TSL100& TSL122
TRIPLE SUPER LEAD
Valve Amplifiers
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WARNING! - Important safety instructions
!
WARNING: This apparatus must be earthed!
A
B
C
D
E
PLEASE read this instruction manual carefully before switching on.
ALWAYS use the supplied mains lead, if a replacement is required please contact your authorised Marshall Dealer.
NEVER attempt to by-pass the fuses or fit ones of the incorrect value.
DO NOT attempt to remove the amplifier chassis, there are no user serviceable parts.
Refer all servicing to qualified service personnel including replacement of fuses and valves. Servicing is required when the apparatus
has been damaged in any way, such as when the power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the
apparatus, the apparatus has been exposed to rain or moisture, does not operate normally or has been dropped.
F
NEVER use an amplifier in damp or wet conditions.
G
H
ALWAYS unplug this apparatus during lightning storms or when unused for long periods of time.
Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles and at the point where they exit from
the apparatus.
I
DO NOT switch the amplifier on without the loudspeaker connected.
J
ENSURE that any extension cabinets used are of the correct impedance.
➲ Note: This equipment has been tested and found to comply with the requirements of the EMC directive (Environments E1, E2 and E3) and Low
Voltage directive in the E.U.
EUROPE ONLY - Note: The Peak Inrush current for the TSL100 and TSL122 is 40 amps.
➲ Caution: Any changes or modifications not expressly approved by the party responsible for compliance may void the user’s authority to operate the
equipment.
➲ Note: It is recommended that all audio cables used to connect to the TSL100 and TSL122 are of a high quality screened type. These should not
exceed 10 metres in length.
➲ WARNING: Do not obstruct ventilation grilles and always ensure free movement of air around the amplifier!
USA ONLY - DO NOT defeat the purpose of the polarised or grounding type plug. A polarised plug has two blades with one wider than the
other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong is provided for your safety. When
the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
Follow all instructions and heed all warnings - KEEP THESE INSTRUCTIONS !
Introduction
The Triple Super Lead series of 100 watt am plifiers takes the acclaim ed form ula of the groundbreaking Dual Super Lead series and places
an im m ense am ount of control and flexibility at your fingertips.
As the nam e im plies, the Triple Super Lead is a three channel am p. Each channel has a full range of independent controls for gain,
volum e and EQ functions, to m axim ise its sonic qualities and balance that channel against the others. Further to that, the m aster section
has the capability to enhance and m odify the sonic palette even further by providing controls for reverb, fx loop m ixes, presence and deep
EQ, virtual power reduction and even m uting the power am p output for silent recording via the inbuilt speaker em ulating DI circuit.
Although the three channels of the TSL are nam ed ‘Clean’, ‘Crunch’ and ‘Lead’, DO NOT let these nam es m islead you into thinking that
you will only get those functions. Alternatively, think of the TSL as three classic valve am plifiers in one. As you would expect from
independent am ps, each has a wide range of tones, depending on how you you set it up, and you are able to footswitch between them .
Read on and we will take you through what each channel can do.
Because of the im m ense functionality of the TSL, it m ay be that you find, at first, that the front panel control layout is, perhaps, slightly
daunting. Do not worry, a great deal of thought has gone into the layout of the controls and, with the help of this m anual and a little
patience from yourself, we feel that you will soon learn how easy your TSL actually is to use.
WHAT YOUR TSL WILL and WON’T DO !
Before going into what your TSL am p can do, let’s discuss what it won’t do. Firstly, rem em ber that your tone com es from you and
nobody, or nothing, else. Your technique is what m akes you the player that you are, nobody else in the world sounds exactly like you.
That’s how special you are! Having the best gear in the world is not going to m ake you play like anybody else but what it will do is help
you to achieve your aim s, by expanding your creative possibilties and generally m aking life a lot easier.
Likewise your guitar, pickups and strings have an im m ense influence on your final tone. Guitars com e in (basically) three different
flavours - Single coil pickups over 25 1/2” scale length (nam es usually start with the letter F), Hum bucking pickups over a shorter scale
length, usually 24 3/4” (nam es usually start with a G) and thirdly a com bination of hum buckers over a 25 1/2” scale length. All these
guitars sound different and although the choice is personal, one type will do a better job than another depending on what type of m usic
you want to play.
