Marshall Super Lead 1987, 1959, Master Volume 2204, 2203, 4010, 4104, 4103, 5005, 5002, 5010, Studio 4001 guitar amplifier Handbook
Below you will find brief product information for guitar amplifier Super Lead 1987, guitar amplifier Super Lead 1959, guitar amplifier Master Volume 2204, guitar amplifier Master Volume 2203, guitar amplifier Master Volume 4010, guitar amplifier Master Volume 4104, guitar amplifier Master Volume 4103, guitar amplifier Master Volume 5005, guitar amplifier Master Volume 5002, guitar amplifier Master Volume 5010, guitar amplifier Studio 4001.Marshall guitar amplifiers are renowned for their powerful sound and versatility. They are designed to provide a wide range of tonal options, from clean tones to heavy distortion, making them suitable for a variety of musical styles. With their durable construction and high-quality components, these amps are built to withstand the rigors of live performance.
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MASTER VOLUME AND
LEAD AMPLIFIERS
Marshall HANDBOOK
The range consists of the following:
Amplifiers:
1987 50 watt Super Lead Valve
1959 100 watt Super Lead Valve
2204 50 watt Master Volume Valve
2203 100 watt Master Volume Valve
Combos:
4010 — 50 watt Master Volume Valve
4104 50 watt Master Volume Valve
4103 190 watt Master Volume Valve
5005 12 watt Master Volume Transistor
5002 ——— 20 watt Master Volume Transistor
5010... — 30 watt Master Volume Transistor
4001 15 watt Studio Valve
Jim Marshall (Products) Limited, Denbigh Road, Bletchley, Milton Keynes MK1 1DQ.
Telephone: Milton Keynes (0908) 75411. Telex: 826483 MARAMEP-G.
Congratulations |
I would like to thank you personally for selecting one of our
amplifiers.
Our reputation is built on a total commitment to design and
engineer the finest amplifiers available in the world, and to
that end we have spared no effort in providing the very best in
materials, and precision workmanship to allow extended years
of outstanding performance.
Please be sure to return your registration card, so that we may
enter your name in our roster of Marshall users.
Again, thank you sincerely.
Managing Director
N.B. Please read warning list on inside back cover before operating your new amplifier.
Introduction
For the past two decades, one name has been synonymous
with the best in rock amplification. Marshall has now become
a household name throughout the world as a symbol of
precision acoustic engineering to be relied upon, not only for
superlative sound quality, but also for high performance night
after night.
Fach amplifier chassis 18 constructed from steel, precision cut,
punched, bent and seam welded to form a substantial, rigid
foundation, strong enough to take all the knocks of the road.
All electronic components are selected and tested to out-
perform their required functions, and the electrical hardware,
such as switches, selectors, etc., comply to most international
safety standards, to ensure the user is safe from the risk of
electric shock.
The same applies to both the mains and output transformer
that are designed and built to withstand full output for hour
upon hour, To complete the electrical specification all valves
are selected from the finest grades available.
After testing and adjusting, each chassis is assembled into
cabinets made from finest quality birch ply, corner locked and
1.f. bonded for immense strength and longevity.
After the black P.V.C. covering is bonded and stretched into
place, A.B.S. corner protectors and air vents are riveted into
position, creating a cabinet that is manufactured to an equal
standard as that of the chassis.
The Master Volume and Super Lead amplifiers and combos
cover the whole musical spectrum from the small practice amp
to the full stage set-up, forming the basis of the classic
Marshall range, which has become so renowned throughout the
world.
Jim Marshall (Products) Lid, operate a policy of continuous development and
reserve the right to change specifications without prior notice.
Front Panel Functions 1987, 1959
8
1. Power Switch
2. Standby Switch
3. Channel 2
Input Jacks
4, Channel 1
Input Jacks
10
Controls total mains power to
amplifier.
Controls HT. supply to amp
valves. Allows the filaments to
remain heated during breaks.
