Marshall Amplification 2203 Specifications

Marshall Amplification 2203 Specifications
Owners Manual
Presenting the JMD:1 Series.
100 Watt head
50 Watt head
100 Watt 2 x 12" combo
50 Watt 1 x 12" combo
Jim Marshall
I would like to take this opportunity to personally congratulate you on
choosing this JMD:1 amplifier from Marshall.
We pride ourselves on our ability to invent, innovate and create new
ways for guitarists to find their own sound, whether that be through
all-valve, solid-state or hybrid technologies.
First released in 1992, the JMP-1 pre-amp offered guitarists unrivalled
flexibility, with true Marshall tone at its heart. It proved to be a great
success! Ever since the JMP-1’s triumph, we have been eager to see
how technology could be pushed even further and, as a result, we are
pleased to introduce its successor, the JMD:1 Series.
The Marshall R&D team have always kept a keen eye (and of course
their ears) on new technologies, and have implemented them when they
were right for the product. Our number one rule - never sacrifice tone for
technology’s sake. Only now have all the components, state-of-the-art
technology and nearly 50 years of experience come together to create
this exciting amplifier range. The JMD:1 is the result of a unique
collaboration with our friends at SoftubeTM, leading to a true digital
pre-amp, integrated into a product that I am proud to see the Marshall
name on. Partnered with a traditional Marshall valve power amp, it
becomes the most flexible and first, totally programmable valve digital
hybrid amplifier series we have ever made. Never before has such a
variety of great quality tone been available in one product.
I would like to wish you every success with your new Marshall. Welcome
to the family.
Yours Sincerely,
Immense versatility, extensive tonal control and that
unmistakable Marshall sound is now yours. The JMD:1 is
quite simply one of the most comprehensive and
sophisticated amplifiers Marshall has created to date,
combining state-of-the-art digital pre-amp technology with
studio quality effects and sheer EL34 valve power. Working
in close partnership with Swedish software house
SoftubeTM, the Marshall team have crafted the latest
evolutionary benchmark in hybrid amplifiers that picks up
where the renowned JMP-1 left off.
The digital nature of the pre-amp enables the JMD:1 to
house both modern and classic tones from a variety of
Marshall amplifiers, such as the 1959, JCM800, JCM2000,
JVM and of course the JMP-1. These and many others
have provided the JMD:1 with a comprehensive collection
of tones, transcending the entire history of Marshall’s
heritage, particularly the EL34 years, due to the on-board
valve power amp. New sounds have also been created by
combining amplifier topologies, resulting in totally unique
Marshall tones, exclusive to this Series!
At the very heart of the JMD:1 Series is Marshall's
proprietary EL34 power amp section. A fundamental
element in many of Marshall's professional all-valve
amplifiers, this steadfast power stage design has been
driving the Marshall sound for decades. When it came to
creating the all-new digital pre-amp, the Marshall engineers
knew it had to lead rather than follow what had come
before - that is to be the first to offer truly great valve tone.
Enter SoftubeTM and their patented Natural Harmonic
TechnologyTM, used for the very first time in a guitar
amplifier. This groundbreaking technology actually matches
the dynamic reactions of the valve amplifier and the way it
behaves to the various intensities of playing, just like their
analogue counterparts, and ensures that every note feels
The JMD:1 also has the ability to store complete pre-amp,
EQ and FX settings. These presets can then be instantly
recalled at any time from either the front panel, the
supplied StompwareTM footcontroller or MIDI system for
maximum versatility. Further to the JMD:1's vast array of
features is a serial/parallel FX Loop, balanced XLR
Emulated Line Out, Pre-Amp Out, Line In and Headphones
The JMD:1 is the total standalone solution to any guitarist's
requirements, from live performance and band rehearsal to
bedroom practice and silent recording. It’s all here in this
extremely powerful package; a real cutting edge Marshall
amp for those not bound by tradition and ready to embrace
a new era of guitar amplification!
Switching between the JMD:1's 16 pre-amp options also
affects the way in which the front panel controls respond to
user input, such as the EQ section which automatically
Getting started and powering up
NEVER use your amp without a (speaker) load attached
when the Standby Switch (9) is in the ‘On’ position.
Standby Switch & Silent recording (9)
The Standby switch is used in conjunction with the Power
switch (10) to ‘warm up’ the amplifier before use, and to
prolong the life of the output valves and to mute the
amplifier when required, such as when you are changing
guitars or for short breaks in performance.
1. Make sure that the speaker cabinets are connected to
the correct impedance Loudspeaker jacks on the rear
panel (9).
Dr Jim Marshall OBE
Refer to the Speaker Output guide in this handbook for
specifics regarding impedance matching. When using an
extension cabinet make sure that you’re using an
unshielded speaker cable of good quality. Never use a
screened (shielded) guitar cable for this purpose.
- 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.
2. Ensure that the Master Volume control (6) on the front
panel is initially set to zero.
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.
WARNING: Before going any further, make sure your
amplifier is compatible with your electrical supply. If you
have any doubt, please get help from a qualified
technician, your Marshall dealer can help you in this
* EUROPE ONLY - Note: The Peak Inrush current for the 50 Watt is 25 amps.
The Peak Inrush current for the 100 Watt is 25 amps.
Follow all instructions and heed all warnings
When the amplifier is in standby mode the whole preamplifier section is still functional whilst the power amplifier
remains in a standby status. This allows the amplifier to be
used for silent recording or pre-amplification purposes.
