JMP-1 HANDBOOK

ENGLISH

From The Chairman

I would like to thank you personally for selecting the JMP-1 MIDI Pre-amp. As our first venture into MIDI controlled guitar equipment, many hours of development have been spent ensuring that it fulfils the functions that you really need to cope with todays widely varied playing environments. We have always worked very closely with guitarists from many different fields and their valuable input has been an essential ingredient in the creation of the JMP-1. My design team is made up of guitar players who fully understand the needs and realities of guitar performance. They have had a free hand in making this pre-amp sound quite simply the best. My confidence in their ability is absolute and it gives me great pride to see and hear the traditions of Marshall improved through progress, whilst retaining the classic tonal authority that is the Marshall hallmark. Please read this handbook carefully before operating your JMP-1 so that you can fully enjoy the advantages of our research and technology.

A. B. C. D. E.

WARNING! - Important safety instructions
WARNING: This apparatus must be earthed!
PLEASE read this instruction manual carefully before switching on. ALWAYS use the supplied mains lead, if a replacement is required please contact your authorised Marshall Dealer. NEVER attempt to by-pass the fuses or fit ones of the incorrect value. DO NOT attempt to open the apparatus, there are no user serviceable parts. Refer all servicing to qualified service personnel including replacement of fuses and valves. The internal battery is not user changable. Servicing is required when the apparatus has been damaged in any way, such as when the power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally or has been dropped. F. NEVER use an amplifier in damp or wet conditions. No objects filled with liquids should be placed on the apparatus. G. ALWAYS unplug this apparatus during lightning storms or if unused for long periods of time. H. PROTECT the power cord from being walked on or pinched particularly at plugs, convenience receptacles and at the point where they exit from the apparatus.
Note: This equipment has been tested and found to comply with the requirements of the EMC directive (Environments E1, E2 and E3 EN 55103-1/2) and the Low Voltage directive in the E.U. EUROPE ONLY - Note: The Peak Inrush current for the JMP-1 is 800mA.
Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and the receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Any changes or modifications not expressly approved by the party responsible for compliance may void the users authority
to operate the equipment.
Note: It is recommended that all audio and Midi cables used to connect to the JMP-1 are of a high quality screened type. These should not exceed 10 metres in length. WARNING: Always ensure free movement of air around the apparatus! Particular care should be taken if installing the apparatus in a
rack, so that the flow of air is not impeded. USA ONLY - DO NOT defeat the purpose of the polarised or grounding type plug. A polarised plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
Follow all instructions and heed all warnings KEEP THESE INSTRUCTIONS !

Contents

Description Introduction JMP-1 Front Panel Features Rear Panel Features When You Switch On Creating Your Sounds Storing Your Sounds Sound Selections Factory Sounds Some Notes on MIDI MIDI Channel MIDI Mapping Four Way Footswitch To Re-initialise The JMP-1 System Exclusive MIDI Implementation Chart Connection Diagram Front and Rear Panel Layout Personal Sound Setting Table Page number 4-6 7-11-A B C

Introduction

The relationship between the guitarist and amplifier has been our prime concern since the earliest Marshalls were produced. We always aim to give that extra edge, which can help to inspire the player, fuelling creativity and the ability to express. Advances in technology have allowed us to modify and enhance this basic principle for the benefit of the musician. However, we have never lost sight of that extra emotional drive that only valves are capable of producing. The whole character of our unique sound emanates from the breathing full bodied pure tone of the valve. Your JMP-1 MIDI pre-amp is a carefully designed coalescence between modern MIDI technology and classic Marshall valve circuitry. Its many tones are all valve generated and presented in a way that is both comfortable and familiar to guitar players. The digital control capabilities add a new degree of flexibility to the way in which the tones can be switched and processed. The advantages provided by this level of control are truly astounding. After studying the manual and with a little practical exploration, you will find an unbelievable range of sounds and will very soon wonder how you managed without MIDI. The only limit is your own imagination.
JMP-1 Front Panel Features
1. Input Socket 2. Headphone Socket Connect the guitar to this socket. For the connection of stereo headphones. Headphones with an impedance of 600 Ohms will give the best performance. Connecting headphones does not disable the outputs of the pre-amp. Controls the volume level from the master left and right outputs (Item 25). The display is split into two sections and shows patch and data information. Push this key to enter patch selection mode (0-99). The patch key LED will illuminate to indicate patch mode. Use this key to store a patch in the memory.

3. Output Level Control 4. Display 5. Patch Key 6. Store Key

Operational Note:

Push once and the store key LED will flash. The data entry control (7) can now be used to change the storage location. Pushing patch or a parameter key will abandon the store. Push the store key again to complete the store. (Also see section Creating Your Sounds).
7. Data Entry Control 8. Volume Key
This rotary control is used to increment/decrement data information, or to select a patch in patch mode. Push this key to adjust the patch volume level between 0 and 20. The volume key LED will illuminate to indicate that the volume parameter has been selected. The data display will show the current value. The value can then be adjusted using the rotary data entry control (7). Push this key to adjust the level of gain between 0 - 20. These keys should be combined to shape the Bass, Middle, Treble, and Presence tone parameters. They can all be adjusted between -6 and +6.
9. Gain Key 10-13. Tone Control Keys