Connects instrument to
amplifier. Top input high
power, bottom input low
power,
Top input high gain, bottom
input low gain. This channel is
treble boosted, therefore
brighter than channel 2. With
guitar plugged into channel 1
high input, amp may be linked
to other amps by linking from
low input channel 1 to high
input channel on next
Marshall amp.
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5. Channel 2
Volume Control
Controls the overall output
level of channel 2.
6. Channel 1
Volume Control
Contrals the overall output of
channel 1.
7. Treble Control Controls the high frequency
content of the amplifier.
8. Middle Control Controls the middle register of
the amplifier.
9. Bass Control
Controls the low frequency
content of the amplifier.
10. Presence Control Controls additional boost to
the upper frequencies to add
crispness and liveliness,
Front Panel Functions 2204, 2203, 4010, 4104, 4103
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Controls total mains power to 5. Master Volume
1. Power Switch
amplifier. Control
2. Standby Switch Controls H.T, supply La amp 6. Treble Control
valves. Allows the filaments to
remain heated during breaks.
7. Middle Control
3. High & Low Connects instrument to
Input Jacks amplifier (high input gives
more volume than low input).
4. Pre-amp Yolume Controls the volume of the 8. Bass Control
Contral pre-amp hence the amount of
overdrive, i.e. when control is
on full, maximum overdrive 9 Presence Control
will be achieved.
Controls the overall output of
the amplifier.
Controls the high frequency
content of the amplifier.
Controls the middle register of
the amplifier and at high
levels will also modify the
treble and bass.
Controls the low frequencies of
the amplifier.
Controls additional boost to
the upper frequencies of the
overall sound and adds
crispness and liveliness.
Rear Panel Functions 1987, 1959, 2204, 2203, 4010, 4104, 4103
90010092929
1987, 1959, 2204, 2203
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1
Ц 12 13 14 15 17
4010, 4104, 4103
7900 100
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Po
16 lo 14 13 12 1
11. Н.Т. Fuse See label for correct value. 15. Qutput Selector Matches amplifier output
Only use correct value fuse. transformer impedance to
(Please note, an models 1987, loudspeaker load impedance,
2204, 4104 and 4010 this item is i.e. 4/8/16 ohms. (Speaker
reversed unth component 12.) impedance usually marked on
cabinet), if in doubt check
12. Mains Fuse See label for correct value, with supplier.
13. Mains Input
14. Mains Selector
Only use correct value fuse,
(Please note, on models 1987
2204, 4104 and 4010 this item is
reversed with component II.)
Connects amplifier to power
supply. (Please note, on
models 1987, 2204, 4104, and
4010 the position of this
component is af the extreme af
the chassis.)
Matches amplifier output
transformer to the incoming
mains voltage.
16. Loudspeaker
Qutput Jacks
17, D.I. Qutput
Parallel connected jacks for
loudspeaker connections,
Speaker load must always be
connected. If ane or both
sockets are used, total
impedance must be matched
to selector and must not be
less than 4 ohms.
Jack socket carrying low level
version of amplifier output,
suitable for connection to
recording and P.A. mixing
desks, or into slave amplifying
systems.
Operational Functions NOTE! Before switching on this unit it must be correctly earthed.
The master volume range will provide the
overdriven sound at lower volumes by turning pre-
amp control number 4 to maximum with master
volume control number 5 at a lower level, For
cleaner sounds, the pre-amp control (4), should be
kept at a lower level than master volume control
(5). The tune being set in the same way as models
1987 and 1959.
The super lead amplifiers 1987 and 1959 provide a
very powerful rock sound. At lower levels the sound
remains fairly clean, as the volume controls (5 or
6), are turned up, the natural distortion of the
valve amp comes in. The tone may be shaped with
controls 7, 8, 9 and 10. These controls work in
conjunction with each other, hence it may be
necessary to adjust more than one control to
achieve the degree of variation required.
Diagram for linking models 1959 or 1987
Guilar
Ampl
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Amp 2
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d. Switch power on (1), and allow valves to heat up
to working temperature.
a. Ensure internal or external loudspeakers are
connected (16), and properly matched to the
amplifier by correct usage of the impedance
selectar (15). e. Connect instrument to input jack (3 or 4).
bh. Turn the volume controls to zero. f. Switch standby on (2).
c. Check that mains settings (14), correspond to
mains supply and connect the amplifier to
socket (13).