Also different woods and build techniques have a very significant affect on the final tone, i.e. m ost Hum bucking guitars use a lot of
m ahogany and a glued in neck, whilst m ost single coil guitars woods of a totally different resonance (alder, m aple, ash, etc) and a
separate bolt on neck construction.
Despite what som e other am p m anufacturers m ay claim about their products, no am plifier can m ake one type of guitar sound like a
totally different type of guitar.
The TSL100 and TSL122 are no different in this respect !
What we would like to claim however (and virtually guarantee), is that your TSL100 will m axim ise the potential of your guitar in a way
that you m ay never have thought possible and without a doubt will spur your m usical creativity onto new horizons.
5 Way Foot Controller
Your TSL100 or TSL122 com e supplied with a 5 way foot controller for channel, reverb and FX loop switching. It com es com plete with an
8 m etre (approx 26 ft) long lead ending in a 6 pin DIN plug to connect into the footswitch connector on the rear panel of your am plifier,
(see rear panel details).
Once connected the controller will give you instant access to and visual indication of each of the 3 channels, plus reverb on/off and fx
loop on/off. To allow proper operation it is im portant to rem em ber that both channel m ode pushswitches on the front panel (located
between the Clean and Crunch / Lead channels) MUST be pushed IN. As the FX loops are switched entirely out of the am plifier circuit until
an FX device is plugged into either of the FX loop jack sockets, the FX switch and LED indicator on the foot controller are com pletely
inoperative until the loops are connected. Unless this is done the FX LED will not light up, no m atter how m any tim es the switch is
depressed!
One benefit of having a foot switched FX loop is that it can be used as a secondary m aster volum e if no FX are connected. This is
achieved by inserting a shorted dum m y jack plug into the Loop A Return jack socket to access the loop circuitry, switch OFF the FX
footswitch and set your loudest required volum e on the individual channel m aster volum es. Now switch the FX footswitch ON (LED glows
red) and set your quieter volum e using the FX Mix controls (Clean Mix for Clean channel, Crunch / Lead Mix for Overdrive). Rem em ber
that these controls will now work back to front to a norm al volum e control, i.e. anticlockwise is loudest (sam e as norm al signal) and
clockwise is quietest. Now you can toggle between these settings by using the FX footswitch.
2
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(Please refer to diagram A, Page 26)
CLEAN CHANNEL
1. Mode Select
5. Treble, Middle, Bass Controls
To access the Clean channel (if the foot controller is NOT connected) -
release the Clean - OD1/OD2 pushswitch. If the footswitch IS connected
both mode switches MUST be pushed in, and then press the Clean
pushswitch on the foot controller. The Clean LED (green) on the front
panel and the clean LED on the footswitch should now both be
illuminated.
These are the time honoured passive type of network that help make a
guitar amp what it is. By being before the gain stages these controls
work in a slightly different way to being after the gain stages, as you
would normally find on a distortion type preamp (and as pioneered by
Marshall). By instead of processing an already formed sound, the EQ
helps form the voice of the sound. For instance, turning the Mid control
down will clean up the body of the tone and help give the characteristic
‘twang’ of country music (coupled with a Txlxcaxter of course !).
As you can see, the controls available in the ‘Clean’ mode are: Gain,
Volume, Treble, Middle, Bass rotary controls and Mid Boost pushswitch
(preamp) and Reverb, FX Mix, Presence rotary controls and Deep
pushswitch (at master level).
Also turning the Mid down will help when undertaking funkier rhythm
work, to enable the treble to cut through and not muddy up the
frequencies needed for the lead instrument(s). Obviously, altering the
Treble and Bass controls will have the affect of tailoring the high and
low frequencies in your tone. When playing at high levels (gain as well
as volume) turning the Bass down will help maintain note definition and
aid projection. Try turning the Treble down and Mid up a bit for the solo
in that warm romantic ballad, with the right amount of gain, you will be
rewarded with some sweet clean sustain.
Two more pushswitches are available, but remember these affect the
whole amplifier as well (these are marked PowerAmp V.P.R. and Output
Mute).