Only when the Standby switch (9) is set to ‘OFF’ can the
amplifier be used without a load. Always ensure a load is
connected when switching the Standby switch on.
When powering up the amplifier we suggest engaging the
Power switch (10) first, leaving the Standby switch (9) in
the ‘Off’ position for two minutes to allow the valves to heat
3. Connect the supplied mains (power) lead into the Mains
Input (1) on the rear panel first and then into an electrical
6. After waiting, engage the Standby switch (9).
7. Adjust the Master Volume (6) to your required level your amp is ready to play.
When switching the amplifier off, always disengage the
Standby switch (9) a couple of seconds prior to the main
Power switch (10).
4. Plug your guitar into the Input jack socket (1) on the front
5. Turn the front panel Power switch (10) on. The front
panel power LED will illuminate (8).
reconfigures to match the original topology of the chosen
pre-amp. The valve power-amp’s analogue circuitry is also
altered to complement the different pre-amps, with
optimum resonance values automatically selected to
maximise the JMD:1's response. The selectable pre-amps
are divided into 4 sections – ‘Clean’, ‘Crunch’, ‘Overdrive’
and ‘Lead’. Each pre-amp has been chosen for its
individual character and its ability to complement, yet at the
same time, differentiate itself from the others.
JMD:1 – Time Line and Amp History
channel adjust both the speed and intensity of the effect
to the guitarists taste. The re-issue, like all of Marshalls
re-issued vintage amplifiers, was a painstaking recreation
of the original unit and even features the same valve
tremolo circuitry.
Featured twice in the JMD:1, the 1974 provides part of
the new sound created for the Crunch Vintage mode
where it couples the tonal qualities of the 1974 with the
EQ of a monster 1959. The 1974 is also used for the
Crunch Full pre-amp mode, where the 1974’s sustain and
clarity of individual notes is used, demonstrating why the
1974 is still popular with guitarists to this day in its new
1974X re-issue format.
As previously stated the JMD:1 Series incorporates the
tones and characteristics of a variety of Marshall
amplifiers and FX pedals. This section provides a brief
history of all these products.
1. 1959
Initially manufactured from the mid to late 60s, this
legendary amplifier embodies the very essence of the
vintage Marshall sound.
Nicknamed 'The Plexi' due to the gold plexiglas front
panel, the 1959 was born when The Who’s guitarist, Pete
Townshend, approached Marshall in the mid ’60s and
asked Jim to build him a ‘weapon’ that would allow him to
play so loud that he wouldn’t be able to hear what the
members of the audience were saying, should they have
the sheer audacity to talk whilst he was performing! Jim
and his team obliged, and within weeks of Pete’s request
one of rock’s most instantly recognisable icons was born the 100 Watt Marshall stack.
Although production of the 1959 continued long after the
1960s, the end of the Plexi-era began in ’69 when gold
anodised aluminium was introduced for the front panels.
The original 'Plexis' have therefore become extremely
rare and highly prized pieces of rock history.
2. 1974
Despite Marshalls iconic status as the creator of the stack,
Marshall has also produced a number of undeniable icons
in the amplifier combo world. Initially created back in 1966,
the 1974 is a compact all-valve combo. The 1974 was
designed to be an affordable valve amplifier for the
masses and soon gained a healthy reputation. Set in a top
loaded cabinet, this compact 18 Watt combo housed a
single 12” speaker, which meant not only was it
immensely portable but it also had the power and punch.
Utilising EL84 valves, the overall feel and tone of the 1974
is inherently different to an EL34 amp.
Separated into two separate channels, each with two
inputs for low and high sensitivity, the 1974 originally
came in two options, Reverb or Tremolo. The standard
channel for the amplifier had just single tone and volume
controls whilst the other channel had additional controls to
adjust the effect applied. The 2004 re-issue of the 1974
featured only the more popular Tremolo option and, as
with the original unit, these additional controls for this
3. JCM800 2203
The 2203 is quite simply one the most important
amplifiers Marshall has ever created. Evolving from the
previously mentioned 100 Watt Plexi head, it was the first
to house a Master Volume (MV) control. This groundbreaking feature allowed the pre-amp to distort fully
without having to turn the amp up to ten, providing thick
overdriven tone at a fraction of the volume. First available
in the mid ’70s, it wasn't until 1981 that the version of the
2203 we know today was unleashed as part of the mighty
JCM800 series. This straightforward, yet highly versatile,
single channel monster, immediately found favour with
the rapidly growing heavy metal scene that dominated
much of the ’80s. The wide ranging tonal palette of the
2203 saw it prove just as popular in the Brit Pop and
Grunge laden ’90s and remains the benchmark by which
all modern rock amps are judged. The 2203 has provided
the muscle behind countless rock and metal legends and
has appeared twice as a modified signature model. The
2203 provides the JMD:1 with two pre-amp options.
Crunch Classic delivers a raw edgy tone, one that
optimises the Marshall crunch sound. The Overdrive
Deep pre-amp pairs the 2203 with Marshall Bluesbreaker
pedal topology, creating hot-rodded tones the way they
should be.
