.
7. & 8. 4 & 8 Ohm Outputs
For use when the total impedance of speaker cabinets used is either 4 or 8 Ohms. That is, when using either a single 4 Ohm cab, a single 8 Ohm, two 8 Ohm cabs or two 16 Ohm cabs.

2. Reverb Footswitch

By connecting another PED801 footswitch (optional) to this jack it is possible to remotely switch reverb on and off.

Effects Loop

3. Send
For connection to the input of an external effects processor.

9. Impedance Selector

Allows selection of 4 or 8 Ohms impedance for items 7 & 8. See Loading Points.

10. Mains fuse

See rear panel for correct value.

4. Return

For connection from the output of an external effects processor.

11. Mains Input

For connection to mains supply.

5. Loop Level

The loop level on the DSL 100 and DSL 50 can be adjusted to match either floor pedals, requiring a low level or effects processors which require a high level.

12. H.T. fuse

Loading Points
One 4 Ohm cabinet, set to 4 Ohms One 8 Ohm cabinet, set to 8 Ohms Two 8 Ohm cabinets, set to 4 Ohms Two 16 Ohm cabinets, set to 8 Ohms N.B. Always ensure that proper speaker leads are used to connect speakers to the DSL 100 and DSL 50, not guitar leads!

Loudspeaker Outputs

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. The DSL 100 and DSL 50 feature three outputs, a dedicated 16 Ohm output and two outputs selectable between 4 and 8 Ohms. The DSL 100 and DSL 50 should be run into a minimum impedance of 4 Ohms.
WARNING : RISK OF HAZARDOUS ENERGY! AVIS : ENERGIE ELECTRIQUE DANGEREUSE! If loudspeaker is disconnected a high voltage can be present at these output terminals. Operation in this manner can damage your amplifier, therefore ensure that loudspeaker is properly connected.