Specification 1959 Measured at 1KHz. Controls set to maximum, top input unless otherwise stated.
Input Sensitivity
Power Output
Tone Range
Power Supply
Requirements
Valve Complement
Channel 1 1mV. overload level 250mV.
Channel 2 1.5mV. overload level 250mYV,
Bottom inputs have a 6dB. attenuation in sensitivity.
Typical power at clipping, measured at 1KHz., average distortion 4% 115 watts R.M.S.
nto 4, 8, 16 ohms.
Typical output power at 10% distortion 170 watts into 4 ohms.
Channel 1 has a 10dB/decade rising treble slope with automatic low volume
brightness circuit.
Channel 2 has flat response.
Treble 10KHz. — 35dB.
Middle 600Hz. — 9.5dB.
Bass 50Hz. — 15dB.
Presence 3KHz. — 6dB.
Mains input 120/220/240v, a.c. 40/60Hz.
Max. consumption — 375 watts,
Mains fuse 120v. — TAA. 220/2A40v, — T2A.
H.T. Fuse T1A.
Pre-amp and phase splitter valves V1, 2, 3 — ECC83, 12AX7.
Output power valves V4, 5, 6, 7 — EL34, KT77.
Specification 1987 Measured at 1KHz. Controls set to maximum, top input unless otherwise stated.
Input Sensitivity
Power Output
Tone Range
Power Supply
Requirements
Valve Complement
Channel 1 1mV. overload level 150mYV.
Channel 2 1.5mYV. overload level 1550mY.
Bottom inpurs have a 6dB. attenuation in sensitivity,
Typical power at clipping, measured at 1KHz., average distortion 3% in excess of 50
watts R.M.S. into 4, 8, or 16 ohms.
Typical output power at 10% distortion 90 watts into 16 ohms.
Channel 1 has a 10dB/decade rising treble slope with automatic low volume
brightness circuit.
Channel 2 has flat response.
Treble 10KHz. — 26dB.
Middle 600Hz. — 9.5dB.
Bass 50Hz. — 15dB.
Presence 3KHz. — 6dB.
Mains input 120/220/240v. a.c. 40/60Hz. .
Max. consumption — 175 watts.
Mains fuse 120v. — T3A. 220/240v. — T2A.
H.T. Fuse T500mA.
Pre-amp and phase splitter valves V1, 2, 3 — ECCB83, 12AX7.
Power output valves V4, b — EL34, KT77.
6
Specification 2203, 4103 Measured at 1KHz. Controls set to maximum, top input unless otherwise stated.
Input Sensitivity
Power Output
Tone Range
Power Supply
Requirements
Valve Complement
Low sensitivity input — 10mV. overload level infinity.
High sensitivity input — 0.15mV. overload level max. 150mV., 1mV. min.
Typical power at clipping, measured at 1KHz., average distortion 4% 115 watts
R.M.S. into 4, 8, 16 ohms.
Typical output power at 10% distortion 170 watts into 4 ohms.
Treble 10KHz. — 35dR,
Middle 600Hz. — 9.5dB.
Bass 50Hz, — 15dB,
Presence 3KHz. — 6dB.
Mains input 120/220/240v. a.c. 40/60Hz.
Max. consumption — 375 watts.
Mains fuse 120v. — T4A, 220/240v. — T2A.
H.T. fuse T1A.
Pre-amp and phase splitter valves V1, 2, 3 — ECCB3, 12AXT.
Power output valves V4, 5, 6, 7 — EL34, KT 77,
Specification 2204, 4104, 4010 поту es tire nn
Input Sensitivity
Power Output
Tone Range
Power Supply
Requirements
Valve Complement
Low sensitivity input 17mV. overload level infinity.
High sensitivity input — 0.15mY, overload level max. 150mV. min. 1lmV.