FUNCTIONS
2. Gain Control
As with most amplifiers, this controls the sensitivity of the input section
of the preamp. At low settings the preamp will be ultra clean with a very
bright character. As you turn the control up, the sound will become
fuller and warmer (some may say ‘fatter’), with a more pronounced
bottom end. Set at the top end of the control’s range (depending on the
type of guitar and pickups, etc) a very warm sustaining breakup will start
to occur, depending on the EQ settings, as described below.
Master Section Controls
At the other end of the panel you will find the ‘Clean’ master section
with the following controls :
6. Reverb Control
This will vary the inbuilt Accutronics spring reverb from a faint shimmer
to deep and luxurious, this will affect the ‘Clean’ channel only.
3. Volum e Control
7. FX Mix Control
This sets the amount of signal generated by the preamp out into the
power amp section. When using very clean ‘Gain’ settings, you may
want to turn this up higher than when using higher ‘Gain’ settings to
achieve a suitable stage sound level. The FX loop comes after this
control, which will help you balance the FX level with the other
channels.
When using the extensive FX looping facility on the rear panel, this
control will adjust the FX mix for the clean channel only, from totally
dry (0) through varying degrees of parallel mix (1-9) to a full series
connected loop (10). For more information see FX Loop section
8. Presence Control and Deep Switch
NOTE : Many different ‘clean’ amp textures can be created by balancing
the ‘Gain’ and ‘Volume’ controls.
The presence control will boost the upper mid / lower treble part of the
tone giving it more up-front brilliance, great for cutting through
overactive cymbals. The Deep switch gives the tone a very resonant
texture as it interacts with the low frequencies of the loudspeakers. This
is great for filling out the bottom end at low volumes but will also give a
resonant but controlled growl to the tone at high volumes.
4. Mid Boost Pushswitch
This works in conjunction with the passive EQ controls by disconnecting
the Mid control from the circuit, then reconfiguring the way the Treble
and Bass controls work. One way of using this function is to set the
Gain control high, Treble and Bass midway and with sufficient output
volume setting, you will be rewarded with a very singing, sustaining
Blues / Jazz Rock lead type tone, as characterised by many Chicago,
Texan and Californian players, particularly those using more vintage
type amps. This tone can then be modified by using the Treble, Bass and
Presence controls.
9. V.P.R. and Mute Pushswitches
Please see later section.
(Please refer to diagram B, Page 27)
CRUNCH CHANNEL
1. Mode Select
4. Tone Shift Pushswitch
To access the crunch channel (if the foot controller is NOT connected) -
front panel pushswitch marked ‘Clean - OD1 / OD2’ should be
depressed and the one marked ‘OD1 / OD2’ should be released. If the
foot controller IS connected both switches MUST be pushed in and then
press the Crunch switch on the foot controller. The Crunch LED
(yellow) on the front panel and the Crunch LED on the foot controller
will now be ON.
This takes the traditional, slightly middly Marshall passive post
distortion EQ network and reconfigures it to produce a more mid
scooped tone. Whilst mid-scooped tone is usually associated with
‘Metal’, please do not be afraid to experiment with the shifted tone
settings even if metal is not your thing, as it is very useful in deepening
the tone at low volumes.
5. Treble, Middle, Bass Controls
The controls available in the ‘Crunch’ mode are Gain, Volume, Treble,
Mid, Bass rotary controls and Tone Shift push-button (on the preamp
section), Reverb, FX Mix, Presence rotary controls and Deep pushswitch
on the master. These are also shared with the ‘Lead’ channel.
As stated above, these are the traditional Marshall post distortion EQ
controls and as such affect the character of the distorted signal. It is
suggested that initially you set the controls midway and experiment from
there, rather than the ‘everything on 10’ method favoured for the earlier
non-master Marshall amps. Remember, increasing the treble is going to
make the distortion more ‘fizzy’ and ‘cutting’, whereas increasing the
mid will make the distortion more fluent and sustaining but probably not
as dynamic (in the modern sense). Try what you will, there are many
textures to discover.
FUNCTIONS
2. Gain Control
Again this controls the input sensitivity of the channel but with the effect
of being capable of much more gain and hence more dramatic distortion.