14. Effect Key

This key varies the mix of the stereo effects loop between 0 and 12. At 0 only the direct signal is heard and at 12 only the effected signal is heard. When at 12 the loop is effectively running in series i.e. no direct signal. This is ideal for use with a graphic equalizer or compressor limiter. As the effect parameter level is reduced, more direct signal is introduced as with a parallel loop. This is best suited to Chorus, Delay, Reverb etc. This key selects overdrive 1, a warm vintage drive reminiscent of Marshall Super Lead amps through to modern day Master Volumes. Selects overdrive 2. This a tightly focused high gain drive which can be smooth or aggressive depending on the E.Q. and gain settings. This is a subtle low frequency character control which can be switched in or out of any sound selection. Selects Clean 1, which has a full warm character and pure vintage tone. Selects Clean 2. This has a bright sparkling tone ideal for clean picking and ringing chords. The mapping function enables the mapping of incoming MIDI patch messages to internal patches and outgoing MIDI patch numbers to external devices. (See MIDI mapping). This key selects the MIDI Channel on which the JMP-1 transmits and receives MIDI information. On/Off switch for mains power. Please ensure the apparatus is switched off and unplugged from the mains electricity supply before being moved.

15. OD1 Key

16. OD2 Key
17. Bass Shift 18. Clean 1 Key 19. Clean 2 Key 20. MIDI-Mapping Key
21. MIDI Channel Key 22. Power Switch

Rear Panel Features

23. Emulated Outputs Left and right outputs featuring Marshall speaker emulation. The volume level from these outputs is controlled by the volume level parameter key (8) not by the output level control (3).
Operational Note: Stereo Speaker Emulation.
The Marshall speaker emulation circuit is a special filter which gives a signal virtually identical in sound to a speaker cabinet. This allows you to link directly to the PA and obtain a stunning direct sound in a live situation. In the studio it will give a true guitar tone direct to tape.

24. Emulated Level Selection Switch Selection switch providing +4dB or -10dB output levels on the speaker emulated outputs. 25. Master Outputs 26. Master Level Selection Switch Left and right outputs for connection to a power amplifier. Gives +4dB or -10dB Master output level options.

27. Effects Return Jacks

Left and right jack sockets for connection from the outputs of an external effects processor. If using a mono effects processor the left hand return socket only should be used. In this instance both the left and right master outputs and speaker emulated outputs will now be working in mono. Provides level selection of +4dB or -10dB to match the level of external effects processors. Output for connection to the input of the external effects processor. Connection point for optional Marshall four way footswitch to give 4 patch selection. Sends outgoing MIDI messages from the JMP-1. Sends out MIDI messages identical to those coming in through the MIDI IN terminal. Terminal to receive incoming MIDI messages from external MIDI device. Your JMP-1 is provided with a detachable mains (power) lead which is connected here. Before connecting for the first time, please ensure that your JMP-1 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.
28. Effects Level Selection Switch 29. Effects Send Jack 30. Footswitch Socket 31. MIDI OUT 32. MIDI THRU 33. MIDI IN 34. MAINS INPUT

When you switch on

When switching on the JMP-1, the unit will run through an initialising process and will then default to the patch number that was selected when the JMP-1 was last switched off (Fig1). Your JMP-1 is now ready for action.

Fig 1 Patch

Patch Data

Creating Your Sounds

Your JMP-1 is capable of producing a vast array of different tones, stored in the 100 available patches. The simplicity of creating and storing these sounds is a major advantage and feature of the pre-amp. A Patch is a combination of all the programmable elements that you put in, therefore if all tone and volume selections are at 0, no sound will be produced. Each patch is made up of: (A) The channel selection i.e. OD1, OD2, Clean 1, Clean 2 & Bass Shift (B) The individual volume, gain, tone and effects levels that you have selected. The first step is to select a patch by pressing the patch key (5) using the rotary data control (7) to reach the desired patch number. The next stage is to build your required sound, firstly by selecting the channel OD1, OD2, Clean 1 or Clean 2 with or without bass shift, then by selecting the volume, gain, tone and effects levels. These controls work in exactly the same way as a normal Marshall amplifier, where increasing the gain brings in more overdrive and the tone selections interact to shape the sound. The JMP-1s controls are there to be used to the full and by experimenting with all the extremes you will quickly understand its capabilities and build your own library of sounds.

Storing Yours Sounds

When you are satisfied with the sound that you have created, storage is achieved in the following way. Push the store key (6) once , the LED will flash (Fig 2). Select the desired patch location using the data entry control (7). (Pressing the patch or any parameter key will abandon the store). Push store a second time to complete the store

Fig 2 Store

Memory Lock
A memory lock can be set to keep your data safe. This will disable Fig 3 Memory lock Activated any functions that write data to the internal memory i.e Store, Mapping, Channel & System Exclusive. If the memory is locked an 'L' Patch Data will appear in the right of the display when you attempt a store (Fig 3). At this stage the lock can be toggled on or off by pressing the Channel key.

Sound Selections

There is a definite identifiable character to the Marshall Sound throughout the years. largely derived from the unique qualities of valve power. Our expertise in harnessing valve drive has been fully exploited in the JMP-1 to recreate the various classic sounds and to generate new tones that will become the classics of the future. Bearing in mind the variations in guitar types and styles, plus the flexibility of the control parameters, the following guide gives an indication of each channel's basic sound type.

Clean 1

This is a warm full bodied clean tone, ideal for rich chords, which can be softened for jazz tones or, by adding gain, will suit clean lead lines with a hint of vintage distortion.