Typical power at clipping, measured at 1KHz., average distortion 3% — in excess of
50 watts R.M.S. into 4, 8, or 16 ohms,
Treble 10KHz. — 32dB.
Middle 500Hz. — 9.5dB.
Bass 50Hz. — 15dB.
Presence 3K Hz. — 6dB.
Mains input 120/220/240v. a.c. 40/60Hz.
Max. consumption — 175 watts.
Mains fuse 120v — T3A. 220/240v. — T2A.
Pre-amp and phase splitter valves V1, Z, 3 — ECCS3, 12AX7.
Output power valves V4, 5 — EL34 — 6550.
Front Panel Functions 5010, 5002, 5005
1. High Input Connects instrument to
amplifier (high powered
input).
2. Low Input Connects instrument to
amplifier (low powered input).
3. Pre-amp Volume Controls the level of pre-
amplification (high settings for
overdrive, low settings for
cleaner sound).
4. Master Volume Controls the overall output
level of the amplifier.
5. Treble Control Controls the high frequency
content of the amplifier,
6. Middle Control Controls the middle register of
the amplifier.
Controls the low frequencies of
the amplifier.
7. Bass Control
2
|
10
8. Presence Control Controls additional boost to
the upper frequencies of the
overall sound and adds
crispness and liveliness (not
included on models 5002 and
5005),
9. Headphone Line- For linking headphones,
oul Jack Socket insertion of jack hallway
mutes speaker and gives
headphone signal. Full
insertion of jack gives line-out.
10. Mains Power ~~ ON/OFF for mains power to
Switch amplifier.
NOTE! On models 5005 and 5002 the mains lead ts
attached. On model 5010 the mains lead 1s plugged
into the sacket on the back panel of the amplifier.
Operational Functions 5010, 5002, 500
Connect the guitar to input (1 or 2). The high input
for louder, more distorted playing or the low input
for a cleaner, less distorted sound. The pre-
amplifier control (3), should he set to achieve the
type of overdrive required — in conjunction with
the Master Volume (4). For clean sounds, the
Master Volume (4), should be set high and the pre-
NOTE! Before switching on this unit
H must be correctly earthed.
amp (3), low, For distorted sounds the pre-amp (3),
should be set high and the Master Volume (4),
should be lower — depending on the overall volume
required. Set the tone controls (5, 6 and 7), to
achieve type of sound required, using the presence
control (5), where applicable, to further colour the
sound.
Specification 5005 Measured at KHz, Controls set to maximum, top input unless otherwise stated.
Input Sensitivity
Tone
Output
Power Supply
Mains Fuse
Low 0,2mY.
High 0.1mV
Treble 5KHz. — 30dB. mid down,
Middle 450Hz. — 17dB. treble and bass full.
Bass 100Hz. — 25dB. mid down.
12 watts into 8 ohm 10 inch Celestion loudspeaker.
Min. handling power 25 watts. |
H.P. output approximately 100mW., Line-out approximately 600mY. K.M.iS. al
clipping.
Internally set for 120/220 or 240v. 40/60Hz. 35vA.
120v. — TH00mA. 220/240v, — T160mA.
Specification 0002 Measured at 1KHz. Controls set to maximum, top input unless otherwise stated.
Input Sensitivity
Tone
Output
Power Supply
Mains Fuse
Low 0.2mY,
High 0.1mY
Treble ¿KHz — 30dB. mid down.
Middle 450Hz. — 17dB. treble and bass full.
Bass 100Hz. — 25dB. mid down.
20 watts into 8 chm 10 inch Celestion loudspeaker.
Min. handling power 35 watts,
H.P. output approximately 100mW. Line-out approximately 600mYV. R.M.S. at
clipping.
Internally sel for 120/220 or 240v. 40/60Hz. SOvA.
120v. — T500mA, 220/240v. — T500mA.
Specification 50 10 Measured at 1KHz. Controls set to maximum, top input unless otherwise stated.
Sensitivity
Tone Swing
Power Output
Laudspeaker
Power Requirement
FLP Output
D.I Output
All controls maximum 0.35mV. RMS.
Maximum input level 1.7v. KR. M.S.
