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From Jim Marshall
Congratulations on your purchase of the 1992LEM Super Bass Head.
There have been many guitarists who have loyally used Marshall
amplifiers throughout their careers, none more so than my good friend
and rock ʻnʼ roll institution Lemmy Kilmister. As my way of saying thank
you for years of un-wavering support itʼs my pleasure to put his name
next to mine on his very own Signature Series amplifier.
This 100W all-valve amplifier has been based on Lemmyʼs most
favoured head out of his extensive 1992 Super Bass collection, an amp
he affectionately named Murder One. Made in 1976 it was this amplifier
that had been at the core of Lemmyʼs sound both in the studio and out
on the road for over 30 years, until that is we presented him with the
first 1992LEM prototypes. My R&D engineers have worked closely with
Lemmy in the development of this, our first Signature Series bass
amplifier, to ensure precise recreation of Murder Oneʼs tone and feel.
As frontman of the legendary hard rock band Motörhead, Lemmy has
toured the world performing to thousands of fans every night and
always with his reliable backline of Marshall amplifiers and huge custom
built speaker cabinets, a truly awe inspiring sight to behold. The
1992LEM prototypes were put through their paces during Motörheadʼs
2007 world tour and proved just as dependable as the ever faithful
Murder One (which is now enjoying a well earned retirement). Knowing
the 1992LEM could stand up to the most rigorous of challenges it
makes me immensely proud that the quality of tone, build and reliability
are still at the heart of our amplifiers.
I have met with Lemmy many times over the years and it was good to
catch up again during this particular project. Itʼs always a privilege to
spend time with someone who is as passionate about music and tone
as I am, particularly when they have found that tone in a Marshall
amplifier. You can read Lemmyʼs thoughts on the 1992LEM and
discover the story behind our long association together over the next
few pages of this handbook.
I sincerely hope that this Limited Edition landmark in Marshallʼs history
will provide you with countless hours of playing pleasure. I would like to
wish you every success with your new amplifier and welcome you to the
ever increasing Marshall family.
Yours Sincerely
Dr. Jim Marshall OBE
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Not many can claim the ʻLiving Legendʼ status but Motörhead frontman
Lemmy Kilmister is most certainly deserving of the title. He also happens
to be one of Marshallʼs most ardent fans, recently quoting:- “If it has
Marshall written on it you can buy it without even a test drive, theyʼre that
good.”
To honour this unique partnership that stretches back over three
decades, the team at Marshall has created this new Signature Series
amplifier that takes its inspiration from Lemmyʼs very own modified 1992
100W Super Bass unit – Murder One. The result is an amp that delivers
sublime tone combined with sheer volume and crushing power, all
wrapped up in a rugged oversized cab. The 1992LEM is no mere
re-issue, this is a celebration of an iconic amplifier and its masterful
owner, this is Murder One MKII. To fully understand the significance of
this particular 1992 model we have to delve into the mists of time and
revisit the history of Lemmy, Motörhead and Murder One itself.
We Are Motörhead!
Formerly a roadie for the late, great Jimi Hendrix and rhythm guitarist in
numerous bands in the late ʼ60s, Lemmyʼs first notable bass pummelling
antics were with psychedelic space rockers Hawkwind. Although not the
regular lead singer Lemmy gave his vocal chords a stretch on the 1972
track Silver Machine, which remains the bands biggest hit. During his
time with Hawkwind Lemmy developed his own distinctive bass playing
style, possibly gleaned from his rhythm guitar days, preferring to use
power chords rather than the single note technique favoured by most. But
as the man himself professed:- “All the technique in the world donʼt mean
sh*t if it donʼt sound right.” Youʼve been told! After being fired from the
band over a “misdemeanour” on the Canadian border in 1975, Lemmy
formed one of Rock ʻnʼ Rollʼs most musically prolific and uncompromising
outfits – Motörhead. After some initial line up changes it was the
combination of “Fast” Eddie Clarke on guitar, Phil “Philthy Animal” Taylor
on the skins and Lemmy on bass and vocal duties that defined the
Motörhead sound in the late ʼ70s. Their most recognisable hit of course,
is the iconic 1980 single Ace of Spades which has been the prerequisite
track for every rock compilation since. Brutally fast, refreshingly
uncomplicated and ear splittingly loud speed metal is what this power trio
produced and rock fans the world over have loved Motörhead for it for
over 30 years.