Clean 2

In complete contrast to Clean 1, Clean 2 is bright and glassy with a clear jangling tone. In addition it contains the unique lively edge found only in the early JTM 45 and Super Lead Amps operating at volumes just below distortion.
Features the purity of distortion from the golden age of the plexi glass Super Leads. As the gain is increased you pass through degrees of distortion into a rich higher gain mode, with just the right nuances for the modern blues rock player. Vintage crunch, modern metal and fat blues lead sounds are all readily available.
Tightly focused stunning high gain is what you will find in OD2. Modern and aggressive, smooth and fluid, the gain levels and singing tone of this channel will give you infinite sustain whilst retaining a pure toneful quality.

Bass Shift

The Bass Shift option can be switched in or out of any channel selection. When selected it thickens the bottom end of the sound and tightens the playing feel. On clean selections it adds body and on overdrive provides the extra low end throb so essential for heavy rock sounds.

Factory Sounds

Your JMP-1 has 26 sounds ready programmed into patches 00-25. These patches have been programmed by experienced guitarists. They have also been used in full stage and studio performance. These sounds can all be edited in the way described earlier and recalled if necessary using the procedure described in the section-to re-initialise the JMP-1.

Pre set sounds

TITLE 00 Smoke-em 01 Chunkus 02 Sticky 03 Cleeeeen 04 British Steel 05 Nasal Tone 06 Quo !!! 07 Angus-Ho 08 Filth 09 Bloooz-O 10 Bloooz-O+ 11 Tej'as 12 Modster 13 Biffa 14 More Gary 15 Mid-lands 16 Sunshine 17 Britaevious 18 Trash 19 800's 20 LA Crunch 21 Crusher 22 Grit Clean 23 Shred Spread 24 Warm Grit 25 Mellow MODE OD 2 OD 1 OD 1 CL 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 1 OD 1 OD 1 OD 2 OD 1 OD 2 CL 2 OD 1 OD 1 OD 1 OD 1 CL 2 OD 1 CL 1 CL 1 B/S off off on off on on on on on on on on on off on on on on on off on on off on on off VOL GAIN BASS -MID -3 --1 -2 -1 -6 -2 -2 --2 -1 -4 -3 -2 TREB -PRES 6 1
Pre set sounds descriptions
TITLE 00 Smoke-em 01 Chunkus 02 Sticky 03 Cleeeeen 04 British Steel 05 Nasal Tone 06 Quo !!! 07 Angus-Ho 08 Filth 09 Bloooz-O 10 Bloooz-O+ 11 Tej'as 12 Modster 13 Biffa 14 More Gary 15 Mid-lands 16 Sunshine 17 Britaevious 18 Trash 19 800's 20 LA Crunch 21 Crusher 22 Grit Clean 23 Shred Spread 24 Warm Grit 25 Mellow MODE OD 2 OD 1 OD 1 CL 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 1 OD 1 OD 1 OD 2 OD 1 OD 2 CL 2 OD 1 OD 1 OD 1 OD 1 CL 2 OD 1 CL 1 CL 1 ATTRIBUTES Lots of drive & sustain Big, Ugly & Fat Edgy grime Very Warm & Heavy Thin, midrangy & cutting Bright crunch Mid '70s Marshall Bright, semi scooped Plexi 50 Watt Plexi 100 Watt Punchy/dark drive Mod-ed Plexi Obnoxious overdrive JTM 45 on "6" Honky mid range voice Cleaner than you think! Modern clean - Pick's up EFX well Very broad modern tone JCM800 - Deliverin' the dB's Mod-ed JCM800 on "5" JCM900 on "8" Clean & on the edge Full scoop shred tone Dark & on the edge Clean & pretty PICKUPS COMMENTS
It starts here Gain controls "chunkiness" Big change for different guitars Lots of headroom English overdrive When tracks are full, this fits Rocks you all over the world Tone Great for chords Classic tone As above, more aggressive Increase gain for vintage singles More than enough In your face crunch Started it all Cuts through Increase Treb. for dark guitars Hi output pickups will distort Fills up a lot of space Set bass to suit your guitar Decrease Pres. for single coils Mid control very effective Hi output pickups will distort Bass control is the key here Hi output pickups will distort Roll back guitar tone for full "Jazz"

Some Notes On MIDI

In a modern guitar set-up you might have a number of elements, a pre-amp and an effects processor or two. By using MIDI to link these devices together, you can control them all simultaneously. This is the real use of MIDI for the guitarist (Musical Instrument Digital Interface). Most MIDI devices are equipped with three MIDI terminals, MIDI IN, MIDI THRU and MIDI OUT. The connection between these terminals is quite simple. A MIDI IN terminal would be connected to a MIDI Out or MIDI THRU terminal. Messages are sent from a MIDI OUT terminal to a MIDI IN terminal. MIDI messages received at the MIDI IN terminal are simultaneously routed through at the MIDI THRU terminal. So the messages being sent via MIDI THRU are a direct copy of the messages received at MIDI IN. The MIDI OUT terminal is not the same as the MIDI THRU terminal. The JMP-1 will send its own MIDI messages via the MIDI OUT terminal. There are various different MIDI messages that one device can send to another. The most important message is the MIDI program (patch) change message. When the JMP-1 receives a program change message it will call up a patch. Whenever the JMP-1 calls up a new patch it also sends a MIDI program change message via the MIDI OUT terminal. Pressing a pedal on a MIDI foot controller will send a MIDI program change message. Each MIDI program change message carries a number between 00 and 127 corresponding to the patch/program to be called up. The JMP-1 has 100 internal patches but will respond to all 128 MIDI program change messages, by using a MIDI mapping table.

