Marshall Amplification JVM410H HEAD Manual de usuario

OWNER’S MANUAL

JVM410H HEAD &

JVM410C COMBO

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WARNING! IMPORTANT SAFETY INSTRUCTIONS

ENGLISH

WARNING:

Before going any further, make sure that

your amplier is compable with your

mains electricity supply. If you have any

doubt, please seek help from a qualied

technician – your Marshall dealer can help

you in this respect.

MAINS INPUT & FUSE:

The specic mains input voltage rang

that your amplier has been manufactured

for is indicated on the rear panel of the

amplier. Your amplier is provided with

a detachable mains (power) lead, which

should be connected to the MAINS INPUT

socket on the rear panel of the amplier

(Rear Panel Function #13). The correct

value and type of mains fuse is specied

on the rear panel of the amplier. NEVER

aempt to bypass the fuse or t one of the

incorrect value or type.

TRANSPORTING YOUR EQUIPMENT:

Please ensure that your amplier is

switched o, unplugged from the mains

electricity supply and all removable

cables have been disconnected from your

equipment before aempng to move it.

IMPORTANT SET UP INFORMATION:

1. When using JVM410H head, or

JVM410C combo with an extension speaker

cabinet(s), make sure that the speaker

cabinet(s) is connected to the correct

impedance loudspeaker jack socket(s) on

the rear panel of the amplier. See the

LOUDSPEAKERS guide in this manual for

specic informaon regarding impedance

matching (Rear Panel Function #19).

WARNING Failure to do the above may

damage your amplier. When connecng

a speaker cabinet make sure that you

use a proper speaker cable. Never use a

screened (shielded) guitar cable for this

purpose.

2. Ensure that the POWER switch (Front

Panel Function #12) is set to the OFF

posion.

3. Connect the supplied mains (power)

lead into the MAINS INPUT (Rear Panel

Function #13) rst and then into the mains

electricity supply.

4. Ensure that the MASTER 1 and MASTER

2 controls on the front panel are set to

zero (Front Panel Function #7).

5. Plug your guitar into the INPUT jack

socket on the front panel (Front Panel

Function #1).

6. Ensure that the STANDBY switch (Front

Panel Function #11) is in the OFF posion.

7. Turn the front panel POWER switch

to the ON (I) posion and wait for a few

minutes before going to point 8.

8. Engage the amplier by switching

STANDBY to the ON posion.

9. Turn the volumes up to your preferred

level and your amplier is ready to play.

PLEASE READ THIS MANUAL CAREFULLY BEFORE PLUGGING IN.

FOLLOW ALL INSTRUCTIONS AND HEED ALL WARNINGS.

KEEP THESE INSTRUCTIONS.

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This device complies with part 15 of the FCC Rules. Operaon is subject to the

following two condions:

1. This device may not cause harmful interference, and

2. This device must accept any interference received, including interference

that may cause undesired operaon.

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 protecon against harmful interference in a residenal

installaon.

This equipment generates, uses and can radiate radio frequency energy and, if not in-

stalled and used in accordance with the instrucons, may cause harmful

interference to radio communicaons.

However, there is no guarantee that interference will not occur in a parcular

installaon. If this equipment does cause harmful interference to radio or

television recepon, which can be determined by turning the equipment o 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 separaon between the equipment and the receiver.

• Connect the equipment into an outlet on a circuit dierent from that to

which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Any changes or modicaons not expressly approved by the party

responsible for compliance may void the users authority to operate the equipment.

This device complies with CAN ICES-3(B)/NMB-3(B)

COMPLIANCE STATEMENT

JVM410H Head JVM410C Combo

Power (RMS) 100W 100W

Valves 5x ECC83 + 4x EL34 5x ECC83 + 4x EL34

Main Guitar - Input Impedance 470kΩ 470kΩ

Emulated Output - Level +4dBu +4dBu

FX Send Level - selectable -10dBV, +4dBu -10dBV, +4dBu

Weight 22kg 34.5kg

Size (mm) W, H, D 750 x 310 x 215 690 x 510 x 265

TECHNICAL SPECIFICATIONS

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INTRODUCTION

From humble beginnings in 1962 Marshall became a global icon. Synonymous with

the sound of rock and blues rock music, the legendary power and disncve tone of

Marshall ampliers can be heard on many inuenal studio and live recordings from

the past half century. Marshall ampliers have stood the test of me, with some of our

classic products from the ‘60s, ‘70s, ‘80s & ‘90s sll made today at the Marshall factory

in Bletchley, England.