At low settings, the channel is relatively clean (although darker in tone
than the clean channel) and makes a good alternative for gentler, bluesy
style solos. With a bit more gain the tone becomes more aggressively
traditional Marshall rock with the emphasis on chunky power chords.
Take the gain control to the limit and we enter modern high gain crunch
territory, with probably more gain and dynamics than other
6. Master Section Controls
As with the Clean channel the Reverb, FX mix, Presence, and Deep
functions can be adjusted independently of the Clean channel but
remember these controls are also used in conjunction with the Lead
channel.
manufacturers would put on their lead channels!
3. Volum e Control
Again this controls the balance and level of the crunch channel against
the rest of the TSL.
3
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(please refer to diagram C, Page 28)
LEAD CHANNEL
1. Mode Select
Output Mute
To access the Lead channel - both front panel ‘mode select’
pushswitches must be pushed in (with or without the foot controller
connected). If using the foot controller press the Lead switch. The Lead
LED (red) on the front panel and on the foot controller will now be
illuminated.
By the nature of the ‘V.P.R.’ circuit, we can now turn off the signal to
the output valves. As the speaker emulating DI output is connected to
the same place, this enables the TSL to be DI’d for silent recording, yet
maintain the compression and harmonics of a push-pull valve stage.
Power and Standby Switches
FUNCTIONS
These are a very important part of your valve amplifier and to help
maximise the life of your output valves. Please remember these simple
but important rules :
As you can see the control line up in the ‘Lead’ mode is identical to the
‘Crunch’ mode, except now you are using the other row of controls.
Operation of the ‘Lead’ channel is exactly the same as the ‘Crunch’
channel, but with a lot more gain and compression to play with. This
channel will still clean up with low gain settings or from the guitar’s
volume control. BUT, when wound up the dynamics and response of
this channel will follow your every move. When speed picking the amp
will follow every note without blurring and when playing slow legato
runs, the amazing sustain will bloom into controlled feedback hanging
on for as long as you want. Experimenting with the Gain, Volume and
EQ controls will yield an extremely wide palette of tonal textures.
1. Always turn the Power switch on first, wait for at least a minute, 2 if
possible. This enables the valves to reach their working temperature
before the HT voltage is applied.
2. Then turn on the Standby switch. This applies the HT voltage to the
valves and makes the amp work.
3. When stopping for a break, turn Standby switch off only. This allows
the valves to remain at their working temperature (where they are
happiest !) and you do not need to go through the warm up cycle again
when you are ready to resume playing.
OTHER FRONT PANEL CONTROLS
In the section marked ‘POWER AMP’ there are two pushswitches, one
marked ‘V.P.R.’ and the other marked ‘Output Mute’, these work in the
following way:
4. At the end of the gig turn the Standby switch off first, wait a few
seconds and then turn the Power switch off.
Another important rule to remember, to help prolong valve and amplifier
life is after turning off at the end of a gig, let your amp cool down before
moving it and certainly before putting into the back of the truck on a cold
night. Remember this and your valves (tubes) will love you for it.
V.P.R. - Virtual Power Reduction
When this switch is depressed, the power amp circuit is modified
allowing it to emulate a lower powered amp, approximately 25 watts.
This is done between the phase splitter (inverter) valve and the output
valves. In this way, as compared to other methods of power reduction,
all four output valves remain running and connected in pentode
operation, thereby all valves wear evenly and maintain the full toneful
dynamics of that type of connection.
(refer to diagram D, Page 29)
TS L1 0 0 & TS L1 2 2 REAR PANEL
The TSL rear panel contains a number of functions to not only make the
amp work but also to expand its versatility.
sockets are marked 4 & 8 Ohm Parallel Jacks and are connected to the 4
& 8 Ohm Impedance selector. These are used when using either non-
Marshall cabinets of a different impedance (either 4 or 8 ohms) or when
using multiple speaker systems (i.e. when using two stacked Marshall
4x12” cabs or when using an extension cab with the TSL122 combo).
Remember to set the Output Selector to the appropriate setting! (item 4)
i.e. 2 x 16 Ohm loads = 8 Ohms, 1 x 4 Ohms = 4 Ohms, 2 x 8 Ohms = 4
Ohms. If in doubt consult your Marshall dealer.