4. The Guv'nor Distortion Pedal
Launched in the 1980’s, the original Guv’nor (so called as
this is Jim Marshall’s nickname) became a classic
footpedal known for high quality distortion tones. Much
loved by pros, semi-pros and amateurs alike, the Guv’nor
was created to offer the best of both classic and modern
Marshall tone. Amp 1 and Amp 2 housed separate
ECC83 driven pre-amp circuitry, with the shared 350 Watt
power stage reconfiguring when switching between
amplifiers. Both Amp 1 and Amp 2 featured two modes
each, adding up to four (hence the name) in total – Clean,
Crunch, OD1 and OD2. The enormous head room of the
Mode Four gave it superior bottom-end clout and also
retained the tonal definition at high stage volumes,
making it ideal for metal and thrash styles.
earned itself a special place in the hearts of distortion
smitten guitarists the world over.
5. JMP-1
Released in 1992, the JMP-1 was Marshall's first venture
into MIDI controlled guitar pre-amps and the worlds first
super hybrid pre-amp. Its no coincidence that the
principles held by the JMP-1 have been carried forward to
the JMD:1, just as the name suggests. This was a
revolutionary rack unit, utilising the best of both analogue
and digital MIDI technology. The JMP-1's success lay in
its incredible tone, with the digital control capabilities
adding a new degree of flexibility and versatility. Guitarists
could now store and recall their favourite pre-amp tones
using the JMP-1's built-in 100 patches. Greatly respected
and highly prized by those who own them, the JMP-1
remains one of the most revered rack pre-amps ever.
9. JVM Series
Launched in November 2006, the flagship JVM Series
caused the guitar world to sit up and take note. Featuring
4 all-valve channels with 3 modes each, the JVM4
range offers guitarists a possible 12 unique tones,
sophisticated channel switching technology and MIDI
capabilities, confirming Marshall's place at the forefront of
valve-driven guitar amplification. The 2 channel and
aptly-named JVM2 range followed in January 2008,
delivering a more streamlined and focused version of the
multi-award winning JVM Series.
So revered has the JVM become, that its multi-mode
topology has created three of the JMD:1's 16 pre-amp
options. The JMD:1's Clean Modern pre-amp setting
demonstrates the sparkling tonal clarity of the JVM's
Clean channel in its initial gain stage, whereas Overdrive
Modern cranks things up with a powerful contemporary
crunch, derived from the JVM4's red 'moded' Crunch
channel. Finally, the Lead Modern pre-amp utilises the
JVM4's OD1 channel design to unleash an aggressive,
full-bodied lead tone.
6. JCM2000 DSL100
In its day the Dual Super Lead contained the largest
amount of gain a Marshall amp had ever offered. The
DSL's 2 channel dual mode design meant that guitarists
could chose either a clean or crunch tone from the
Classic Gain channel, whilst also picking between the
2 lead sounds provided by the Ultra Gain Channel. This
tonal versatility was aided further by the channel
spanning Deep and Tone Shift features, providing added
punch and depth or extra cut and bite respectively. This
enabled the DSL to deliver a huge range of all-valve tone,
from 'Nashville Clean' to modern 'scooped' metal. With all
this pure valve versatility, its easy to see why the DSL is
still held in high regard by many of the world's top players.
7. Bluesbreaker II FX Pedal
The Bluesbreaker II takes the philosophy of the original
Marshall Bluesbreaker pedal one step further, featuring
not one but two modes, Blues and Boost. This effectively
makes it two pedals in one. The Bluesbreaker II's Boost
mode was designed with the vintage valve amp or ‘tone
purist’ type of guitar player in mind. Ideal if you want to
drive the front-end harder, pushing the amp further into
natural overdrive and without altering the original tone.
8. Mode Four (MF350)
Featuring a true 'two-amps-in-one' design, the Mode Four
10. Haze40
The most recent amplifier to be included in these pre-amp
selections, the Haze range, was launched in March 2009
and features both a 15 Watt mini-stack and 40 Watt 1x12''
combo. Containing 2 channels, all-valve signal path and
studio quality effects, the Haze40 was designed with the
blues/jazz player firmly in mind. The amp responds just
how you would expect, with picking dynamics and guitar
controls playing a big role in achieving your tone. The
amps design allows the effects circuitry to be totally
bypassed, preserving that treasured all-valve signal path.
JMD:1 Front Panel
Ext FX
10 - Modern
11 - Deep
12 - Detuned
Classic - 6
Vintage - 5
13 - Deep
Natural - 4
14 - Solid
Classic - 3
Full - 2
Full - 8
Deep - 7
15 - Classic
16 - Modern
If any changes are made to the amplifier once a
channel has been recalled, the current channel light will
flash to remind you that the current settings have been
altered but not yet stored.
When changing a control, if its value matches that
stored in the currently recalled channel, the Footswitch /
MIDI Program (7) switch will illuminate for a short time.
1. Input Jack Socket
You must always use a screened (shielded) guitar cable
and never use an unscreened (unshielded) speaker
cable. Also, this cable should be one of good quality. If
you are in any doubt regarding this, your Marshall
dealer will be more than happy to help and advise you.
2. Channel Controls
Manual - Switches the amp to manual mode. When
selected, all of the JMD:1’s settings will match the
current physical positions of the controls, it will behave
just like a conventional amplifier.
After altering a channel’s settings, pressing Compare
(2) allows you to toggle between the edited and the
original channel settings allowing you to easily compare
the changes you are making.
Manual mode will be automatically selected when the
unit is switched on.
3. Pre-Amp
Selects one of the JMD:1’s 16 Pre-Amps (3).