MIDI Channel

Another important thing to know about MIDI, is the idea of MIDI Channels. Most MIDI messages are sent over a MIDI Channel, of which there are 16. In order for one MIDI device to communicate with another, both devices must be operating on the same MIDI Channel. The JMP-1 can be set to operate on any one of the 16 MIDI channels or in Omni mode. In Omni mode the JMP-1 will respond to MIDI messages on all channels and will transmit on channel 1. To Set The MIDI Channel: After pressing the channel key the display will indicate the current MIDI Channel setting (Fig 4).

Fig 4 Channel selection

Use the data entry control to select channels 1 to 16 or Omni mode. Press the channel key again to store the channel setting and return to patch mode. Note: The MIDI Channel setting is a Global` parameter and not stored with an individual patch. MIDI Channel setting is retained whilst the unit is not powered.

MIDI Mapping

MIDI mapping is a simple and very useful facility, but it often confuses those who are new to MIDI. The MIDI Mapping table is stored in the memory and is made up of two parts, Input mapping and Output mapping. MIDI IN Incoming MIDI Data MIDI THRU MIDI OUT
4 Way Footswitch (Patches 1-4)

Input Mapping

Output Mapping to MIDI Device 00-127
Call up Internal Patch (00-99)

Front Panel Control

The input mapping table makes it possible to transpose any incoming MIDI Program Change number to select any desired JMP-1 patch. For Example: MIDI Program Change 124 could be mapped to JMP-1 patch 36, so whenever the JMP-1 received MIDI Program Change 124 it would call up patch 36. The Input mapping function is invaluable if you are using a MIDI foot controller that sends fixed Program Change messages.

Output Mapping

In the same nature as input mapping, the output mapping function can transpose any outgoing Program Change message. If the MIDI OUT of the JMP-1 is driving an external effects processor, the JMP-1s output mapping can be used to select a particular effects program for each JMP-1 patch, with the advantage that several JMP-1 patches can share the same program on the effects processor. To Edit The Mapping Table: 1) Push Map key once to select incoming MIDI Program number. (See Fig 5). Use the data entry control to select the incoming Program number (00 to 127). The decimal point signifies program numbers 100 and over. 2) Push again to select the Internal Patch to be called up (00 to 99) (See Fig 6). 3) Push the Map key a third time to set the outgoing MIDI Program Change message to (00 to 127) (See Fig 7). 4) Pushing the Map key a fourth time will store edits and return the JMP-1 to Patch mode. Note: The mapping table is remembered whilst the JMP-1 is not powered.

Fig 5. Input Mapping

Fig 6. Internal Patch Number
Fig 7. Outgoing MIDI program

Indicates 100-127

Four Way Footswitch
The optional Marshall four way footswitch (model MPM 4E) provides a simple means of selecting four patches. The footswitch will call up patches one to four, however, the Mapping facility can be used to call up any four of the 100 JMP-1 patches.
To Re-initialise The JMP-1
This procedure will re-load the factory sounds and reset the mapping table.
WARNING:- Your edited sounds will be lost if the unit is re-initialised.
Procedure, Hold down OD1 and Clean 1 whilst switching on the power.

Memory back-up

The JMP-1 has an internal battery back-up system to keep your patches safe while the unit is switched off. This battery should last for several years. Every time you power up the JMP-1, a self check program is run. If any errors are detected an "E" will be displayed momentarily (Fig 8). If this should occur repeatedly, then it is likely that the internal back-up battery needs replacing. Contact your Marshall dealer as soon as possible and back up your patches (see System Exclusive).

Fig 8. Error Detected

System Exclusive
By using system exclusive MIDI code, it is possible to dump all your patch and mapping settings to an external MIDI device such as a sequencer or data filer.
To Transmit MIDI Dump Data:Connect a MIDI cable from the MIDI OUT of the JMP-1 to the MIDI IN of the receiving device. Press the PATCH key and the VOLUME key together to begin transmitting. The display will indicate that a MIDI exclusive dump is in progress by counting the data blocks (0 thru' 9) as they are transmitted (Fig 9). When the transmission is completed, the display will return to normal.
To Receive a System Exclusive Dump:Connect a MIDI cable from the MIDI OUT of the transmitting device to the MIDI IN on the JMP-1. (Ensure that the memory lock is off - see page 6)
WARNING:- Receiving a MIDI dump will re-write all your patches and mapping data, so be sure that you are loading the correct data before you start. If you are unsure then make a back up of your current data beforehand.
Execute the dump from the transmitting device. When the JMP-1 recognises the system exclusive code it will automatically respond by counting the MIDI data blocks as they are successfully received (Fig 9). If this does not happen then re-check the MIDI connections and that you are sending the correct file. When the transmission is completed, the display will return to normal.
Fig 9. System Exclusive Dump
If their is an error (Fig 10) in the MIDI data the JMP-1 will abandon the load and return to normal. Try the load again, the error could be due to a file corruption or faulty cable.
Fig 10. System Exclusive error
MIDI Implementation Chart
FUNCTION Basic Channel Mode Note Number Velocity After Touch Pitch Control Change Program Change System Exclusive System Common System Real Time :Song Pos :Song Sel :Tune :Clock :Commands True# Default Channel Default Message Altered True Voice Note ON Note OFF Key's Channels Bender
TRANSMITTED 1 1-16 0-127 0-
RECOGNIZED OMNI 1-16 MODE 1 0-127 0-