1. Footswitch Connector
The supplied foot controller is connected to the amplifier via this 6 pin
DIN socket to allow remote switching of Channels, Reverb and FX
functions. See section on 5 way foot controller for details.
2. Effects Loop A & Effects Loop B
WARNING! - Under no conditions operate your TSL amplifier without a
loudspeaker type load connected, otherwise costly damage may result!
The TSL supports two effects loops, which can be used in a variety of
ways.
You may notice that the TSL122 2x12” combo has two different types of
loudspeaker (1 x Marshall Celestion Vintage and 1 x Marshall Celestion
Heritage), this is because combining the characteristics of the two
speakers helps reproduce the unique tone capabilities of this amp. We
care about your tone!
Loop A when used on its own, is the master loop for the amp and will
channel switch from clean to overdrive when you change channels,
allowing you to set the individual mix from the front panel Mix controls.
Loop B is the specific loop for using effects on the overdrive channels
(Crunch / Lead) and if used on its own will only provide effects when on
these channels, leaving the clean channel totally dry.
To further extend the TSL122 combo’s capabilites there is a matching
2 x 12” cabinet - the TSLC212. This cabinet is the perfect match for the
combo as it features a similar speaker configuration.
When Loop B is in use Loop A becomes available for use solely on the
Clean channel. This means that you can have two totally different FX
systems, one for clean and one for overdrive.
5. Em ulated Line Out
This XLR connector provides a superb loudspeaker emulated output
signal, suitable for either connecting into a PA system or for direct
recording, without resorting to using microphones or external DI units.
As stated earlier, by using the “output mute” function, silent recording
can be accomplished, enabling late night project studio sessions to be
carried out with the minimum of stress. This socket can be connected in
a variety of ways. See diagram E.
Each loop has its own ‘loop level’ pushswitch, enabling you to select the
right send and return levels to suit whatever effects system you are using.
With the switch ‘out’, the level within the loop is high (suitable for most
pro rack fx). With the switch ‘in’, the level within the loop is set at a
much lower signal level (suitable more for floor pedals or lesser spec’d
rack units).
Note: The loops are in parallel mode until the mix controls are at 10
when the loop converts to series mode. Also, remember that as the loops
are between the preamp and the power amp, this is NOT the place for
distortion type effects units.
6. Mains Input, Mains Fuse, HT Fuse
The mains input and fuse provide and protect your amplifier with the
incoming electric power, enabling it to operate. Please see specifications
(and amplifier rating) for more details. If in doubt consult your Marshall
dealer. The HT fuse protects your amplifier from an internal fault with
the HT voltage supply. If this blows, it would probably indicate that an
output valve has failed. If this happens, consult your Marshall dealer or
service centre, regarding replacement and service.
3 & 4. Loudspeaker Outputs & Im pedence Select
There are three loudspeaker jacks provided on the TSL amps. One is
dedicated to 16 Ohm use only and is marked as such. This is for use
when using either a single 16 Ohm cabinet (Marshall 4x12” of course!)
on the TSL100 head or the internal speakers on the TSL122 combo.
Using this socket negates the use of the other sockets! The other two
WARNING! For your protection and safety, your amplifier must be
serviced by qualified personnel only.
4
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Diagram E - Line Out XLR Connections
3
2
1
3
2
1
3
2
1
3
2
1
XLR Channel Input On Mixer
(Note: Line Level-Approx OdBV)
A
B
C
2 Core Screened Balanced Mic Lead
NC
3
2
1
3
2
1
Unbalanced XLR to Jack Screened Lead
Jack Plug
Line Level Jack Input On Mixer Etc.
3
2
1
3
NC
2
1
Unbalanced XLR to Jack Screened Lead
Jack Plug
Low Level Jack Input On Mixer (ie Mic Input)
S P ECIFICATION
Output power
(typical) 120 watts at 5% THD into 4/8/16 ohms.
117V ~ 60Hz or 230V ~ 50Hz (standard) - others to special order.
Mains input
(To alter amplifier for different mains voltage specification to that delivered (i.e. 120V to 230V etc), please
contact your country’s Marshall distributor or main service centre.)
