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    From the Chairman

    Congratulations on your purchase of this limited
    edition, 40th Anniversary, hand wired JTM45/100 Dual
    Output 100 Watt, all-valve head and accompanying pair
    of 4x12 cabinets.The original version of this world
    famous amplifier was built in late 1965 at the request of
    the young rock musicians of that period. I was being
    asked to provide bigger and louder amplification to
    accommodate the harder edge and aggression of this
    younger generation’s take on rock and roll and blues. I was
    only too happy to accept this challenge!

    My team of engineers set to work using a JTM45 with two
    power sections as the basis for the very first Marshall 100 watt
    head and in November 1965 these formidable amps with
    accompanying 8x12 cabs made their stage debut.The original 8x12s
    proved too bulky for transportation and were returned in favour of stacking
    two 4x12 cabinets, one on top of the other.Thus the Marshall ‘stack’ was born.

    This authentic replica stack and head celebrates the fortieth anniversary of this much documented
    episode in rock music history and is part of an ongoing series, featuring hand wired re-issues of
    revered historical Marshall Products.The reason I have decided to do this is simple - public demand!

    Marshall’s reputation and longevity has evolved as a result of the philosophy behind the design and
    build of our amplifiers. Our design engineers are nearly always guitarists and have the benefit of
    developing our products from both musical and electronic view points.Anybody who appreciates
    great vintage tone will enjoy the magic contained within this milestone of electric guitar amplification.
    These vintage tones are still to this day regarded as benchmarks.

    At a time when the face and sound of popular music was rapidly changing, players were constantly
    pushing back and redefining musical boundaries.The JTM45/100, with its relatively simple controls,
    features and circuitry was there on the front line at the beginning of this music revolution.

    I sincerely hope that this unique looking and sounding, handwired landmark of Marshall history will
    provide you with countless hours of playing pleasure, inspiring you to push musical boundaries even
    further…just like the famous players of the originals did!
    Yours Sincerely,


  • Page 3

    The JTM45/100 is a Class-A/B, all-valve, 100 Watt head with two channels (High
    Treble & Normal) that share tone controls. Our goal for this handwired re-issue
    is both obvious and simple – to make it as identical to the late 1965 made
    originals as possible.To this end the circuit, cosmetics, construction, sound and
    all-important dynamic characteristics all have to be 100% correct – and they are.
    We went to incredible lengths to achieve maximum authenticity and are
    delighted to report that our suppliers were equally as exacting in their tasks
    As ‘the Guv’nor,’ Dr. Jim Marshall, has already stated, this head first saw the light
    of day in late 1965 and was affectionately named the JTM45/100 because of the
    continued use of the JTM45 preamp section and also its front panel. Because
    original JTM45/100’s are extremely rare and collectable, we had to travel to
    various parts of the world to examine other originals in addition to closely
    examining many photographs kindly provided by the lucky few owners. Slight
    circuit variations were apparent between models due to Marshall’s ongoing
    development of the 100 watt amplifier at that time.

    The way the three ECC83s (labelled V1,V2 & V3 in the photo) in the pre-amp are utilised is as follows –

    V1 is the pre-amp gain stage for the High Treble and Normal channels. Each half of the valve (the ECC83 is a dualtriode which means it is literally two triode valves in one) acts as a dedicated gain/input buffer stage for each channel.

    V2 is common to both channels which are passively summed at the input of this valve.The first half of V2 acts as a
    second gain stage, which boosts the signal further and directly drives the second half of the valve which is configured
    as a cathode follower – a unity voltage gain device which acts as a high input impedance buffer, providing a low output
    impedance to drive the pre-amp’s passive tone network.

    V3 is the amplifier's phase invertor and sits at the very end of the pre-amp section’s tone circuit.V3 divides its input
    signal into two separate output signals that are inverted with respect to each other – hence the name ‘phase invertor’
    (a.k.a.‘phase splitter’).The two resulting signals are then fed to the push-pull power output stage of the amplifier.

