Suggested Settings Here follows four sample settings to act as starting points from which to develop your own sounds. N.B. Volume and Reverb should be adjusted to taste. Pre-amp Master POWER ON Equalisation Power INPUT HEAD PHONES LINE OUT CD INPUT 0 10 GAIN 1 0 10 GAIN 2 0 10 TREBLE 0 10 CONTOUR 0 10 BASS 0 10 MASTER VOLUME 0 10 REVERB G15RCD Pre-amp Master POWER ON Equalisation Power INPUT HEAD PHONES LINE OUT CD INPUT 0 10 GAIN 1 0 10 GAIN 2 0 10 TREBLE 0 10 CONTOUR 0 10 BASS 0 10 MASTER VOLU

When the compression reaches its threshold the LED will change to red. 10. MODERN / CLASSIC Switch This push switch allows you to change between the amp’s two channels, Modern and Classic, via the front panel. When this switch is ‘out’ the Modern Channel is engaged and the LED is green. Pushing it ‘in’ switches to the Classic Channel and the LED changes to red. CLASSIC CHANNEL The Classic channel presents gain worthy of the greatest rock bass player and heavy tone that is expected from a Marshal

a mfierseItn vh feaarncsdti,of utnhl eo fo tfhfsee sJte Th Mheea4ad5d wsm aaysn cdtho cema bpianeyt sm waedre aenvde ro nly constructed. thaat mthIpen' shc aecasheda sybsoaiusla nwarcaees dw o pofrnsodepete rlriinklyge w,t hthhiesen wr ecaaassrotioen d ht.he elp ensure Despite heaimdqmhuaaelrdAftsi eatfraetsecwb lkiey nsye l p eonMclao aabridkcmlsuti eos oieadltcnfd hg bo iaieoKtnav eiccegponyekr rn henna teihdecetn rae tsotatiod ,hcflM l saEaytm hlatn ei ptreymgvysls ela phaoeorcona sfesl sdtld

roll institution Lemmy Kilmister. As my way of saying thankyou for years of un-wavering support it.s my pleasure to put his namenext to mine on his very own Signature Series amplifier. This 100W all-valve amplifier has been based on Lemmy.s mostfavoured head out of his extensive 1992 Super Bass collection, an amphe affectionately named Murder One. Made in 1976 it was this amplifierthat had been at the core of Lemmy.s sound both in the studio and outon the road for over 30 years, until that is we

Low impedance XLR input -For the connection of low impedance microphones. 2. High impedance Jack input -For the connection of high impedance microphones. Also suitable for acoustic instruments with transducer type pick-ups. 3-5. Bass, Middle and Treble EQ controls- A wide range of tonal adjustment can be selected using combinations of these controls. 6. Monitor level -Provides the volume level adjustment from the channel to the monitor section. 7. Effects Level -Provides level adjustment of the

bass, mid and treble, master volume and presence ADDITIONAL FEATURES: Series effects loop with level and bypass switch OPTIONS: None RANGE OPTIONS: 1959 SLP head (£999), 1987X head (£804), 1962 'Bluesbreaker' combo (£1.038), JTM45 head (£784), 2203ZW Zakk Wylde signature model (£1,023) Marshall Amplification Marshall 2203 JCM800 reissue head For those about to rock, we salute the return of Marshall’s master volume monster amp It’s an ill wind that blows nobody any good, as the saying goes.

One Saturday in the autumn of 1966, a tall, lanky American chap walked in with Johnny Mitchell or ‘Mitch’ Mitchell as most people know him. His name was James Marshall Hendrix and he quickly became the greatest ambassador my amplifiers have ever had. Mitch used to work at my shop as a ‘Saturday boy’, when he was a teenager, and take drum lessons from me. He was a very talented lad and quickly became one of my top students. When Jimi Hendrix came over to England in 1966 he put a three-piece band

It can be used to drive an external cabinet of at least 4 Ohms impedance. There are 2 speaker jack/SPEAKON® combo sockets on the MB450H, MB4210 and MB4410. They accept either a standard 1/4" jack or a SPEAKON® connector and both of them carry the same signal allowing 2 cabinets to be connected simultaneously. The minimum load is 2 Ohms. 3. FOOTSWITCH Jack Socket Connect the supplied footswitch here. This enables you to change between Modern and Classic channels. The MB450H, MB4210 & MB4410 have

Use a good quality guitar cable (i.e. one that’s screened/shielded) to help prevent noise, interference and unwanted feedback. 2. ACTIVE / PASSIVE Switch This push switch allows you to change between Active and Passive instruments. The gain is reduced 6dB when in ‘Active’ position. MODERN CHANNEL The Modern channel hits those super crystal clean notes when clarity is a must. 3. VOLUME Control - Modern Channel This control adjusts the volume of the Modern Channel. 4. BASS Control Turning the Bass

I first met Randy when he came to the factory in January 1980. He had not long ago joinedOzzy Osbourne and they were working on their first album. He came here knowing exactlywhat he was looking for, he just needed to find the amplifier that was going to be capable ofdelivering the power, the tone, and the reliability that he wanted, but was also in keeping withthe image that he was to be recognised by. Randy almost found everything he was searching for in a standard 1959 head, but the tonewas n