Marshall Amplification JMP-1 Manual de usuario

JMP-1

HANDBOOK

From The Chairman

I would like to thank you personally for selecting the JMP-1 MIDI Pre-amp.

As our first venture into MIDI controlled guitar equipment, many hours of

development have been spent ensuring that it fulfils the functions that you really

need to cope with todays widely varied playing environments. We have always

worked very closely with guitarists from many different fields and their valuable

input has been an essential ingredient in the creation of the JMP-1.

My design team is made up of guitar players who fully understand the needs and

realities of guitar performance. They have had a free hand in making this pre-amp

sound quite simply the best.

My confidence in their ability is absolute and it gives me great pride to see and hear

the traditions of Marshall improved through progress, whilst retaining the classic

tonal authority that is the Marshall hallmark.

Please read this handbook carefully before operating your JMP-1 so that you can

fully enjoy the advantages of our research and technology.

ENGLISH

Contents

Description Page number

Introduction 3

JMP-1 Front Panel Features 3

Rear Panel Features 4-5

When You Switch On 5

Creating Your Sounds 5

Storing Your Sounds 6

Sound Selections 6

Factory Sounds 7-8

Some Notes on MIDI 9

MIDI Channel 9

MIDI Mapping 10

Four Way Footswitch 11

To Re-initialise The JMP-1 11

System Exclusive 11-12

MIDI Implementation Chart 12

Connection Diagram A

Front and Rear Panel Layout B

Personal Sound Setting Table C

WARNING! - Important safety instructions

WARNING: This apparatus must be earthed!

A. PLEASE read this instruction manual carefully before switching on.

B. ALWAYS use the supplied mains lead, if a replacement is required please contact your authorised Marshall Dealer.

C. NEVER attempt to by-pass the fuses or fit ones of the incorrect value.

D. DO NOT attempt to open the apparatus, there are no user serviceable parts.

E. Refer all servicing to qualified service personnel including replacement of fuses and valves.

The internal battery is not user changable. 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. No objects filled with liquids should be placed on the apparatus.

G. ALWAYS unplug this apparatus during lightning storms or if unused for long periods of time.

H. 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.

➲

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 JMP-1 is 800mA.

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.

➲

CAUTION: Any changes or modifications not expressly approved by the party responsible for compliance may void the users authority

to operate the equipment.

➲

Note: It is recommended that all audio and Midi cables used to connect to the JMP-1 are of a high quality screened type. These should

not exceed 10 metres in length.

➲ WARNING: Always ensure free movement of air around the apparatus! Particular care should be taken if installing the apparatus in a

rack, so that the flow of air is not impeded.

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 are

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 !

ENGLISH

Introduction

The relationship between the guitarist and amplifier has been our prime concern since the earliest

Marshall’s were produced. We always aim to give that extra edge, which can help to inspire the

player, fuelling creativity and the ability to express.

Advances in technology have allowed us to modify and enhance this basic principle for the benefit of

the musician. However, we have never lost sight of that extra emotional drive that only valves are

capable of producing. The whole character of our unique sound emanates from the breathing full

bodied pure tone of the valve.

Your JMP-1 MIDI pre-amp is a carefully designed coalescence between modern MIDI technology and

classic Marshall valve circuitry. It’s many tones are all valve generated and presented in a way that is

both comfortable and familiar to guitar players.

The digital control capabilities add a new degree of flexibility to the way in which the tones can be

switched and processed. The advantages provided by this level of control are truly astounding. After

studying the manual and with a little practical exploration, you will find an unbelievable range of sounds

and will very soon wonder how you managed without MIDI. The only limit is your own imagination.

JMP-1 Front Panel Features

1. Input Socket Connect the guitar to this socket.

2. Headphone Socket For the connection of stereo headphones.

Headphones with an impedance of 600 Ohms will give

the best performance. Connecting headphones does not

disable the outputs of the pre-amp.

3. Output Level Control Controls the volume level from the master left and right

outputs (Item 25).

4. Display The display is split into two sections and shows patch

and data information.

5. Patch Key Push this key to enter patch selection mode (0-99). The

patch key LED will illuminate to indicate patch mode.

6. Store Key Use this key to store a patch in the memory.

Operational Note:

Push once and the store key LED will flash. The data entry control (7) can now be used to change the storage

location. Pushing patch or a parameter key will abandon the store. Push the store key again to complete the store.

(Also see section Creating Your Sounds).

7. Data Entry Control This rotary control is used to increment/decrement data

information, or to select a patch in patch mode.

8. Volume Key Push this key to adjust the patch volume level between 0

and 20. The volume key LED will illuminate to indicate

that the volume parameter has been selected. The data

display will show the current value. The value can then

be adjusted using the rotary data entry control (7).