    The circuit we have revisited for the JTM45/100 is vastly different to the later
    circuit we use for our critically acclaimed, late 60s Plexi re-issue, the 1959HW.
    The most relevant technical departures in question lie in the dual output
    transformers, Power Supply Topology and the use of KT66 power valves just like
    the originals.

    As you can see from its front panel layout, the JTM45/100 is an extremely
    straightforward amplifier. Its two channels – High Treble and Normal - each have
    two inputs (High and Low sensitivity) and separate Loudness (volume) controls.
    Both channels share the amplifier’s four tone controls:Treble, Middle, Bass and
    Presence. Like all Marshall valve amplifiers, the JTM45/100 performs at its very
    best when turned up to deliver your personally preferred dynamic range. Due to
    its power rating and astonishing projection, it can be a formidable live amplifier in
    even the largest of venues.A truth bore out by its impressive history time-andtime again.

    The JTM45/100’s organic, vibrant, sweetly distorted, harmonically rich and thick musical tone emanates from its power
    valves being driven into a dual 50 watt output stage.When ‘cranked,’ the JTM45/100 produces its own unique roar
    with an inspiring ‘punch you in the chest’ clout. It reacts superbly to the guitar’s volume control / player feel
    combination and, not surprisingly, responds exceedingly well to picking dynamics too. From ‘in-your-face’ when you play
    with unbridled aggression to subtle ‘in your ear’ blues caresses when you pull back and turn down…just like the
    celebrated masters of the day.

    The speaker cabinets in the Anniversary Stack, 812T40 and 812B40, have been designed to recreate the majestic look
    of the original 8x12s when stacked.We could, of course, have replicated the 8x12 but in consideration to your back
    (and your roadies!) we decided that dividing it into two 4x12s was much more sensible! Just like the original 8x12,
    both cabs are loaded with Celestion’s highly celebrated T652 Alnico Speakers.The angled top cabinet also features a
    semi-open back, just like the genuine 8x12 reference we took our dimensions from.

    Technical Information

    Components: Wherever and whenever possible, we have gone back to the original manufacturers for all
    components to maintain the highest quality and to ensure maximum authenticity.

    Valve compliment: Three ECC83s (12AX7s) in the pre-amp and a quartet of KT66* power valves working in pushpull.All valves are of the highest quality available and are subjected to our usual meticulous grading and testing




    *KT66: these output valves were standard issue on mid sixties Marshall Amplifiers yielding a fat, round tone that has a
    distinctly vintage flavour.





    Overview: Historical,Tone and Tech Talk

  • Page 4

    Front panel features





    Tag Boards: The tag boards used in your hand wired re-issue are exactly the same as those in the original in terms
    of thickness and matrix pitch.The material we're using is made exclusively for us and is ‘UL recognised Micom type
    Marshall EM42’.The reason we didn’t use a board with the exact same chemical composition as in the original units is
    because that material doesn't pass current safety requirements regarding flammability.

    Transformers: The mains (power) and output transformers are vital to the performance, sound and feel of an allvalve amplifier. Because of this we spent a great deal of time studying and analysing the constructional methods and
    materials used in the original transformers so we could match everything as closely as possible.We also went to great
    lengths to ensure that the all-important electrical characteristics and performance of the originals were duplicated
    exactly. In order to achieve these vitally important goals we worked extremely closely with our associates in the R&D
    department of Drake – the company which supplied us with the output transformers used in the original JTM45/100.
    Mains (Power) Transformer: In the original JTM45/100 the mains transformer was an “off-the-shelf” device
    purchased from a highly regarded general electronic components supplier. Referred to as the “RS De Luxe ”this
    transformer is no longer available, but with the help of Drake’s expertise we were able to replicate the performance
    of the original “De Luxe” of which we have several genuine examples.We paid particular attention to an important
    electrical effect called ‘regulation’ which is the variation in behaviour of the HT voltage and current from the
    transformer and is dependant on load demand (i.e. how loud you’re playing!).This behaviour affects how the amplifier
    compresses and reacts to saturation when played at high volumes – hence its importance.