Each Pre-Amp is not only tonally different, but the
channel controls (4) - Gain, EQ and Volume will behave
just like the original depending on the Pre-Amp
selected. Experiment with these controls and your
guitar to fully explore the full potential of each setting.
As the front panel effect switches (Ext FX, Delay/Tap
Tempo, Modulation) do not have a set physical state
you are free to set them as desired. Their settings will
be remembered and recalled every time the amp is set
to manual.
Channel 1, 2, 3 & 4 - For storage and recall of four of
your favourite sounds when not using the footswitch or
Clean 1. Modern
Pre-Amp: JVM410H
Settings: Clean Channel in Green Mode
To Recall - Simply press the channel switch for the
channel you wish to recall. The channel switch will
illuminate to show it has been selected.
Remember: When a channel preset is recalled, the
physical position of the pre-amp and FX section
controls are unlikely to match the original settings used
to program the recalled preset. The front panel switches
will automatically be updated.
Based on the mighty JVM Series' Clean channel, this
pre-amp option produces one of the brightest clean
tones ever to have come from a Marshall. The tight,
controlled and well balanced tone provides plenty of
clarity and punch, thanks to a tone network that lies
before the channel’s main gain stage.
To Store - Dial in the tone and FX settings you require,
when happy, select which channel to store your sound
into by holding that channel switch down for more than
1 second. All channel lights will flash to indicate your
settings have been successfully stored.
Pre-amp Topology: Single ECC83 pre-amplifier
stage driving a classic Marshall three band EQ feeding
another ECC83 gain stage directly coupled to an
ECC83 cathode follower
amplifier take centre stage. The well rounded and warm
tone of this particular pre-amp makes it ideal for jazz
style playing.
Clean 2. Full
Pre-Amp: JCM2000 DSL100
Settings: Clean Channel – Tone Shift on
Pre-amp Topology: A linear pre-amp combined with
a studio style EQ section, low-shelf at 100Hz, mid-peak
at 500Hz, high-shelf at 3.5Khz. Uncoloured preamplification followed by a three band cutting EQ,
where a totally flat response pre-amp gain is achieved
when Bass, Middle and Treble are set on full.
One of Marshall's best selling
all-valve amps to date, the DSL
continues to be the weapon of
choice for many of the world's
top players. One reason for its’
immense popularity is its
vibrant clean sound with glassy
bright edge and fat resonant
punch, which has been perfectly captured here.
Crunch 5. Vintage
Pre-Amp: 1974 & 1959 combination
Pre-amp Topology: ECC83 pre-amplifier stage
followed by a tone shaping circuit set to boost bass and
treble feeding into three ECC83 gain stages directly
coupled to an ECC83 cathode follower connected to a
lower mid frequency ‘tone shifted’ Marshall three band
A unique marriage of the 1974 and 1959 models, two of
Marshall's most revered vintage amplifiers. The tonal
character of the 1974 has been matched perfectly with
the 1959's EQ section and is ideal for classic rhythm
Clean 3. Classic
Pre-Amp: JMP-1
Settings: Clean 1 – Bass Shift on
Pre-amp Topology: This pre-amp is the combination
of a 1974 pre-amp and power amp used as a pre-amp
stage: ECC83 pre-amplifier stage with preset tone and
gain control feeding another ECC83 gain stage directly
coupled to an ECC83 cathode follower driving a classic
Marshall three band EQ followed by an 18 Watt EL84
push pull amplifier with no feedback driving a dummy load.
Straight out of the JMP-1 tonal vault comes this well
rounded tone with distinctive mid characteristics,
making this option ideal for rich chords and softer tones.
Increasing the gain results in clean lead lines with a hint
of vintage style distortion.
Pre-amp Topology: ECC83 pre-amplifier stage
followed by a tone shaping circuit with tuned bass and a
slight low mid cut feeding into an ECC83 gain stage
followed by a three band EQ.
Crunch 6. Classic
Pre-Amp: JCM800 2203
Clean 4. Natural
Pre-Amp: JMD:1
The first of the JMD:1's new sounds, this setting is
designed to produce a totally flat response, letting the
natural tone of your guitar and the JMD:1's power
Raw, rough and ready – what more would you expect from
a pre-amp based on the legendary JCM800 2203! An
upfront focussed sound which embodies the term ‘crunch’.
JMD:1 Front Panel continued
Ext FX
1 - Detuned
Vintage - 5
13 - Deep
Natural - 4
14 - Solid
Classic - 3
Full - 2
10 - Modern
11 - Deep
Classic - 6
3-6. Classic continued . . .
Full - 8
Deep - 7
15 - Classic
16 - Modern
Pre-amp Topology: ECC83 pre-amplifier stage
feeding into a gain control with treble boost followed by
an ECC83 pre-amplifier clipping stage then into an
ECC83 gain stage directly coupled to an ECC83
cathode follower, then to a classic Marshall three band
Overdrive 9. Classic
Pre-Amp: JMP-1
Settings: OD2
The JMD:1's forefather, the JMP-1 provides the tonal
backbone to this pre-amp option, which is based on the
latter's OD2 channel. This setting delivers an
aggressive and focussed sound, yet remains smooth
and fluid with distinctive mids.
Crunch 7. Deep
Pre-Amp: Haze40
Settings: Normal Channel, Boost and Bright switches
A satisfyingly warm tone resembling the
Marshall Haze40 with both its Boost and
Bright switches engaged. Produces a
darker overdrive with a smooth edge and
enhanced bottom-end clout.