9. Gain Key Push this key to adjust the level of gain between 0 - 20.

10-13. Tone Control Keys These keys should be combined to shape the Bass,

Middle, Treble, and Presence tone parameters. They

can all be adjusted between -6 and +6.

ENGLISH

14. Effect Key This key varies the mix of the stereo effects loop

between 0 and 12. At 0 only the direct signal is heard

and at 12 only the effected signal is heard. When at

12 the loop is effectively running in series i.e. no direct

signal. This is ideal for use with a graphic equalizer or

compressor limiter. As the effect parameter level is

reduced, more direct signal is introduced as with a

parallel loop. This is best suited to Chorus, Delay,

Reverb etc.

15. OD1 Key This key selects overdrive 1, a warm vintage drive

reminiscent of Marshall Super Lead amps through to

modern day Master Volumes.

16. OD2 Key Selects overdrive 2. This a tightly focused high gain

drive which can be smooth or aggressive depending on

the E.Q. and gain settings.

17. Bass Shift This is a subtle low frequency character control which

can be switched in or out of any sound selection.

18. Clean 1 Key Selects Clean 1, which has a full warm character and

pure vintage tone.

19. Clean 2 Key Selects Clean 2. This has a bright sparkling tone ideal

for clean picking and ringing chords.

20. MIDI-Mapping Key The mapping function enables the mapping of incoming

MIDI patch messages to internal patches and outgoing

MIDI patch numbers to external devices. (See MIDI

mapping).

21. MIDI Channel Key This key selects the MIDI Channel on which the JMP-1

transmits and receives MIDI information.

22. Power Switch On/Off switch for mains power.

Please ensure the

apparatus is switched off and unplugged from the mains

electricity supply before being moved.

Rear Panel Features

23. Emulated Outputs Left and right outputs featuring Marshall speaker

emulation. The volume level from these outputs is

controlled by the volume level parameter key (8) not by

the output level control (3).

Operational Note: Stereo Speaker Emulation.

The Marshall speaker emulation circuit is a special filter which gives a signal virtually identical in sound to a

speaker cabinet. This allows you to link directly to the PA and obtain a stunning direct sound in a live situation. In

the studio it will give a true guitar tone direct to tape.

24. Emulated Level Selection Switch

Selection switch providing +4dB or -10dB output

levels on the speaker emulated outputs.

25. Master Outputs

Left and right outputs for connection to a power amplifier.

26. Master Level Selection Switch Gives +4dB or -10dB Master output level options.

ENGLISH

27. Effects Return Jacks Left and right jack sockets for connection from the

outputs of an external effects processor. If using a

mono effects processor the left hand return socket only

should be used. In this instance both the left and right

master outputs and speaker emulated outputs will now

be working in mono.

28. Effects Level Selection Switch Provides level selection of +4dB or -10dB to match the

level of external effects processors.

29. Effects Send Jack Output for connection to the input of the external effects

processor.

30. Footswitch Socket Connection point for optional Marshall four way

footswitch to give 4 patch selection.

31. MIDI OUT Sends outgoing MIDI messages from the JMP-1.

32. MIDI THRU Sends out MIDI messages identical to those coming in

through the MIDI IN terminal.

33. MIDI IN Terminal to receive incoming MIDI messages from

external MIDI device.

34. MAINS INPUT

Your JMP-1 is provided with a detachable mains (power)

lead which is connected here. Before connecting for the

first time, please ensure that your JMP-1 is compatible with

your electricity supply. If you have any doubt, please get

advice from a qualified person. Your Marshall dealer will

help in this respect.

When you switch on

When switching on the JMP-1, the unit will run through an

initialising process and will then default to the patch number that

was selected when the JMP-1 was last switched off (Fig1). Your

JMP-1 is now ready for action.

Creating Your Sounds

Your JMP-1 is capable of producing a vast array of different tones, stored in the 100 available

patches. The simplicity of creating and storing these sounds is a major advantage and feature of the

pre-amp. A “Patch” is a combination of all the programmable elements that you put in, therefore if all

tone and volume selections are at 0, no sound will be produced. Each patch is made up of:

(A) The channel selection i.e. OD1, OD2, Clean 1, Clean 2 & Bass Shift

(B) The individual volume, gain, tone and effects levels that you have selected.

The first step is to select a patch by pressing the patch key (5) using the rotary data control (7) to reach

the desired patch number. The next stage is to “build” your required sound, firstly by selecting the

channel OD1, OD2, Clean 1 or Clean 2 with or without bass shift, then by selecting the volume, gain,

tone and effects levels. These controls work in exactly the same way as a normal Marshall amplifier,

where increasing the gain brings in more overdrive and the tone selections interact to “shape” the

sound.