    Output Transformers: As already mentioned, the pair of output transformers used in the original JTM45/100s were
    supplied by Drake, as are those in your reissue. Fortunately Drake still had their original documentation intact after all
    of these years, a factor which obviously helped ensure that the reissues are 100% accurate.
    Power Supply: This circuit has the same exact filtering on the H.T. (high voltage DC, a.k.a. the B+ voltage) line as the
    original versions, a factor that contributes to the JTM45/100 having a unique, dynamic characteristic all of its own.

    Chassis: We are using a box-section chassis made from 16-gauge mild steel with butt-welded corner joints.The steel
    is also passivated giving lifelong resistance to corrosion.
    Front Panel: Extra thick, gold coloured Plexiglas (actually Perspex, causing some people to refer to it as ‘Perplexi’!),
    exactly as the original. Specific details pertaining to the front panel features can be found on page 5 of this manual.
    Rear Panel: Made from cream styrene with gold print, just like the original references.

    Head Cabinet Construction: High-grade, flawless (knot-free) Baltic birch-ply with finger locked joints for maximum
    strength.The main cabinet frame (sides, top and bottom) are 15mm ply, the front baffle is constructed from 12mm ply
    while the back of the cabinet is 9mm ply.All edges have a 15mm radius.
    Head Cabinet Cosmetics: The Marshall Block logo, black Levant covering, original venting, beading and piping
    duplicate the look and style of the originals.








    This is the On/Off switch for mains power to the


    Note: Please ensure the amplifier is switched off and
    unplugged from the mains electricity supply whenever it
    is moved.

    Note: The following four controls - PRESENCE (item
    4), BASS (item 5), MIDDLE (item 6) & TREBLE (item 7)
    - are all shared, meaning that they are common to both
    Channel I and Channel II.They are highly interactive and
    altering one control can change the way the others
    behave. For this reason, experimentation is

    The Standby Switch is used in conjunction with the
    Power Switch (item 1) to 'warm up' 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
    'Standby'.This allows the heater voltage to bring the
    valves to their correct operating temperature. After
    approximately two minutes the valves will have reached
    their correct operating temperature and the Standby
    Switch can be engaged, enabling the HT without
    'shocking' cold valves.
    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.


    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,
    hence its 'High Treble' labelling.

    8. LOUDNESS 1

    This controls the overall output level of Channel II,
    turning it clockwise increases the volume level.This
    channel is voiced for a 'normal', flatter response and is
    labelled as the 'Normal' channel.



    This 6.3 Volt incandescent filament indicator will light up
    when your amplifier’s heaters are energised at mains
    power switch on, (irrespective of standby switch
    position). It will not be lit when the amplifier is switched
    off and/or is not receiving mains power.


    This is the 'high sensitivity' guitar input for Channel I, the
    so called High Treble channel. It is the most commonly
    used input.Always use a high quality screened guitar


    This control operates in the JTM45/100's power section
    and adds high frequencies to your sound by altering the
    power amplifier's negative feedback.Turning this control
    clockwise adds more 'sparkle' to your sound, making it
    crisper and more cutting.


    This is the 'low sensitivity' guitar input for Channel I.


    This is the 'high sensitivity' guitar input for Channel II,
    the so called 'Normal' channel.

    This adjusts the bottom end, turning it clockwise
    increases the amount of low frequencies in the sound.



    This is the 'low sensitivity' guitar input for Channel II.




    This adjusts the top-end.Turning it clockwise increases
    the amount of high frequencies present in the sound,
    giving your guitar tone a brighter edge.


    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, producing a more
    'scooped' tone.


    Interesting aside: Back in the day, a 'high sensitivity'
    input jack was recommended for use with a guitar
    loaded with low-output pickups (e.g.: single coils) while



    Tone Circuit: In typical Marshall fashion, the JTM45/100’s shared tone network is passive and interactive. By
    interactive we simply mean that the settings of the Bass and Treble controls affect the amount of mid-dip (cut)
    available via the Middle control.