Pre-amp Topology: The signal is fed into a distortion /
booster circuit then into an ECC83 pre-amplifier stage
followed by an ECC83 gain stage driving a three band
Overdrive 10. Modern
Pre-Amp: JVM410H
Settings: Crunch Channel in Red Mode
Pre-amp Topology: ECC83 pre-amplifier stage with
a slight mid boost feeding into an ECC83 gain stage
directly coupled to an ECC83 cathode follower, then to
a classic Marshall three band EQ.
Crunch 8. Full
Pre-Amp: 1974
The 1974 makes a return here as a full-fat rhythm tone
with extra clarity in the mids. It effortlessly sustains
chords, while individual notes still remain clear.
More gain within your face mids, courtesy of the JVM
Crunch channel topology set to its highest gain stage.
A full, forgiving and tonally balanced sound that
possesses that inherent JVM cutting edge.
Pre-amp Topology: This pre-amp is also a
combination of a 1974 pre-amp and power amp used as
a pre-amp stage: ECC83 pre-amplifier stage with
original 1974 tone (Treble) and gain control followed by
a newly designed EQ where the Mid control is set at
650Hz and the Bass is controlled using a variable
capacitor. This is fed into the original 1974 phase
splitter and its EL84 push pull power amplifier with no
feedback, feeding this time into a 1960 speaker load.
Pre-amp Topology: ECC83 gain stage followed by a
mild treble boosting and tuned bass tone shaping
circuitry with the gain control feeding into an ECC83
configured as a clipper, then into an ECC83 gain stage
directly coupled to a cathode follower driving a classic
Marshall three band EQ.
Overdrive 11. Deep
Pre-Amp: Bluesbreaker II + JCM800 2203
Settings: Bluesbreaker II in Boost mode with Drive
set to max, plus a custom filter linked to
bass control and 2203 topology.
Another fantastic tonal experiment, bringing together
the raw might of the JCM800 2203 and Bluesbreaker
FX pedal set to Boost. A custom filter enhances the
bass and reduces the mids, with the blend of ’80s roar
and ’70s bottom-end delivering hot-rodded scooped
tones as they should be.
Lead 13. Deep
Pre-Amp: Bluesbreaker II + Haze40
Settings: Bluesbreaker II in Boost mode with Drive
set to max, plus Haze Normal Channel with
Boost and Bright switches on.
Pre-amp Topology: A boost pedal driving a custom
filter plugged into an ECC83 pre-amplifier stage
followed by a treble boosting tone shaping circuitry and
the gain control feeding into an ECC83 configured as a
clipper, then into an ECC83 gain stage directly coupled
to a cathode follower driving a classic Marshall three
band EQ.
A 'boosted' Bluesbreaker pedal and a Haze40 combo with
Boost and Bright switches engaged have been combined
to produce a truly deep and growling tone. The warm
sustain of this pre-amp makes it ideal for soaring solo
Pre-amp Topology: A boost pedal driving an ECC83
pre-amplifier stage followed by a gain control, then into an
ECC83 gain stage directly coupled to a cathode follower
driving a classic Marshall three band EQ.
Overdrive 12. Detuned
Pre-Amp: Mode Four
Settings: OD2 Channel – Scoop on with Tone Matrix
set to 3
Lead 14. Solid
Pre-Amp: Original Guv'nor Distortion pedal
Based on the original and highly-prized Guv'nor stomp
box, this pre-amp setting delivers a throaty, pedal driven
overdrive. Its unique mid character and resonant high
frequency gives it both distinctive teeth and a ghostly
howl, making it ideal for riding feedback.
This thoroughly aggressive and modern metal tone has
been created from the Mode Four's menacing OD2
channel. Its intimidating character is aided further by a
lowered mid frequency response in its EQ section, ideal
for down-tuned/baritone guitars.
Pre-amp Topology: A classic Marshall overdrive pedal
with 2 gain stages, diode clipping and an enhanced mids
three band EQ, as a full gain pre-amp.
Lead 15. Classic
Pre-Amp: Bluesbreaker II + JCM2000 DSL100
Pre-amp Topology: A high headroom gain booster
followed by a gain control driving a cascaded double
ECC83 gain stage followed by a lowered mid frequency
Marshall three band EQ.
Delivering the 'tone shifted' Crunch of the revered
JCM2000 DSL Series and enhanced again with
Bluesbreaker pedal topology, this pre-amp option creates
expansive and cutting ’90s lead tones.
Pre-amp Topology: An ECC83 pre-amplifier stage
followed by a gain control into a cascaded double ECC83
clipping stage, then into an ECC83 gain stage directly
coupled to a cathode follower driving a tone shifted
Marshall three band EQ.
JMD:1 Front Panel continued
Ext FX
Full - 8
Deep - 7
10 - Modern
11 - Deep
Classic - 6
12 - Detuned
Vintage - 5
13 - Deep
14 - Solid
Natural - 4
Classic - 3
Full - 2
15 - Classic
16 - Modern
Treble - By adjusting the Treble control you can add or
take away the higher frequencies in your guitar tone. By
increasing the amount of treble you will make your tone
brighter, ideal for more percussive playing styles.