The JMP-1’s controls are there to be used to the full and by experimenting with all the extremes you will

quickly understand it’s capabilities and build your own library of sounds.

Patch Data Patch

Store

Fig 1 Patch

ENGLISH

Storing Yours Sounds

When you are satisfied with the sound that you have created, storage

is achieved in the following way. Push the store key (6) once , the LED

will flash (Fig 2). Select the desired patch location using the data entry

control (7). (Pressing the patch or any parameter key will abandon the

store). Push store a second time to complete the store

Memory Lock

A memory lock can be set to keep your data safe. This will disable

any functions that write data to the internal memory i.e Store,

Mapping, Channel & System Exclusive. If the memory is locked an 'L'

will appear in the right of the display when you attempt a store (Fig 3).

At this stage the lock can be toggled on or off by pressing the Channel

key.

Sound Selections

There is a definite identifiable character to the “Marshall Sound” throughout the years. largely derived

from the unique qualities of valve power. Our expertise in harnessing valve drive has been fully

exploited in the JMP-1 to recreate the various classic sounds and to generate new tones that will

become the classics of the future. Bearing in mind the variations in guitar types and styles, plus the

flexibility of the control parameters, the following guide gives an indication of each channel's basic

sound type.

Clean 1

This is a warm full bodied clean tone, ideal for rich chords, which can be softened for jazz tones or, by

adding gain, will suit clean lead lines with a hint of vintage distortion.

Clean 2

In complete contrast to Clean 1, Clean 2 is bright and glassy with a clear jangling tone. In addition it

contains the unique lively “edge” found only in the early JTM 45 and Super Lead Amps operating at

volumes just below distortion.

OD1

Features the purity of distortion from the golden age of the plexi glass Super Leads. As the gain is

increased you pass through degrees of distortion into a rich higher gain mode, with just the right

nuances for the modern blues rock player. Vintage crunch, modern metal and fat blues lead sounds are

all readily available.

OD2

Tightly focused stunning high gain is what you will find in OD2. Modern and aggressive, smooth and

fluid, the gain levels and singing tone of this channel will give you infinite sustain whilst retaining a pure

toneful quality.

Bass Shift

The Bass Shift option can be switched in or out of any channel selection. When selected it thickens the

bottom end of the sound and tightens the playing feel. On clean selections it adds body and on

overdrive provides the extra low end “throb” so essential for heavy rock sounds.

Patch Data Patch

Store

Patch Data Patch

Store

Fig 2 Store

Fig 3 Memory lock Activated

ENGLISH

Factory Sounds

Your JMP-1 has 26 sounds ready programmed into patches 00-25. These patches have been

programmed by experienced guitarists. They have also been used in full stage and studio performance.

These sounds can all be edited in the way described earlier and recalled if necessary using the

procedure described in the section-“to re-initialise the JMP-1.”