REMARKS Memorized

See Note
Aux. Messages :Local ON/OFF :All Notes Off :Active Sense :Reset Notes Mode 1 :OMNI ON, POLY Mode 3 :OMNI ON, POLY
System Exclusive Patch dump and load when Memory lock is off. Mode 2 :OMNI ON, MONO Mode 4 :OMNI ON, MONO 0:YES :NO
Output Level Input Phones

Volume

Middle

Treble

Presence

Effect

VALVE MIDI PRE-AMP JMP-1

Bass Shift Clean 1

Channel

Made in England

JMP-1 Rear Panel Features
Marshall Amplification plc. England WARNING: Fire and Shock Hazard - Do not Expose Unit to Rain or Moisture. Shock Hazard This Unit Must be Earthed. Do Not Open. AVIS: Risque de choc Electrique - Ne Pas Ouvrir WARNING: No User Serviceable Parts Inside. Refer to Qualified Personnel.

FOOTSWITCH

EFFECTS
+4 dB -20 dB +4 dB -20 dB

MASTER

SPEAKER EMULATOR

+4 dB -20 dB

MAINS INPUT 230V ~ 50Hz 20 Watts

R. RETURN

L. RETURN

R. OUTPUT

L. OUTPUT

Valve Midi Pre-amp

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

Introduction
The relationship between the guitarist and amplifier has been our prime concern since the earliest Marshalls were produced. We always aim to give that extra edge, which can help to inspire the player, fuelling creativity and the ability to express. Advances in technology have allowed us to modify and enhance this basic principle for the benefit of the musician. However, we have never lost sight of that extra emotional drive that only valves are capable of producing. The whole character of our unique sound emanates from the breathing full bodied pure tone of the valve. Your JMP-1 MIDI pre-amp is a carefully designed coalescence between modern MIDI technology and classic Marshall valve circuitry. Its many tones are all valve generated and presented in a way that is both comfortable and familiar to guitar players. The digital control capabilities add a new degree of flexibility to the way in which the tones can be switched and processed. The advantages provided by this level of control are truly astounding. After studying the manual and with a little practical exploration, you will find an unbelievable range of sounds and will very soon wonder how you managed without MIDI. The only limit is your own imagination.
JMP-1 Front Panel Features
1. Input Socket 2. Headphone Socket Connect the guitar to this socket. For the connection of stereo headphones. Headphones with an impedance of 600 Ohms will give the best performance. Connecting headphones does not disable the outputs of the pre-amp. Controls the volume level from the master left and right outputs (Item 25). The display is split into two sections and shows patch and data information. Push this key to enter patch selection mode (0-99). The patch key LED will illuminate to indicate patch mode. Use this key to store a patch in the memory.

3. Output Level Control

4. Display

5. Patch Key

6. Store Key

Operational Note:

Push once and the store key LED will flash. The data entry control (7) can now be used to change the storage location. Pushing patch or a parameter key will abandon the store. Push the store key again to complete the store. (Also see section Creating Your Sounds).

7. Data Entry Control

This rotary control is used to increment/decrement data information, or to select a patch in patch mode. Push this key to adjust the patch volume level between 0 and 20. The volume key LED will illuminate to indicate that the volume parameter has been selected. The data display will show the current value. The value can then be adjusted using the rotary data entry control (7). Push this key to adjust the level of gain between 0 - 20.

8. Volume Key

9. Gain Key

10-13. Tone Control Keys

These keys should be combined to shape the Bass, Middle, Treble, and Presence tone parameters. They can all be adjusted between -6 and +6. This key varies the mix of the stereo effects loop between 0 and 12. At 0 only the direct signal is heard and at 12 only the effected signal is heard. When at 12 the loop is effectively running in series i.e. no direct signal. This is ideal for use with a graphic equalizer or compressor limiter. As the effect parameter level is reduced, more direct signal is introduced as with a parallel loop. This is best suited to Chorus, Delay, Reverb etc. This key selects overdrive 1, a warm vintage drive reminiscent of Marshall Super Lead amps through to modern day Master Volumes. Selects overdrive 2. This a tightly focused high gain drive which can be smooth or aggressive depending on the E.Q. and gain settings. This is a subtle low frequency character control which can be switched in or out of any sound selection. Selects Clean 1, which has a full warm character and pure vintage tone. Selects Clean 2. This has a bright sparkling tone ideal for clean picking and ringing chords. The mapping function enables the mapping of incoming MIDI patch messages to internal patches and outgoing MIDI patch numbers to external devices. (See MIDI mapping). This key selects the MIDI Channel on which the JMP-1 transmits and receives MIDI information. On/Off switch for mains power.