Bass 100Hz. — 15dB.
Middle 500Hz. -- 25dB.
Treble — I15dB. (mid max.)
42dB. {mid max.)
30 watts R.M.S. into 4 ohm load.
LC. and transistor construction.
Specially designed 12 inch 70 watt R.M.S. 4 ohm.
Mains input — internally set. 220/240v. 40/60Hz, 110/120v. 40/60Hz.
Internal mains [use 110/120v. — T1A. 220/240v. — T500máÁ.
Maximum input power 05vÂ,
Approximately 100mW. into 4/8 ohms.
Approximately 600mV. at 30 watts R.M.S. output level.
9
Front Panel Functions 4001
1. Input
2. Gain Control
3. Treble Control
4. Middle Control
5. Bass Control
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4 3 4
Cu
Connects instrument to
amplifier,
Controls input level (high
settings for overdrive, lower
settings for clean}.
Controls the high frequency
content of the amplifier,
Controls the mid range of the
amplifier.
Contrals the low frequencies of
the amplifier.
LL
6 i 8
Controls the overall volume
level of the amplifier.
6. Output Level
Control
7. Standby Switch Controls H.T. supply to amp
valves allowing the filaments
to remain heated during
breaks.
8, Power Switch controls total mains power Lo
amplifier,
Rear Panel
Functions 4001
9. Mains Input
10. Mains Fuse
11. Balanced Line-
out Socket
12, Speaker Output
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9 10
Connects the amplifier to
mains power supply.
See label on the back of the
amp for correct fuse value.
XLR type socket for
connection to balanced line
outhoard equipment such as
mixing console, etc, fully
floating and giving Cd Brn.
output.
Output for connection of
internal or external
loudspeaker 8 ohm nominal
impedance giving 16 watts
R.M.S.
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13. Headphone Output for headphones (only
Output operative when speaker is
disconnected), alternatively
the internal speaker may be
connected to this output for
attenuated output.
14. Line-out Unbalanced line-out for
connecting the ampiifier to
unbalanced outhoard
equipment such as
slave/speaker systems, etc.
10
Operational Functions 4001 NOTE! Before switching on this unit It must be correctly earthed,
Connect the amplifier to the mains by using lead
provided into socket (9). Switch on power switch (8),
and set amp controls to zero. Connect the guitar to
input (1), and switch on standby (7).
Many different sounds can be achieved using the
tone and volume controls. For overdrive, gain control
(2), should be kept higher than output level (6). À
variety of cleaner sounds can be achieved by keeping
output level (6), higher Lhan gam control (21.
damage to the amplifier section allowing the amp
to be used as a valve pre-amplifier via the line out
socket (14). The internal speaker can be connected
to the headphone socket (13), which gives a very
low signal through the speaker -- allowing the amp
to be used at maximum volume and giving full-
bodied valve distortion. The internal speaker must
be disconnected (12), to allow the headphone
socket (13), to be used with headphones.
The speaker may be disconnected without any
Specification 4001 Measured at 1KHz. Controls set to maximum, top input unless otherwise stated.
Input.
Power Output
Headphone Output
Unbalanced [ine
Output
Balanced Direct
Ouiput
S/N Ratio
Master Volume
Circuit
"Tube Complement
Power Input
Internal Loudspeaker
Sensitivity 3mV.
Overload L2v. R.M.S. 1KHz.
Impedance Approximately 1 megohm.
Typical sensitivity Gain, treble, middle, bass midway 55mY,
K.4.: |
Treble, middle, bass controls of overlapping slopes and medium interaction.
Bass 15ñ50Hz. -+i0dB. — 10dB.
Middie 500Hz. +13dB. — 20dB.
Treble 10KHz. +10dB. — 8dB.
All E.Q. controls set at and measured from midway position. Treble control range
increases with decreasing middle control to a maximum of 35dB. swing. Brightness
compensation circuit on lower settings of volume control.
Best square wave response: Treble (1) Middle (3) Bass (5).
Typically 15 watts R.M.S. into 8 ohms at 1% T.H.DD.