Guitarists and drummers may have come and gone, then come back and
gone again throughout the ʼ80s and early ʼ90s, but the current line up of
Phil Campbell (Guitar) and Mikkey Dee (Drums) has remained
unchanged since 1995. The common thread binding the many guises of
Motörhead together through the decades, apart from Lemmy himself, has
been the raw, un-relenting wall of explosive sound that batters you about
the head on every album and at every show. Never ones to follow big
haired trends or jump on Nu-Metal band wagons, the Motörhead sound
has remained as constant as Lemmyʼs pounding bass lines, microphones
that point south and his love affair with 1992 Super Bass amps.
So Murder One survived to thump ear drums another day, which was
good news for the Marshall team when Jim Marshall instructed them to
produce a Signature Series bass amp honouring both his good friend and
the most famous of his 1992 Super Bass horde. Placed in their more than
capable hands, Murder One went under the ʻengineerʼs knifeʼ to see what
made it tick so vigorously. Voltages were measured, transformers
examined and circuitry scrutinised to establish the winning formula that
has made this particular model such a formidable piece of kit. The
outcome is the intimidating, uncompromising and brutish all-valve bass
amp that you are no-doubt drooling over this very second.
The amp that would eventually become Murder One was bought by
Lemmy virtually brand new and had been finished in red vinyl. Made in
1976, just a year after Motörhead started down the road to rock infamy,
this ʻmoddedʼ 1992 model has featured on nearly all of the subsequent
brain rattling studio and live albums. For more than 30 years it was one of
the hardest worked amps in the business, due to the relentless pace of
life on the road sandwiched between stints in the recording studio.
Prior to their release, prototype 1992LEMs had been cutting their teeth
with Lemmy, Phil and Mikkey on their 2007/08 world tour, a fiercely tough
proving ground for any amp. It suffices to say that they sailed through the
road test and proved themselves more than worthy successors to the
mighty Murder One, which is now enjoying a well earned rest. No such
retirement is planned for Lemmy though, as one of the last original metal
maniacs there seems to be no end to his un-yielding stamina to write and
perform Motörheadʼs own unique brand of head banging Rock ʻnʼ Roll.
Armed with his new Signature Series Super Bass amps, that will no-
doubt be christened before too long (any suggestions to
During Murder Oneʼs tenure as Lemmyʼs first choice thunder box the
original red covering was given a lick of jet black paint and the face
further customised with two unique emblems. Created from five-pointed
Russian military stars inside ornate golden wreaths, these improvised
crests stood proudly either side of the Murder One nameplate which in
turn had been created from reflective traffic lettering.
Where did this custom of naming his amps come from though?
Well according to his bass tech Tim Butcher “. . .[it] just comes from
Lemmyʼs active mind, a blade and too much time on his hands. . .”
Lemmy has also had at his disposal: Marsha, No Remorse and Killer
among countless other Super Bass variants over the years which have all
formed part of the imposing backdrop to many a Motörhead show.
Lemmyʼs Marshall amps have become such an indelible part of
Motörhead folklore that there were reports after a riotous gig in Argentina,
where the crowd tore through the stage and destroyed most of the bandʼs
equipment, that Murder One was being held to ransom! Thankfully, the
truth is that most of Lemmyʼs rig, including his custom 4x12” and
monstrous 4x15” Marshall Cabs, was safely pulled off stage moments
before the over-zealous fans could get their sweaty, air punching hands on
it. Sadly though, three plectrums and a microphone stand didnʼt make it!
the mind blowing tone and bone crushing volume that has come to
epitomise the Lemmy and Marshall partnership since the ʼ70s. Long may
it continue.