14. Effect Key

15. OD1 Key

16. OD2 Key

17. Bass Shift

18. Clean 1 Key

19. Clean 2 Key

20. MIDI-Mapping Key

21. MIDI Channel Key

22. Power Switch

Rear Panel Features
23. Emulated Outputs Left and right outputs featuring Marshall speaker emulation. The volume level from these outputs is controlled by the volume level parameter key (8) not by the output level control (3).
Operational Note: Stereo Speaker Emulation.
The Marshall speaker emulation circuit is a special filter which gives a signal virtually identical in sound to a speaker cabinet. This allows you to link directly to the PA and obtain a stunning direct sound in a live situation. In the studio it will give a true guitar tone direct to tape.
24. Emulated Level Selection Switch Selection switch providing +4dB or -10dB output levels on the speaker emulated outputs. 25. Master Outputs Left and right outputs for connection to a power amplifier.
26. Master Level Selection Switch 27. Effects Return Jacks
Gives +4dB or -10dB Master output level options. Left and right jack sockets for connection from the outputs of an external effects processor. If using a mono effects processor the left hand return socket only should be used. In this instance both the left and right master outputs and speaker emulated outputs will now be working in mono. Provides level selection of +4dB or -10dB to match the level of external effects processors. Output for connection to the input of the external effects processor. Connection point for optional Marshall four way footswitch to give 4 patch selection. Sends outgoing MIDI messages from the JMP-1. Sends out MIDI messages identical to those coming in through the MIDI IN terminal. Terminal to receive incoming MIDI messages from external MIDI device.
28. Effects Level Selection Switch

29. Effects Send Jack

30. Footswitch Socket
31. MIDI OUT 32. MIDI THRU

33. MIDI IN

When you switch on

Fig 1 Patch

When switching on the JMP-1, the unit will run through an initialising process and will then default to the patch number that was selected when the JMP-1 was last switched off (Fig1). Your JMP-1 is now ready for action.

Creating Your Sounds

Your JMP-1 is capable of producing a vast array of different tones, stored in the 100 available patches. The simplicity of creating and storing these sounds is a major advantage and feature of the pre-amp. A Patch is a combination of all the programmable elements that you put in, therefore if all tone and volume selections are at 0, no sound will be produced. Each patch is made up of: (A) The channel selection i.e. OD1, OD2, Clean 1, Clean 2 & Bass Shift (B) The individual volume, gain, tone and effects levels that you have selected. The first step is to select a patch by pressing the patch key (5) using the rotary data control (7) to reach the desired patch number. The next stage is to build your required sound, firstly by selecting the channel OD1, OD2, Clean 1 or Clean 2 with or without bass shift, then by selecting the volume, gain, tone and effects levels. These controls work in exactly the same way as a normal Marshall amplifier, where increasing the gain brings in more overdrive and the tone selections interact to shape the sound. The JMP-1s controls are there to be used to the full and by experimenting with all the extremes you will quickly understand its capabilities and build your own library of sounds.

Storing Yours Sounds

When you are satisfied with the sound that you have created, storage is achieved in the following way. Push the store key (6) once , the LED will flash (Fig 2). Select the desired patch location using the data entry control (7). (Pressing the patch or any parameter key will abandon the store). Push store a second time to complete the store

Fig 2 Store

Patch Data

Memory Lock

A memory lock can be set to keep your data safe. This will disable any Fig 3 Memory lock Activated functions that write data to the internal memory i.e Store, Mapping, Patch Data Channel & System Exclusive. If the memory is locked an 'L' will appear in the right of the display when you attempt a store (Fig 3). At this stage the lock can be toggled on or off by pressing the Channel key.

Sound Selections

There is a definite identifiable character to the Marshall Sound throughout the years. largely derived from the unique qualities of valve power. Our expertise in harnessing valve drive has been fully exploited in the JMP-1 to recreate the various classic sounds and to generate new tones that will become the classics of the future. Bearing in mind the variations in guitar types and styles, plus the flexibility of the control parameters, the following guide gives an indication of each channel's basic sound type.

Clean 1

This is a warm full bodied clean tone, ideal for rich chords, which can be softened for jazz tones or, by adding gain, will suit clean lead lines with a hint of vintage distortion.

Clean 2

In complete contrast to Clean 1, Clean 2 is bright and glassy with a clear jangling tone. In addition it contains the unique lively edge found only in the early JTM 45 and Super Lead Amps operating at volumes just below distortion.
Features the purity of distortion from the golden age of the plexi glass Super Leads. As the gain is increased you pass through degrees of distortion into a rich higher gain mode, with just the right nuances for the modern blues rock player. Vintage crunch, modern metal and fat blues lead sounds are all readily available.
Tightly focused stunning high gain is what you will find in OD2. Modern and aggressive, smooth and fluid, the gain levels and singing tone of this channel will give you infinite sustain whilst retaining a pure toneful quality.

Bass Shift

The Bass Shift option can be switched in or out of any channel selection. When selected it thickens the bottom end of the sound and tightens the playing feel. On clean selections it adds body and on overdrive provides the extra low end throb so essential for heavy rock sounds.

Factory Sounds

Your JMP-1 has 26 sounds ready programmed into patches 00-25. These patches have been programmed by experienced guitarists. They have also been used in full stage and studio performance. These sounds can all be edited in the way described earlier and recalled if necessary using the procedure described in the section-to re-initialise the JMP-1.