20 watts RMS. into 8 ohms at 10% T.H,D.
295 watts R.VLS, into & ohms at 40% T.H.D. (maximum amplifier
saturation).
Typically 60mW. into 8 ohms at clipping.
Typically O0dBM. (0.775v.) into GOO ohms — 1.4v. R. M.S. mto 10 kilohms at clipping.
Transformer coupled balanced XLR tvpe output — 0dBM. into 600 ohms — Pin 1
earth {{loating) Pin 2 + VE Pin 3 — VE.
Typically — 75dB. (flat response).
Typically — 62dB. (maximum sensitivity).
Integral to power amplifier section, effectively reducing power headroom whilst
retaining typical harmonic relationship as close as possible to total power output,
infinitely variable.
V1, V2 — BECCR3/12AX7.
Vi, Vd — 6V6.
Internally set for 110/120v, or 220/240v, B0/60Hz.
Quiescent (Standby off) 18vA.
Clipping 46vÁ,
Maximum (full overload) 66vA.
12 Inch Marshali Celestion driver especially designed for this amplifier to as near
original Celestion (12 (Alnico) specification as possible, but with 60 watts R.M.S.
power handling at 8 ohms.
\ VARNING PLEASE READ THE FOLLOWING LIST CAREFULLY
A. ALWAYS fit a goud quality mains plug, G.
conforming to the latest B.S.I, standards.
B. ALWAYS wire the plug according to the H.
colour code attached to the mains lead.
C. NEVER, under any circumstances, operate I.
the amplifier without an earth.
D. NEVER attempt to bypass the fuses or fit
ones of the incorrect value.
E, NEVER attempt to replace fuses or valves
with the amplifier connected to the mains,
F. DO NOT attempt to remove the amplifier
chassis, there are no user serviceable parts.
ALWAYS have this equipment serviced or
repaired by competent qualified personnel.
NEVER use an amplifier in damp or wet
conditions.
DO NOT switch the amplitier on without the
loudspeaker connected, and ensure that the
impedance selector 18 correctly maiched Lo
the speaker or speakers. (Valve models only.)
DO NUT obstruct airflow around heatsinks
(where applicable),
PLEASE REA this instruction manual
carefully before switching on.
ALWA YS ENSURE THAT MARSHALL APPROVED COMPONENTS ARE USED AS REPLACEMENTS
Amplifier Cabinet Set-Ups
AMP
AMPLIFIER CABINET IMP SETTINGS
1959, 2203, 2210 1 1960A or 1982A 16 ohms
1 19604 + 1960B 8 ohms
(or 1952A + 1982 В)
1987, 2204, 2205 1 1936 8 ohms
2 1936 4 ohms
1 1960A 16 ohms
1 1960A + 19860 8 ohms
3210 1 1965A or 1966A 8 ohms
1 19034 + 19658
(or 1966A + 1966B)
4210, 4010 1 1933 8 ohms
4211, 4212, 414 1 1936 À ohms
& 4103
12
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Key Features
- tube or transistor amplifier
- master volume control
- tone controls (treble, middle, bass)
- multiple input jacks
- headphone output
- speaker output
- line-out
- high-quality components
- durable construction
Frequently Answers and Questions
How do I use the master volume control on my Marshall guitar amplifier?
The master volume control adjusts the overall output level of the amplifier. Turn it up for louder volume and down for quieter volume.
What is the difference between the Super Lead and Master Volume amps?
Super Lead amps are designed for high-gain, overdriven tones, while Master Volume amps provide a wider range of tonal options, including clean tones.
How do I connect a speaker to my Marshall guitar amplifier?
Connect the speaker to the speaker output jack on the back of the amplifier. Make sure the impedance of the speaker matches the impedance setting on the amplifier.
How do I use the headphones output on my Marshall guitar amplifier?
Plug your headphones into the headphone output jack on the front panel. This will mute the speaker output and allow you to listen to the amplifier through your headphones.
What is the purpose of the line-out?
The line-out allows you to connect the amplifier to a mixing console or other external audio equipment.
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