Finally, Marshall would like to thank Eddie, Roger, Tim, Abbe, Dan and
the rest of the Motörhead road crew for their un-wavering help and
support throughout this incredible project. Special thanks also to Phil and
Mikkey for their continuing efforts to destroy the hearing of Motörhead
fans the world over and thanks, of course, to the ʻgreatest living
Englishmanʼ himself – Lemmy. He may have belted out:- “They say Iʼm
gonna lose and gamblingʼs for fools, but thatʼs the way I like it baby, I
donʼt want to live forever!” over a thousand times since 1980, but on
current form it appears that he just might.
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Front panel - Lemmy’s preferred settings shown
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2
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Rear panel
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2
3
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Front panel features
Rear panel features
1. POWER SWITCH
8. VOLUME II
1. LOUDSPEAKER OUTPUTS
4. MAINS INPUT
This is the On/Off switch for mains power to the amplifier. It will light up
when your amplifier is receiving the correct mains power and is switched
on. It will not be lit when the amplifier is switched off and/or is not
receiving mains power.
This controls the overall output level of Channel II, turning it clockwise
increases the volume level. This channel is voiced for a ʻnormalʼ, flatter
response.
WARNING! Never use the amplifier without a load attached!
Your amp is provided with a detachable mains (power) lead, which is
connected here. The specific mains input voltage rating that your
amplifier has been built for is indicated on the back panel. Before
connecting for the first time, please ensure that your amplifier is
compatible with your electricity supply. If you have any doubt, please get
advice from a qualified technician. Your Marshall dealer will help you in
this respect.
There are two parallel loudspeaker output jacks provided for connection
to speaker extension cabinet(s). Please always ensure that the amplifier's
output impedance selector is set correctly (see item 2) and ALWAYS
ensure you use good quality speaker (unshielded) cables. NEVER use
guitar (shielded) cables.
NOTE: When connecting to any input socket always use a high quality
Note: Please ensure the amplifier is switched off and unplugged from
screened guitar lead.
the mains electricity supply whenever it is moved.
9. HIGH SENSITIVITY INPUT FOR CHANNEL I
This is the ʻhigh sensitivityʼ guitar input for Channel I - the brighter of the
two channels - and is the one Lemmy uses.
2. STANDBY SWITCH
Always use a non-screened Marshall approved speaker lead when
connecting an extension cabinet to these units.
5. MAINS FUSE
The Standby Switch is used in conjunction with the Power Switch (item 1)
to ʻwarm upʼ the amplifier before use and to prolong the life of the output
valves. When powering up the amplifier always engage the Power Switch
first, leaving the Standby switch on ʻStandbyʼ. This allows the application
of the voltage required to heat the valves to their correct operating
temperature. After approximately two minutes the valves will have
reached the correct operating temperature and the Standby Switch can
be engaged. In order to prolong valve life, the Standby Switch alone
should also be used to turn the amplifier on and off during breaks in a
performance. Also, when switching off, always disengage the Standby
Switch prior to the main Power Switch.
The correct value of mains fuse is specified on the rear panel of the
amplifier. NEVER attempt to bypass the fuse or fit one of the incorrect
value.
10. LOW SENSITIVITY INPUT FOR CHANNEL I
This is the ʻlow sensitivityʼ guitar input for Channel I. It is 6dB lower in
volume than the ʻhigh sensitivityʼ input and has a darker sound as well
due to its significantly lower input impedance.
2. OUTPUT IMPEDANCE SELECTOR
Matches the amplifierʼs output to the load (speaker) impedance.
6. H.T. FUSE
Your 1992LEM should be completely powered down before the Output
Impedance Selector is turned.
The correct value of this H.T. fuse is specified on the rear panel of the
amplifier. NEVER attempt to bypass the fuse or fit one of the incorrect
value.
11. HIGH SENSITIVITY INPUT FOR CHANNEL II
This is the ʻhigh sensitivityʼ guitar input for Channel II, the so-called
ʻNormalʼ channel.
As is the case with any Marshall all-valve amplifier it is imperative that: a)
the amplifier is connected to a load whilst in operation and b) the
impedance selected on the amplifier matches the total impedance of the
extension speaker cabinet(s) being used.