Pre set sounds

TITLE 00 Smoke-em 01 Chunkus 02 Sticky 03 Cleeeeen 04 British Steel 05 Nasal Tone 06 Quo !!! 07 Angus-Ho 08 Filth 09 Bloooz-O 10 Bloooz-O+ 11 Tej'as 12 Modster 13 Biffa 14 More Gary 15 Mid-lands 16 Sunshine 17 Britaevious 18 Trash 19 800's 20 LA Crunch 21 Crusher 22 Grit Clean 23 Shred Spread 24 Warm Grit 25 Mellow MODE OD 2 OD 1 OD 1 CL 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 1 OD 1 OD 1 OD 2 OD 1 OD 2 CL 2 OD 1 OD 1 OD 1 OD 1 CL 2 OD 1 CL 1 CL 1 B/S off off on off on on on on on on on on on off on on on on on off on on off on on off VOL GAIN BASS -MID -3 --1 -2 -1 -6 -2 -2 --2 -1 -4 -3 -2 TREB -PRES 6 1
Pre set sounds descriptions
TITLE 00 Smoke-em 01 Chunkus 02 Sticky 03 Cleeeeen 04 British Steel 05 Nasal Tone 06 Quo !!! 07 Angus-Ho 08 Filth 09 Bloooz-O 10 Bloooz-O+ 11 Tej'as 12 Modster 13 Biffa 14 More Gary 15 Mid-lands 16 Sunshine 17 Britaevious 18 Trash 19 800's 20 LA Crunch 21 Crusher 22 Grit Clean 23 Shred Spread 24 Warm Grit 25 Mellow MODE OD 2 OD 1 OD 1 CL 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 2 OD 1 OD 1 OD 1 OD 2 OD 1 OD 2 CL 2 OD 1 OD 1 OD 1 OD 1 CL 2 OD 1 CL 1 CL 1 ATTRIBUTES Lots of drive & sustain Big, Ugly & Fat Edgy grime Very Warm & Heavy Thin, midrangy & cutting Bright crunch Mid '70s Marshall Bright, semi scooped Plexi 50 Watt Plexi 100 Watt Punchy/dark drive Mod-ed Plexi Obnoxious overdrive JTM 45 on "6" Honky mid range voice Cleaner than you think! Modern clean - Pick's up EFX well Very broad modern tone JCM800 - Deliverin' the dB's Mod-ed JCM800 on "5" JCM900 on "8" Clean & on the edge Full scoop shred tone Dark & on the edge Clean & pretty PICKUPS COMMENTS It starts here Gain controls "chunkiness" Big change for different guitars Lots of headroom English overdrive When tracks are full, this fits Rocks you all over the world Tone Great for chords Classic tone As above, more aggressive Increase gain for vintage singles More than enough In your face crunch Started it all Cuts through Increase Treb. for dark guitars Hi output pickups will distort Fills up a lot of space Set bass to suit your guitar Decrease Pres. for single coils Mid control very effective Hi output pickups will distort Bass control is the key here Hi output pickups will distort Roll back guitar tone for full "Jazz"

Some Notes On MIDI

In a modern guitar set-up you might have a number of elements, a pre-amp and an effects processor or two. By using MIDI to link these devices together, you can control them all simultaneously. This is the real use of MIDI for the guitarist (Musical Instrument Digital Interface). Most MIDI devices are equipped with three MIDI terminals, MIDI IN, MIDI THRU and MIDI OUT. The connection between these terminals is quite simple. A MIDI IN terminal would be connected to a MIDI Out or MIDI THRU terminal. Messages are sent from a MIDI OUT terminal to a MIDI IN terminal. MIDI messages received at the MIDI IN terminal are simultaneously routed through at the MIDI THRU terminal. So the messages being sent via MIDI THRU are a direct copy of the messages received at MIDI IN. The MIDI OUT terminal is not the same as the MIDI THRU terminal. The JMP-1 will send its own MIDI messages via the MIDI OUT terminal. There are various different MIDI messages that one device can send to another. The most important message is the MIDI program (patch) change message. When the JMP-1 receives a program change message it will call up a patch. Whenever the JMP-1 calls up a new patch it also sends a MIDI program change message via the MIDI OUT terminal. Pressing a pedal on a MIDI foot controller will send a MIDI program change message. Each MIDI program change message carries a number between 00 and 127 corresponding to the patch/program to be called up. The JMP-1 has 100 internal patches but will respond to all 128 MIDI program change messages, by using a MIDI mapping table.

MIDI Channel

Another important thing to know about MIDI, is the idea of MIDI Channels. Most MIDI messages are sent over a MIDI Channel, of which there are 16. In order for one MIDI device to communicate with another, both devices must be operating on the same MIDI Channel. The JMP-1 can be set to operate on any one of the 16 MIDI channels or in Omni mode. In Omni mode the JMP-1 will respond to MIDI messages on all channels and will transmit on channel 1. To Set The MIDI Channel: After pressing the channel key the display will indicate the current MIDI Channel setting (Fig 4).

Fig 4 Channel selection

Use the data entry control to select channels 1 to 16 or Omni mode. Press the channel key again to store the channel setting and return to patch mode. Note: The MIDI Channel setting is a Global` parameter and not stored with an individual patch. MIDI Channel setting is retained whilst the unit is not powered.

MIDI Mapping

MIDI mapping is a simple and very useful facility, but it often confuses those who are new to MIDI. The MIDI Mapping table is stored in the memory and is made up of two parts, Input mapping and Output mapping. MIDI IN Incoming MIDI Data MIDI THRU MIDI OUT

4 Way Footswitch (Patches 1-4)

Input Mapping

Output Mapping to MIDI Device 00-127
Call up Internal Patch (00-99)

Front Panel Control

The input mapping table makes it possible to transpose any incoming MIDI Program Change number to select any desired JMP-1 patch. For Example: MIDI Program Change 124 could be mapped to JMP-1 patch 36, so whenever the JMP-1 received MIDI Program Change 124 it would call up patch 36. The Input mapping function is invaluable if you are using a MIDI foot controller that sends fixed Program Change messages.