  • Page 5



    Performance Note: ‘Jumping’ the two

    Because both Channels of the JTM45/100 have the
    same number of gain stages and are in phase with each
    other, it is possible to ‘jump’ (a.k.a.‘link’ or ‘bridge’) them
    together and use them both at the same time. Doing
    this enables you to expand upon the amp’s tonal


    There are two loudspeaker output jacks provided for
    connection to speaker extension cabinet(s). However,
    due to the unique power amplifier output configuration,
    they are not in parallel, as are standard models. Please
    always ensure that the amplifier's output impedance
    selector is set correctly (see item 2) and ALWAYS
    ensure you use good quality speaker (non-screened)
    cables. NEVER use guitar (screened) cables.

    The most common way of doing this is to plug your
    guitar into the top (high sensitivity) input of Channel I
    and then run a short ‘jumper’ guitar cable (i.e. a
    screened cable) from Channel I’s bottom (low
    sensitivity) input to the top (high sensitivity) input of
    Channel 2.Adjust both channel volumes (Loudness I & 2
    controls) until the desired mix of tone is achieved.

    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.

    Matches the amplifier's output to the load (speaker)

    Originally, the output selectors were situated on the
    shrouds of the transformers themselves, however, this is
    not allowed by current safety requirements.We have
    therefore logically put them on the rear panel.

    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 incorrect value.


    Your JTM45/100 should be completely powered down
    before either 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 incorrect value.

    5. H.T. FUSE

    It is imperative that: a) at least one of the speaker
    outputs of the amplifier is connected to a load whilst in
    operation and b) the impedances on the output
    selectors matches the impedance of the extension
    speaker cabinet(s) being used.The following
    combinations are our recommendations:

    JTM45/100 Head
    Power Output

    812T40 & 812B40 Cabinets

    100W RMS
    22 kg
    740mm x 270mm x 210mm

    Power Handling (per cabinet)
    100W RMS
    Weight - 812T40
    36 kg
    Weight - 812B40
    39 kg
    754mm x 741mm x 355.5mm

    - 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.
    EUROPE ONLY - Note: The Peak Inrush current for the JTM45/100 is 39 amps.




    Technical Specification


    Failure to comply with any of the points raised in this
    section may result in damage to the amplifier.

    WARNING! Never use the amplifier without a load

    NOTE: whether the channels are linked or not is
    entirely the choice of the individual players taste in tone.
    As always, experimentation is the key.


    WARNING! Use of any other combination of cabinets
    and/or impedances may result in sub standard sound
    and possible damage to the amplifier!

    Always use a non-screened Marshall approved speaker
    lead when connecting an extension cabinet to these

    The reverse is also possible, i.e. plugging your guitar into
    Channel II’s top input and then running the ‘jumper’
    cable from Channel 2’s bottom input to Channel I’s top


    Stereo cabs can be used provided attention is given to
    impedance and power handling i.e. at least 50 watts per


    Originally this fuse was mounted internally; however, it is
    logical to provide access on the rear panel.

    1x16 Ohm cabinet - Selectors on 16 Ohm.
    Use either speaker output.
    2x16 Ohm cabinets - Both selectors on 16 Ohm.
    Use both outputs.
    1x8 Ohm cabinet - Selectors on 8 Ohm.
    Use either output.
    2x8 Ohm cabinets - Both selectors on 8 Ohm.
    Use both outputs.
    1x4 Ohm cabinet - Selectors on 4 Ohm.
    Use either output.
    2x4 Ohm cabinet - Both selectors on 4 Ohm.
    Use both outputs.

    Follow all instructions and heed all warnings



    Rear panel features

    the 'low sensitivity' input was recommended for higher
    output pickups (e.g.: humbuckers).This said, the majority
    of guitarists - then and now - ignore these
    recommendations and plug high output guitars into the
    'high sensitivity' input because it further boosts the
    strength of their signal.

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