Technical Specification
Power Output - 100W RMS
Weight - 21.4 kg
12. LOW SENSITIVITY INPUT FOR CHANNEL I
This is the ʻlow sensitivityʼ guitar input for Channel II. It is 6dB lower in
volume than the ʻhigh sensitivityʼ input and has a darker sound as well
due to its significantly lower input impedance.
3. PRESENCE CONTROL
Size - 740mm x 270mm x 210mm
This control operates in the 1992LEMʼs power section and adds high
frequencies to your sound by altering the power amplifierʼs negative
feedback. Turning this control clockwise adds more edge and ʻsparkleʼ to
your sound, making it crisper and more cutting.
1x16 Ohm cabinet - Selector on 16 Ohm - Use either speaker output
2x16 Ohm cabinets - Selector on 8 Ohm - Use both outputs
1x8 Ohm cabinet - Selector on 8 Ohm - Use either output
2x8 Ohm cabinets - Selector on 4 Ohm - Use both outputs
1x4 Ohm cabinet - Selector on 4 Ohm - Use either output
* EUROPE ONLY
- Note: This equipment has been tested and found to comply
Performance Note: Bridging or ‘jumping’ the two channels
Because both Channels of the 1992LEM have the same number of gain
stages (two) and are therefore in phase with each other, it is possible to
bridge them together (ʻjumpingʼ or ʻlinkingʼ) and use them both at the
same time. Doing this enables you to expand upon the amps tonal
possibilities by mixing the two channels together. The same principal can
also be used to ʻdaisy-chainʼ two or more amplifiers together.
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.
4. BASS CONTROL
* EUROPE ONLY - Note: The Peak Inrush current for the 1992LEM is 38 amps.
This adjusts the bottom end, turning it clockwise increases the amount of
WARNING! Do NOT use any other combination of cabinets and/or
impedances. Doing so may result in damage to the amplifier!
An extension speaker cabinet with an impedance of less than 4 Ohms, or
two extension cabinets of 4 Ohms or less should NOT be used with this
amplifier.
low frequencies in the sound.
5. MIDDLE CONTROL
This adjusts the level of those all-important mid-range frequencies.
Turning it clockwise increases the mids and fattens your sound, giving it
more punch. Turning it anticlockwise reduces the mids.
The most common way to utilise both channels is to plug your guitar into
the top (high sensitivity) input of Channel I and then run a short ʻjumperʼ
guitar cable (i.e. a screened cable) from the Channel Iʼs bottom (low
sensitivity) input to the top (high sensitivity) input of Channel II. (fig. 1)
Failure to comply with any of the points raised in this section will result in
damage to the amplifier.
6. TREBLE CONTROL
This adjusts the top-end. Turning it clockwise increases the amount of
3. MAINS SELECTOR
Matches the amplifierʼs mains transformer to the incoming mains voltage.
high frequencies (treble) present in the sound, making your tone brighter.
The ʻreverseʼ is also possible – namely plugging your guitar into Channel
IIʼs top input and then running the ʻjumperʼ cable from Channel IIʼs bottom
input to Channel Iʼs top input. This less common approach can yield
some interesting tonal variations. (fig. 2)
Note: The following four controls - PRESENCE (item 3), BASS (item 4),
MIDDLE (item 5) & TREBLE (item 6) - are all shared, meaning that they
all work on both Channel I and Channel II. The Treble, Middle and Bass
controls are highly interactive and altering one control can change the
way the other two behave. For this reason, experimentation is
recommended.
Your 1992LEM should always be completely powered down before the
mains selector is turned.
WARNING! ALWAYS ensure that this rotary selector is set to the correct
mains voltage applicable for the country where the 1992LEM is being
used. If you do not know, consult your authorized Marshall dealer.
Lemmyʼs preferred settings are shown on the panel above.
Adjusting the selector from 230V to 120/100V or vice-versa will require
the mains fuse (item 5) to be changed to the correct value as detailed on
the rear panel.
7. VOLUME I
This controls the overall output level of Channel I, turning it clockwise
increases the volume. This channel is voiced for a higher treble response
than Channel II.
Fig. 1
Fig. 2
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