Lead 16. Modern
Pre-Amp: JVM410H
Settings: OD1 Channel in Orange Mode
Volume - Controls the overall level of the pre-amp signal
that is fed to the power amp section.
5. Effects Section
Mod Adjust - As the control is turned clockwise it selects
one of four modulation effects, increasing the modulation
speed as it is turned through each section. Setting this
control to minimum selects the noise gate.
The JVM Series provides the JMD:1 with an all-round
modern lead sound, derived from the former's OD1
channel at its 2nd gain stage, delivering plenty of cut,
edge and sustain.
Pre-amp Topology: Four cascaded stages of gain:
An ECC83 gain stage followed by treble boosting and
tuned bass tone shaping circuitry with the gain control
feeding into an ECC83 gain stage, connected to an
ECC83 pre-amplifier stage configured as a clipper into
an ECC83 gain stage, directly coupled to a cathode
follower driving a classic Marshall three band EQ.
Gate - An ultra fast studio quality noise reducer. Instead
of abruptly cutting the sound once the threshold is
reached like a standard noise gate, an expander
progressively attenuates the signal following its dynamics.
The Mod Depth control sets the threshold, the level at
which the gate starts to effect the signal. The Gate
senses the playing dynamics, adjusting its reaction
accordingly. This preserves natural decay of held chords
or notes and also a fast response to staccato style
4. Pre-Amp Controls
Gain - Controls the level of signal entering the pre-amp.
At lower settings the sound will be cleaner and the
amount of distortion is more controllable from your guitar
or your playing style. At higher settings, more distortion is
available. The overall effect on the signal will depend on
the topology of the currently selected pre-amp.
Adjust the Mod Depth control to set the point where the
noise reduction begins to work. Make sure that when
adjusting Mod Depth you are not picking up hum from the
amplifier or other equipment, as it may result in a higher
setting than needed.
Bass - Turning the Bass control will affect the amount of
low frequencies, or bottom-end, in your guitar tone.
Rotating this clockwise will increase the amount of lower
tones, generally making your sound deeper and is
especially useful at lower volumes. Turning this control
anti-clockwise will reduce the bass frequencies in your
tone, producing a more cutting sound – especially useful
at higher volumes.
Middle - Adjusts the middle frequencies. Turning the
control anti-clockwise will yield a more hollow sound with
the bass and treble frequencies appearing to be more
accentuated. Turning it back clockwise increases the
middle, adding body to the sound.
Chorus - Based upon a classic bucket brigade circuit, the
Chorus effect provides deeply detuned sweeps to subtle
Phaser - Creates fluid waves which wash across your
tone. Roll back the depth to create gentle vibe like ripples.
Flanger - Producing metallic edged textures that
envelope your sound; at slow speeds the regen increases
to create jet like sweeps, while at high speeds rotary
speaker effects can be created.
Tremolo - The first new Marshall to feature a tremolo
since the 1970s, it recreates the natural amplitude swell
and decay of a valve-based design.
FX Loop - This is a programmable FX Loop which
features a MIX control on the rear panel and is located
after the pre-amp, right before the effects section.
Pressing the FX Loop switch engages this FX Loop.
Please refer to the Serial / Parallel Loop description later
on in the handbook for a more detailed explanation of its
Mod Depth - Sets the depth of the currently selected
modulation effect or the threshold of the gate.
Modulation - Turns the current modulation effect and
gate on and off.
6. Master Section
Presence - This control emphasises the high frequencies
in your tone. Turning this control up adds crispness and
bite. Use the presence control to alter the overall sound of
the amplifier to suit the acoustics of the room or venue
you are playing in.
Delay Adjust - Selects one of four delay types. As the
control is turned clockwise through each effect, the delay
time is increased to a maximum delay time of 1000ms. As
the delay time is increased, the number of repeats is also
increased, providing short slap-back delays to long
sprawling echoes.
Master - Controls the overall level of the power amplifier.
Note: Both the Presence and Master Volume power amp
controls are not storable and have a global effect on the
overall tone and volume of the amplifier.
Hi-fi - A pure delay line.
Analogue - Additional filtering recreates the sound of the
guitar cascading through an old analogue delay circuit.
7. Footswitch / MIDI Program
Enables the programming of the supplied 6-Way
Footcontroller and assigning of complete set-ups via
MIDI. See the Footcontroller & MIDI section of this
handbook for more information.
Tape - A darker delay line with wow and flutter, as found
on old tape delays.
Multi - A multi tap delay line with two rhythmic repeats.
The extra tap appears at ¾ of the current delay time.
8. Power LED indicator
This red LED will illuminate when the Power switch is
turned on.
Delay Level - Controls the level of signal sent to the
Delay effect.
9. Standby switch
The Standby switch is used in conjunction with the Power
switch (10) to ‘warm up’ the amplifier before use, to
prolong the life of the output valves and to mute the
amplifier when required, such as short breaks in
performance or when using the amp for silent recording.
Delay & Tap Tempo - When the delay is off, pressing this
switch turns the delay on.
When the delay is on, tapping this switch sets the delay
time to match the time between the taps.
When the delay is on, holding this switch in for over half a
second turns the delay effect off.
10. Mains (Power) switch
This is the On/Off switch for the mains electric power to
the amplifier.
Note: Please ensure the amplifier is switched off and
unplugged from the mains electricity supply whenever it is
Reverb - Controls the level of signal sent to the reverb.
The reverb decay is also adjusted as the level is
increased, complementing your chosen setting.