Marshall has over the years earned a reputaon for craing great sounding, dependable,

hard-wearing and hardworking ampliers for all guitarists, and our values haven’t

changed, this remains our primary goal. Through expert R&D and bold design we connue

to innovate, building on our heritage and reputaon as the number one Brish amp

maker.

The all-valve JVM410H and JVM410C are made in England by a skilled and dedicated

workforce whose crasmanship and aenon to detail produce some of the best loved

and most iconic guitar ampliers and speaker cabinets ever made.

The highly acclaimed JVM4 Series is at the apex of six decades of tonal and funconal

evoluon; an evoluon that has been driven not only by our desire to make the best

ampliers in the world , but by our customers—professional arst and amateur enthusiast

alike. At Marshall we fully understand the necessity of achieving the right tone, feel and

funconality to help inspire you to reach your creave potenal.

The JVM4 Series features 4 tonally independent channels, each with 3 modes, oering a

broad tonal palee from which to shape your sound. With the inclusion of an FX loop,

two master volumes and four independent channel reverbs, JVM4 is versale too.

To control JVM4’s wide tonal range and funconality requires a unique footswitching

system. The programmable 6-way Stompware® footcontroller enables you to harness

the power of JVM4, giving you serious control of your sound during performance, either

by switching panel funcons directly or programming groups of panel sengs to form

Presets stored to single footswitch buon.

We sincerely hope that your JVM4 Series amplier proves indispensable and that it

provides you with years of legendary Marshall tone, whatever your playing situaon.

Thank you for choosing Marshall.

- The Marshall Team

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OVERVIEW

CHANNELS, MODES & MEMORY

Presenng the 4 channel, 100 Wa, all-

valve JVM4 amplier (JVM410H head or

JVM410C 2x12” combo). Its 4 channels

feature 3 modes, giving you a total of 12

dierent modes to choose from - each

with its own unique gain structure. Even

though its front panel contains a total of 28

control knobs and 8 LED switches, JVM4 is

simple to understand and operate thanks

to its extremely logical front and rear panel

layouts.

The front panel contains dedicated sets of

controls for each of its 4 channels - CLEAN,

CRUNCH, OD1 & OD2 - plus MASTER and

REVERB secons. Each channel contains

the familiar controls, VOLUME, BASS,

MIDDLE, TREBLE and GAIN. The REVERB

secon consists of 4 level controls, one for

each channel, while the MASTER secon

is comprised of 2 footswitchable master

volumes: MASTER 1/MASTER 2, plus

master RESONANCE and PRESENCE

controls that work universally on all 4

channels.

Each of the 4 channels has 3 switchable

modes. These are selected by the

MODE switch dedicated to each

channel. To select a channel press its

respecve MODE switch or step on the

relevant buon on the supplied 6-way

Stompware® footswitch. To scroll through

the selected channel’s 3 modes keep

pressing the said switch and the colour

of the LED in the switch will change from

green to orange to red and then back to

green. Doing this steps-up the gain level

each me (red being the highest and green

the lowest for each channel) and changes

the channel’s tonal voicing.

When you leave and then reselect a

channel, it will automacally recall the last

acve mode as all 4 channels remember

the last mode they were in unl a change

is made. For instance, if you select the

CRUNCH channel’s orange mode and

then go to the CLEAN channel, when you

reselect the CRUNCH channel it will sll

be in orange mode.

In addion to channel and mode selecon,

other features that are switchable via the

front panel and the footswitch are REVERB

(on/o) MASTER 1 & MASTER 2, and

SERIES/PARALLEL FX LOOP (on/o). All 3

of these funcons are also remembered by

each mode.