Mains power input
Mains fuse
375 watts.
T4A - 117V or T2A - 230V
T1A
HT fuse
Valve (Tube) complement 4 x ECC83 (12AX7) - preamp and phase splitter (inverter).
4 x EL34 - output. Marshall - Svetlana fitted as standard.
WARNING!
If the loudspeaker is disconnected a high voltage can be present at these
output terminals. Operation in this manner can damage your amplifier,
therefore ensure that the loudspeaker is properly connected.
WARNING : RISK OF HAZARDOUS ENERGY!
AVIS : ENERGIE ELECTRIQUE DANGEREUSE!
!
5
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Dia g ra m A - Cle a n Ch a n n e l
Front Panel - TSL122 Com bo - Clean Channel
OD1 - CRUNCH
OD2 - LEAD
GAIN
VOLUME
TREBLE
MIDDLE
BASS
REVERB
FX MIX
PRESENCE
OFF
OFF
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
TRIPLE SUPER LEAD
TONE
SHIFT
JCM 2000
CLEAN
OD1 / OD2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
CRUNCH
CLEAN
4
6
4
6
4
6
4
6
4
0
6
OD1
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
2
8
2
8
2
8
2
8
2
8
OUTPUT
MUTE
DEEP
V.P.R.
ON
ON
0
10
0
10
0
10
0
10
10
MID
BOOST
LEAD
CRUNCH
MODE
SELECT
STANDBY
POWER
CLEAN
LEAD
INPUT
GAIN
VOLUME
TREBLE
MIDDLE
BASS
10
10
10
OD2
0
10
0
10
0
10
0
10
0
10
0
0
0
POWER AMP
TSL122
2
3
4
5
1
6
7
8
9
Front Panel - TSL100 Head - Clean Channel
OD2
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
TRIPLE SUPER LEAD
LEAD
CRUNCH
MODE
SELECT
JCM 2000
TSL100
2
8
8
2
2
8
8
2
8
8
2
2
8
2
2
8
2
2
8
2
2
LEAD
4
6
4
6
4
6
4
6
4
6
OUUT
ME
V..
DEEP
OFF
ON
OFF
ON
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
2
8
2
8
2
8
2
8
2
8
OD1
MID
BOOST
0
10
0
10
0
10
0
10
0
10
POWER AP
2
2
8
8
8
CLEAN
CRUNCH
CLEAN
TONE
SHIFT
BASS
MIDDLE
TREBLE
VOLUME
GAIN
INPUT
CLEAN
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
OD1 / OD2
POWER
STANDBY
OD1 - CRUNCH
OD2 - LEAD
PRESENCE
FX MIX
REVERB
BASS
MIDDLE
TREBLE
VOLUME
GAIN
9
8
7
6
1
5
4
3
2
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Dia g ra m B - Cru n c h Ch a n n e l
Front Panel - TSL122 Com bo - Crunch Channel
OD1 - CRUNCH
OD2 - LEAD
GAIN
VOLUME
TREBLE
MIDDLE
BASS
REVERB
FX MIX
PRESENCE
OFF
OFF
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
TRIPLE SUPER LEAD
TONE
SHIFT
JCM 2000
CLEAN
OD1 / OD2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
CRUNCH
CLEAN
4
6
4
6
4
6
4
6
4
0
6
OD1
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
2
8
2
8
2
8
2
8
2
8
OUTPUT
MUTE
DEEP
V.P.R.
ON
ON
0
10
0
10
0
10
0
10
10
MID
BOOST
LEAD
CRUNCH
MODE
SELECT
STANDBY
POWER
CLEAN
LEAD
INPUT
GAIN
VOLUME
TREBLE
MIDDLE
BASS
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
POWER AMP
TSL122
1
2
3
4
5
6
Front Panel - TSL100 Head - Crunch Channel
OD2
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
TRIPLE SUPER LEAD
LEAD
CRUNCH
MODE
SELECT
JCM 2000
TSL100
2
8
8
2
2
8
8
2
2
8
8
2
2
8
2
2
8
2
2
8
2
2
LEAD
4
6
4
6
4
6
4
6
4
6
OUTPUT
MUTE
V.P.R.