Pre set sounds

TITLE MODE B/S VOL GAIN BASS MID TREB PRES

00 Smoke-em OD 2 off 18 20 3 -3 3 1

01 Chunkus OD 1 off 17 20 1 -3 3 4

02 Sticky OD 1 on 15 13 1 2 6 3

03 Cleeeeen CL 2 off 20 9 3 -1 4 6

04 British Steel OD 2 on 17 16 4 0 4 1

05 Nasal Tone OD 2 on 16 20 0 1 6 6

06 Quo !!! OD 2 on 17 10 2 -2 6 3

07 Angus-Ho OD 2 on 17 14 0 -1 3 2

08 Filth OD 2 on 17 20 2 -6 6 6

09 Bloooz-O OD 2 on 17 11 2 -2 3 2

10 Bloooz-O+ OD 2 on 17 19 2 -2 3 2

11 Tej'as OD 1 on 16 14 1 -1 4 1

12 Modster OD 1 on 14 20 2 1 5 5

13 Biffa OD 1 off 15 20 2 0 3 3

14 More Gary OD 2 on 17 4 3 0 3 3

15 Mid-lands OD 1 on 14 17 2 6 3 3

16 Sunshine OD 2 on 15 10 1 6 -6 3

17 Britaevious CL 2 on 17 17 4 -2 6 6

18 Trash OD 1 on 17 9 4 -1 2 3

19 800's OD 1 off 16 15 6 0 3 3

20 LA Crunch OD 1 on 16 17 6 1 3 2

21 Crusher OD 1 on 18 12 5 -4 5 4

22 Grit Clean CL 2 off 16 19 3 -1 4 6

23 Shred Spread OD 1 on 17 20 5 0 6 6

24 Warm Grit CL 1 on 16 20 -1 3 6 6

25 Mellow CL 1 off 20 14 2 -2 1 1

ENGLISH

Pre set sounds descriptions

TITLE MODE ATTRIBUTES PICKUPS COMMENTS

00 Smoke-em OD 2 Lots of drive & sustain It starts here

01 Chunkus OD 1 Big, Ugly & Fat Gain controls "chunkiness"

02 Sticky OD 1 Edgy grime Big change for different guitars

03 Cleeeeen CL 2 Very Lots of headroom

04 British Steel OD 2 Warm & Heavy English overdrive

05 Nasal Tone OD 2 Thin, midrangy & cutting When tracks are full, this fits

06 Quo !!! OD 2 Bright crunch Rocks you all over the world

07 Angus-Ho OD 2 Mid '70s Marshall Tone

08 Filth OD 2 Bright, semi scooped Great for chords

09 Bloooz-O OD 2 Plexi 50 Watt Classic tone

10 Bloooz-O+ OD 2 Plexi 100 Watt As above, more aggressive

11 Tej'as OD 1 Punchy/dark drive Increase gain for vintage singles

12 Modster OD 1 Mod-ed Plexi More than enough

13 Biffa OD 1 Obnoxious overdrive In your face crunch

14 More Gary OD 2 JTM 45 on "6" Started it all

15 Mid-lands OD 1 Honky mid range voice Cuts through

16 Sunshine OD 2 Cleaner than you think! Increase Treb. for dark guitars

17 Britaevious CL 2 Modern clean - Pick's up EFX well Hi output pickups will distort

18 Trash OD 1 Very broad modern tone Fills up a lot of space

19 800's OD 1 JCM800 - Deliverin' the dB's Set bass to suit your guitar

20 LA Crunch OD 1 Mod-ed JCM800 on "5" Decrease Pres. for single coils

21 Crusher OD 1 JCM900 on "8" Mid control very effective

22 Grit Clean CL 2 Clean & on the edge Hi output pickups will distort

23 Shred Spread OD 1 Full scoop shred tone Bass control is the key here

24 Warm Grit CL 1 Dark & on the edge Hi output pickups will distort

25 Mellow CL 1 Clean & pretty Roll back guitar tone for full "Jazz"

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Some Notes On MIDI

In a modern guitar set-up you might have a number of elements, a pre-amp and an effects processor or

two. By using MIDI to link these devices together, you can control them all simultaneously. This is the

real use of MIDI for the guitarist (Musical Instrument Digital Interface). Most MIDI devices are equipped

with three MIDI terminals, MIDI IN, MIDI THRU and MIDI OUT. The connection between these terminals

is quite simple. A MIDI IN terminal would be connected to a MIDI Out or MIDI THRU terminal.

Messages are sent from a MIDI OUT terminal to a MIDI IN terminal.

MIDI messages received at the MIDI IN terminal are simultaneously routed through at the MIDI THRU

terminal. So the messages being sent via MIDI THRU are a direct copy of the messages received at

MIDI IN. The MIDI OUT terminal is not the same as the MIDI THRU terminal. The JMP-1 will send it’s

own MIDI messages via the MIDI OUT terminal.

There are various different MIDI messages that one device can send to another. The most important

message is the MIDI program (patch) change message. When the JMP-1 receives a program change

message it will call up a patch. Whenever the JMP-1 calls up a new patch it also sends a MIDI program

change message via the MIDI OUT terminal. Pressing a pedal on a MIDI foot controller will send a

MIDI program change message. Each MIDI program change message carries a number between 00

and 127 corresponding to the patch/program to be called up. The JMP-1 has 100 internal patches but

will respond to all 128 MIDI program change messages, by using a MIDI mapping table.

MIDI Channel

Another important thing to know about MIDI, is the idea of MIDI Channels. Most MIDI messages are

sent over a MIDI Channel, of which there are 16. In order for one MIDI device to communicate with

another, both devices must be operating on the same MIDI Channel.

The JMP-1 can be set to operate on any one of the 16 MIDI channels or in Omni mode. In Omni mode

the JMP-1 will respond to MIDI messages on all channels and will transmit on channel 1.

To Set The MIDI Channel: After pressing the channel key the display will indicate the current MIDI

Channel setting (Fig 4).

Use the data entry control to select channels 1 to 16 or Omni

mode. Press the channel key again to store the channel setting

and return to patch mode.

Note: The MIDI Channel setting is a ‘Global` parameter and

not stored with an individual patch. MIDI Channel setting is

retained whilst the unit is not powered.

Patch Data Patch

Store

Fig 4 Channel selection

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