JMD:1 Rear Panel
through a power amp, 4x12" speaker cabinet and
microphone emulation is made available at this
connector. It is also available at the Headphones output.
1. Mains Input & Fuse
Your amp is provided with a detachable mains (power)
lead, which is connected on the rear panel. The specific
mains input voltage rating that your amplifier has been
built for is indicated on the back panel.
WARNING: Before going any further, make sure your
amplifier is compatible with your electrical supply. If you
have any doubt, please get help from a qualified
technician, your Marshall dealer can help you in this
2. MIDI In & MIDI Thru
Connect any external MIDI devices to the MIDI In DIN
socket. A copy of the signal entering this connector will be
available on the MIDI thru socket to allow daisy chaining
of MIDI equipment.
The +4dBu/-10dBV switch allows you to configure the
loop for use with either professional equipment (+4dBu
setting) or with guitar level effects like effects pedals
(-10dBV setting). When Mix is set to Wet, all the signal
goes through the external loop, adding more direct
(unprocessed) signal as you turn it towards Dry. This
allows you to mix any amount of the external effect
without losing or degrading the direct signal quality.
9. Speaker Outputs
WARNING! Never switch the Standby to On without a
load (speaker cabinet/s) attached!
8. Serial / Parallel FX Loop
Mix, FX Level, Return and Send
The JMD:1 is equipped with a programmable serial /
parallel FX Loop. Connect your external FX device input
to the JMD:1’s Send socket and the device’s output to the
JMD:1’s Return socket. As described previously, this
FX Loop can be bypassed and programmed from the
front panel.
3. Footcontroller
Connect the supplied footcontroller using any standard
¼" jack mono lead, e.g. a guitar lead. Using any other
type of footswitch other than the supplied will have no
effect and will be ignored by the amplifier. See the
Footcontroller & MIDI section of this handbook for more
6. Line In
Connect an external audio source such as an MP3, CD or
tape track. This signal will appear on the Headphones
output only, to allow private practice.
Note: The External FX Loop, Emulated Line Out,
Headphones, Line In and Pre-Amp Out are still
operational when the JMD:1 is in standby, allowing you to
use the amplifier in silent recording mode.
Note: The JMD:1 only accepts and retransmits incoming
data. It is not designed to generate its own MIDI
commands. See the Footcontroller & MIDI section of this
handbook for more information.
When mixing the Wet and Dry signals, the external effects
processor’s output should be configured to remove the
direct (unprocessed) signal because unpleasant phasing
effects may occur when mixing it again in the amplifier.
7. Pre-amp Out
Output providing a direct feed from the JMD:1s pre-amp
for connection to an external power amplifier.
NEVER attempt to bypass the fuse or fit one of the
incorrect value.
IMPORTANT: This output cannot be muted when the
amplifier is switched off. To prevent loud pop noises on
power down, disconnect before switch off or switch off
external equipment first.
5. Headphones
Headphone output providing the JMD:1’s pre-amp
processed through a power amp, 4x12" speaker cabinet
and microphone emulation.
The correct value of mains fuse, located in the small
drawer at the bottom of the mains socket, is also
specified on the rear panel of the amplifier. The drawer
also contains one spare fuse.
Note: It is wise to carry spare fuses at all times.
4. Emulated Line Out
An electronically balanced pre-amp signal, processed
ALWAYS use a non-screened Marshall approved speaker
lead when connecting an extension cabinet to these
Note: The position of the Mix control is storable and its
current setting may not reflect the physical position of the
control when you have changed to a new preset. If you
are having problems with the FX Loop, always turn the
Mix control first to ensure it is set to the value you expect.
There are three speaker outputs available on the rear
panel, they are labelled according to the intended
1x16 Ohm: Connect to this output when only using a
single 16 Ohm cab.
1x8 Ohm / 2x16 Ohm: Connect a single 8 Ohm guitar
cabinet to one of these sockets or two 16 Ohm cabinets.
WARNING: Although there are three speaker outputs,
never attempt to connect more speakers than rated. The
safe combinations are 1x16 Ohm or 1x8 Ohm or 2x16
Ohm only. Any other speaker configuration may stress the
power amplifier section and, in extreme cases, may lead
to valve and/or output transformer failure.
JMD:1 combo amplifiers internal speaker(s) must be
connected to the socket marked ‘Internal Speaker(s)’
ALWAYS ensure you use good quality speaker
(unshielded) cables. NEVER use guitar (shielded) cables.
Footcontroller & MIDI
cannot be assigned to the footswitch.
The provided 6-way Footcontroller works in two modes:
To assign a front panel switch to a footswitch simply:
- In Switch Store mode you can assign any front panel
switch (Manual, Channel 1-4, Modulation, Delay, Tap
Tempo, FX Loop & Compare) to any of the six
footswitches, thereby enabling access to that function
1. Enter Footswitch Program mode by pressing the
Footswitch / MIDI Program (7) switch once (red light on).
2. Press and hold the desired footswitch.
- In Preset Store mode you can store and recall up to 28
complete presets, effectively giving you 28 channels!
3. While holding the footswitch down, in less than three
seconds, press the front panel switch you wish to assign
to it.
A full list and description of the 28 factory presets is also
included with the JMD:1.
The FX footswitch LED will flicker a couple of times
indicating that the switch has been mapped. From now
on the selected footswitch will act in exactly the same
way as if you press the equivalent front panel switch.