DEEP
OFF
ON
OFF
ON
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
2
8
2
8
2
8
2
8
2
8
MID
BOOST
0
10
0
10
0
10
0
10
0
10
POWER AMP
2
8
8
8
CLEAN
CRUCH
CLEAN
TONE
SHIFT
BASS
MIDDLE
TREBLE
VOLUME
GAIN
INPUT
CLEAN
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
OD1 / OD2
POWER
STANDBY
OD1 - CRUNCH
OD2 - LEAD
PRESENCE
FX MIX
REVERB
BASS
MIDDLE
TREBLE
VOLUME
GAIN
6
5
4
3
2
1
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Dia g ra m C - Le a d Ch a n n e l
Front Panel - TSL122 Com bo - Lead Channel
OD1 - CRUNCH
OD2 - LEAD
GAIN
VOLUME
TREBLE
MIDDLE
BASS
REVERB
FX MIX
PRESENCE
OFF
OFF
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
TRIPLE SUPER LEAD
TONE
SHIFT
JCM 2000
CLEAN
OD1 / OD2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
2
2
8
8
CRUNCH
CLEAN
4
6
4
6
4
6
4
6
4
0
6
OD1
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
2
8
2
8
2
8
2
8
2
8
OUTPUT
MUTE
DEEP
V.P.R.
ON
ON
0
10
0
10
0
10
0
10
10
MID
BOOST
LEAD
CRUNCH
MODE
SELECT
STANDBY
POWER
CLEAN
LEAD
INPUT
GAIN
VOLUME
TREBLE
MIDDLE
BASS
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
POWER AMP
TSL122
1
2
3
4
5
6
Front Panel - TSL100 Head - Lead Channel
OD2
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
TRIPLE SUPER LEAD
LEAD
CRUNCH
MODE
SELECT
JCM 2000
TSL100
2
8
8
2
2
8
8
2
8
8
2
2
8
2
2
8
2
2
8
2
2
LEAD
4
6
4
6
4
6
4
6
4
6
OUTPUT
MUTE
V.P.R.
DEEP
OFF
ON
OFF
ON
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
0
4
10
6
2
8
2
8
2
8
2
8
2
8
MID
BOOST
0
10
0
10
0
10
0
10
0
10
POWER AMP
2
2
8
8
8
CLEAN
CRCH
CLEAN
TONE
SHIFT
BASS
MIDDLE
TREBLE
VOLUME
GAIN
INPUT
CLEAN
0
10
0
10
0
10
0
10
0
10
0
10
0
10
0
10
OD1 / OD2
POWER
STANDBY
OD1 - CRUNCH
OD2 - LEAD
PRESENCE
FX MIX
REVERB
BASS
MIDDLE
TREBLE
VOLUME
GAIN
6
5
4
3
2
1
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Dia g ra m D - Re a r P a n e ls
Rear Panel - TSL122 Com bo
WARNING!: RISK OF HAZARDOUS ENERGY! AVIS!: ENERGIE ELECTRIQUE DANGEREUSE!
CAUTION!: TO REDUCE THE RISK OF FIRE REPLACE FUSES WITH THE SAME
TYPE AND RATING ONLY. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE.
TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER. NO USER
SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
LOUDSPEAKER OUTPUTS
EFFECTS LOOP B
EFFECTS LOOP A
FOOT CONTROLLER
!
ATTENTION!: POUR EVITER LES RISQUES D’INCENDIE UTILISER UN FUSIBLE
DE MEME TYPE ET DE MEME CALIBRE. DEBRANCHER AVANT DE REMPLACER LE
FUSIBLE. POUR EVITER LES RISQUES DE DECHARGES ELECTRIQUES, NE PAS
OUVRIR LE COUVERCLE. CET APPAREIL NE COMPORTE AUCUNE PIECE
SUSCEPTIBLE D’ETRE REPAREE PAR VOS SOINS. FAITES TOUJ OURS APPEL A
UN TECHNICIEN QUALIFIE POUR TOUTE REPARATION.