Output Mapping

In the same nature as input mapping, the output mapping function can transpose any outgoing Program Change message. If the MIDI OUT of the JMP-1 is driving an external effects processor, the JMP-1s output mapping can be used to select a particular effects program for each JMP-1 patch, with the advantage that several JMP-1 patches can share the same program on the effects processor. To Edit The Mapping Table: 1) Push Map key once to select incoming MIDI Program number. (See Fig 5). Use the data entry control to select the incoming Program number (00 to 127). The decimal point signifies program numbers 100 and over. 2) Push again to select the Internal Patch to be called up (00 to 99) (See Fig 6). 3) Push the Map key a third time to set the outgoing MIDI Program Change message to (00 to 127) (See Fig 7). 4) Pushing the Map key a fourth time will store edits and return the JMP-1 to Patch mode. Note: The mapping table is remembered whilst the JMP-1 is not powered.

Fig 5. Input Mapping

Fig 6. Internal Patch Number
Fig 7. Outgoing MIDI program

Indicates 100-127

Four Way Footswitch
The optional Marshall four way footswitch (model MPM 4E) provides a simple means of selecting four patches. The footswitch will call up patches one to four, however, the Mapping facility can be used to call up any four of the 100 JMP-1 patches.
To Re-initialise The JMP-1
This procedure will re-load the factory sounds and reset the mapping table.
WARNING:- Your edited sounds will be lost if the unit is re-initialised.
Procedure, Hold down OD1 and Clean 1 whilst switching on the power.

Memory back-up

Fig 8. Error Detected
The JMP-1 has an internal battery back-up system to keep your patches safe while the unit is switched off. This battery should last for several years. Every time you power up the JMP-1, a self check program is run. If any errors are detected an "E" will be displayed momentarily (Fig 8). If this should occur repeatedly, then it is likely that the internal back-up battery needs replacing. Contact your dealer as soon as possible and back up your patches (see System Exclusive).

System Exclusive

By using system exclusive MIDI code, it is possible to dump all your patch and mapping settings to an external MIDI device such as a sequencer or data filer.
To Transmit MIDI Dump Data:Connect a MIDI cable from the MIDI OUT of the JMP-1 to the MIDI IN of the receiving device. Press the PATCH key and the VOLUME key together to begin transmitting. The display will indicate that a MIDI exclusive dump is in progress by counting the data blocks (0 thru' 9) as they are transmitted (Fig 9). When the transmission is completed, the display will return to normal.
To Receive a System Exclusive Dump:Connect a MIDI cable from the MIDI OUT of the transmitting device to the MIDI IN on the JMP-1. (Ensure that the memory lock is off - see page 6)
WARNING:- Receiving a MIDI dump will re-write all your patches and mapping data, so be sure that you are loading the correct data before you start. If you are unsure then make a back up of your current data beforehand.
Fig 9. System Exclusive Dump
Execute the dump from the transmitting device. When the JMP-1 recognises the system exclusive code it will automatically respond by counting the MIDI data blocks as they are successfully received (Fig 9). If this does not happen then re-check the MIDI connections and that you are sending the correct file. When the transmission is completed, the display will return to normal.
Fig 10. System Exclusive error
If their is an error (Fig 10) in the MIDI data the JMP-1 will abandon the load and return to normal. Try the load again, the error could be due to a file corruption or faulty cable.
MIDI Implementation Chart
FUNCTION Basic Channel Mode Note Number Velocity After Touch Pitch Control Change Program Change System Exclusive System Common System Real Time Aux. Messages :Song Pos :Song Sel :Tune :Clock :Commands :Local ON/OFF :All Notes Off :Active Sense :Reset True# Default Channel Default Message Altered True Voice Note ON Note OFF Key's Channels Bender TRANSMITTED 1 1-16 ! ! ! ! ! ! ! ! ! ! ! 0-127 0-! ! RECOGNIZED OMNI 1-16 MODE 1 ! ! ! ! ! ! ! ! ! ! 0-127 0-! ! See Note REMARKS Memorized

! ! ! ! ! !

Notes Mode 1 :OMNI ON, POLY Mode 3 :OMNI ON, POLY
System Exclusive Patch dump and load when Memory lock is off. Mode 2 :OMNI ON, MONO Mode 4 :OMNI ON, MONO 0:YES !:NO
Output Level Input Phones

Volume

Middle

Treble

Presence

Effect

VALVE MIDI PRE-AMP JMP-1

Bass Shift Clean 1

Channel

Made in England

JMP-1 Rear Panel Features
Jim Marshall (Products) Ltd, England WARNING: Fire and Shock Hazard - Do not Expose Unit to Rain or Moisture. Shock Hazard This Unit Must be Earthed. Don Not Open. AVIS: Risque de choc Electrique - Ne Pas Ouvrir WARNING: No User Serviceable Parts Inside. Refer to Qualified Personnel. +4 dB -20 dB +4 dB -20 dB +4 dB -20 dB

FOOTSWITCH

EFFECTS

MASTER

SPEAKER EMULATOR
MAINS INPUT 230V ~ 50/60Hz 20 Watts

R. RETURN

L. RETURN

R. OUTPUT

L. OUTPUT