The Footcontroller is supplied in Switch Store mode with
the following default assignments:
FSW #1: Channel 1
FSW #2: Channel 2
FSW #3: Channel 3
FSW #4: Channel 4
FSW #5: Manual
FSW #6: Modulation
4. Once you have finished assigning switches to the
Footcontroller, press the Footswitch / MIDI Program (7)
twice (red light off) to exit the Footswitch Program mode.
The JMD:1 can store and recall 128 presets via program
change commands received from its MIDI IN socket.
To Store - Dial in the tone you require, when happy, press
the Footswitch / MIDI Program switch twice, the LED will
flash until a valid MIDI program change command is
received. On reception of a MIDI program change
command the amplifier stores the current settings in the
MIDI program number received.
To Store - Dial in the tone you require, when you are
happy, press the Footswitch / MIDI Program switch twice
(LED is flashing). Using the Footcontroller, select the bank
you require and then press the chosen preset. The
Footswitch / MIDI Program switch will stop flashing and
your settings will have been stored.
The JMD operates in OMNI mode; it will respond to MIDI
program change messages transmitted on any MIDI
To exit this mode without storing a preset, press the
Footswitch / MIDI Program switch again.
To exit this mode without waiting for incoming MIDI data,
press the Footswitch / MIDI Program switch again.
To Recall - Simply select the required bank and press the
chosen preset.
To Recall - Simply transmit the required program change
command and the preset will be recalled.
The four presets in bank A - A1, A2, A3 and A4 are the
same as the JMD:1’s 4 channels, allowing you to store and
recall the sounds stored via the front panel.
The first four program changes 0, 1, 2 and 3 are the same
as the JMD:1’s 4 channels. The first 28 program changes
(0 to 27) are the same as the 28 locations as accessed via
the supplied Footcontroller.
Note: When connecting the Footcontroller in Preset Store
mode, or after turning the amplifier on with the
Footcontroller connected, the Footcontroller's LEDs will
indicate the last recalled preset, reminding you of which
preset you played last. The amplifier will not change any
settings until you have pushed one of the preset
footswitches (1-4), allowing you to recall the last preset
used or to select another.
Restoring Settings - WARNING: All user settings will
be lost.
To restore the unit to factory settings you must hold the
MODULATION and DELAY switches (5) while powering on
the unit. The JMD:1’s channel switches will begin to flash.
You can then release the switches. On release the channel
switches will change from flashing to lit and the factory
settings will be restored.
The Delay switch can be assigned to a footswitch to either
turn the delay effect on or off or act as the tap tempo (both
features can be assigned to two different footswitches).
To change between modes, unplug the Footcontroller from
the amplifier, hold down footswitch 1 and reconnect the
Footcontroller to the amplifier while the amplifier is
switched on.
To assign delay on / off to a footswitch, assign the switch
while the delay effect is off.
To assign the tap tempo to a footswitch, assign the switch
while the delay effect is on.
The Ch1 LED will illuminate green when entering Switch
Store mode.
In Switch Store mode the Footcontroller’s LED display
reflects the current status of the JMD:1, following the line of
text above the LEDs, displaying current Channel,
Modulation, Delay and FX Loop settings.
The FX LED will illuminate red when entering Preset Store
The Footcontroller will remain in your chosen mode even
after switching off the amplifier or disconnecting the
Preset Store Mode
In Preset Store mode the Footcontroller allows you to store
and recall entire front panel set-ups in one of 28 memory
locations divided up into seven banks (A to G) of four
Switch Store Mode
In Switch Store mode, any of the footswitches can be
configured to replicate any of the front panel switches and
the amplifier will react in exactly the same way as when
you operate them on the front panel.
All the front panel switches can be mapped to any of the
footswitches without any limitation. The only exception of
course, is the Footswitch / MIDI Program (7) switch, which
When the preset and bank LEDs overlap i.e. A1, B2, C3,
D4, the LEDs will mix and light orange.
When the current bank is changed, the green LED will
flash indicating that you have moved banks; switch 1 to 4
needs to be selected before a preset is recalled.
Resetting the amplifier will erase all user channel
settings, memories and Footcontroller switch store
assignments, replacing them with the factory presets.
JMD:1 Series Technical Specifications
Power (RMS)
Guitar - Input Impedance
Emulated Output - Level
FX Send Level - Selectable
Dimensions (mm) w, h, d
Weight (kg)
JMD100 Head
1 x ECC83, 4 x EL34
-10dBV / +4dBu
750 x 310 x 220
JMD50 Head
1 x ECC83, 2 x EL34
-10dBV / +4dBu
750 x 310 x 220
Switches 5 (bank up) and 6 (bank down) select which bank
you require, indicated by the red LED.
Switches 1 to 4 select the presets within the current bank,
indicated by the green LED.
JMD102 Combo
1 x ECC83, 4 x EL34
-10dBV / +4dBu
685 x 530 x 255
JMD501 Combo
1 x ECC83, 2 x EL34
-10dBV / +4dBu
635 x 530 x 255
Block Diagram
Input Stage
Power Amp
Cabinet &
Pre-Amp Out
Emulated Line Headphones
Line In
Denbigh Road, Bletchley, Milton Keynes MK1 1DQ England.
Tel : +44 (0)1908 375411 Fax : +44 (0)1908 376118
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.
BOOK-93001-00 / 11 / 09
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