LOOP
LEVEL
LOOP
LEVEL
8 Ohm
SELECT
4 Ohm
MAINS INPUT
MAINS FUSE
(T2A - 230V)
(T4A - 120V)
HT FUSE
T1A
EMULATED
LINE OUT
(4 & 8 Ohm PARALLEL JACKS)
16 Ohm ONLY
RETURN
SEND
RETURN
SEND
WARNING!: SHOCK HAZARD. DO NOT OPEN. TO REDUCE THE RISK OF FIRE
OR ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.
THIS APPARATUS MUST BE EARTHED.
120V ~ 60 Hz
375 Watts
Nte: 16 Ohm Output J ack negates use of others.
REFER TO MANUAL FULL DETAILS. SE REFERER AU MANUEL POUR PLUS DE DETAILS.
1 - Use EFFECTS LOOP A only as Master Loop (on all three channels)
LOOP MODE 2 - Use EFFECTS LOOP B only for effects on OD channels (CRUNCH & LEAD) only
AVIS!: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR. POUR EVITER LES
Made in England by:
RISQUES D’INCENDIE ET DE DECHARGES ELECTRIQUES, N’EXPOSEZ J AMAIS CET
{
3 - Use EFFECTS LOOPS A and B for separate effects on CLEAN & OD channels
APPAREIL A L’HUMIDITE OU
A
LA PLUIE. CONNECTER CET APPAREIL A LA TERRE.
Marshall Am plification plc, Bletchley, Milton Keynes, England.
6
5
4
3
2
1
Rear Panel - TSL100 Head
Made in England by:
CAUTION!: TO REDUCE THE RISK OF FIRE REPLACE FUSES WITH THE SAME TYPE
AND RATING ONLY. DISCONNECT SUPPLY CORD BEFORE CHANGING FUSE.
TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER. NO USER
SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
1 - Use EFFECTS LOOP A only as Master Loop (on all three channels)
LOOP MODE 2 - Use EFFECTS LOOP B only for effects on OD channels (CRUNCH & LEAD) only
WARNING!: RISK OF HAZARDOUS ENERGY!
AVIS!: ENERGIE ELECTRIQUE DANGEREUSE!
Marshall Am plification plc, Bletchley, Milton Keynes, England.
!
{
3 - Use EFFECTS LOOPS A and B for separate effects on CLEAN & OD channels
HT FUSE
T1A
MAINS FUSE
(T2A - 230V)
(T4A - 120V)
MAINS INPUT
120V ~ 60 Hz
375 Watts
EMULATED
LINE OUT
ATTENTION!: POUR EVITER LES RISQUES D’INCENDIE UTILISER UN FUSIBLE DE
MEME TYPE ET DE MEME CALIBRE. DEBRANCHER AVANT DE REMPLACER LE FUSIBLE.
POUR EVITER LES RISQUES DE DECHARGES ELECTRIQUES, NE PAS OUVRIR LE
COUVERCLE. CET APPAREIL NE COMPORTE AUCUNE PIECE SUSCEPTIBLE D’ETRE
REPAREE PAR VOS SOINS. FAITES TOUJ OURS APPEL A UN TECHNICIEN QUALIFIE POUR
TOUTE REPARATION.
FOOT CONTROLLER
EFFECTS LOOP A
EFFECTS LOOP B
LOUDSPEAKER OUTPUTS
WARNING!: SHOCK HAZARD. DO NOT OPEN. TO REDUCE THE RISK OF FIRE OR
ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE.
THIS APPARATUS MUST BE EARTHED.
LOOP
LEVEL
LOOP
LEVEL
4 Ohm
8 Ohm
SEND
RETURN
SEND
RETURN
16 Ohm ONLY
(4 & 8 Ohm PARALLEL JACKS)
SELECT
AVIS!: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR. POUR EVITER LES RISQUES
D’INCENDIE ET DE DECHARGES ELECTRIQUES, N’EXPOSEZ J AMAIS CET APPAREIL A
e: 16 Ohm Output negates use of oth
EFER TO MANUAL FULL DETAILS. SE ERER AU MANUEL R PLUS DE DETAILS.
L’HUMIDITE OU
A
LA PLUIE. CONNECTER CET APPAREIL A LA TERRE.
1
2
3
4
5
6
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