To sum up, each of the JVM4’s 12 modes

will remember its most recent REVERB,

FX LOOP and MASTER volume seng.

Addionally, mode setups can also be

saved and recalled to one of 128 locaons

via MIDI.

STOMPWARE® 6-WAY FOOTSWITCH

The JVM410H and JVM410C are supplied

with a Stompware® 6-way programmable

footswitch, which can be connected to the

amp via any standard guitar cable.

Note: The supplied footswitch lead is

unscreened and not suitable for guitar.

The footswitch features 7 LEDS: CLEAN,

CRUNCH, OD1, OD2, MASTER, REVERB

and FX. The LEDs for each of the 4

channels are 3-coloured: green, orange

and red, visually telling you which channel

and mode is selected alongside the status

of MASTER, REVERB and FX LOOP.

The supplied Stompware® footswitch

enables you to assign any of its 6 buons

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ENGLISH

to instantly recall any front panel switch

funcon (Switch Store Mode) or complete

channel setup (Preset Store Mode) in any

order and combinaon.

SWITCH STORE MODE

In Switch Store mode any footswitch

buon is assigned to act as any one of the

amp’s front panel switches: CHANNEL/

MODE, REVERB on/o, MASTER 1/2 and

FX LOOP on/o.

If a footswitch buon is assigned to select

a parcular channel, once it has been

acvated that footswitch buon can be

used to scroll through the three modes,

just like its respecve front panel switch.

PRESET STORE MODE

In Preset Store mode each footswitch

buon can be programmed to instantly

call up a combinaon of front panel switch

opons to form a Preset. For example, you

could program the footswitch so that:

Buon #1 = CRUNCH channel, green

mode with MASTER volume ‘1’, REVERB

‘on’ and FX LOOP ‘o’.

Buon #2 = CLEAN channel, red mode

with MASTER volume ‘2’, REVERB ‘o’ and

FX LOOP ‘on’.

All Preset sengs are stored within the

footswitch; this means that it can be

plugged into any JVM4 amplier and your

stored footswitch sengs will be instantly

recalled.

Details on how to program your footswitch

can be found later in this manual (Front

Panel Function #10).

POWER AMP

The power-stage of the 100 Wa JVM4

is based on the one found in the JCM800

2203 and 1959 Superlead ampliers

responsible for the legendary Marshall

roar. It has been adjusted to suit the wide

variety of tones found in JVM4 channels

and modes. This power amp secon

features PRESENCE and RESONANCE

controls to help shape the overall tone of

your JVM4 amplier.

Your JVM4 is also equipped with a silent

recording mode. When the STANDBY

switch is in the OFF posion, the power-

stage is disabled, but the rest of the

amplier remains fully operaonal.

REVERB

The JVM410H and JVM410C are

equipped with studio quality reverb,

routed in parallel to the main signal and

mixed by means of a valve. When reverb

is engaged no degradaon of the direct

signal occurs and when it’s ‘o’ it is

eecvely removed from the circuit. Each

of the JVM4’s channels also has its own

dedicated REVERB level control.

The REVERB switching has been designed

to avoid abrupt cut os in the reverb tail,

so when changing from channel to channel

or switching reverb ‘o’, its tail decays

naturally.

STANDBY & SILENT RECORDING

(Front Panel Function #11)

When the amplier is in STANDBY (OFF)

the whole preamp secon connues

running at its nominal voltages whilst

the power-stage remains in a ‘standby’

status. This allows the amplier to be

used for silent recording or for preamp

purposes using the EMULATED LINE OUT

(Rear Panel Function #16).

OVERVIEW (CONT.)

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NOTES

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FRONT PANEL FUNCTIONS

ENGLISH

1. INPUT

Input jack socket for your guitar cable. Use

a good quality screened/shielded guitar

cable to help prevent noise interference.

2. CLEAN CHANNEL

CLEAN GREEN MODE: This is the cleanest

of the three modes and, in keeping with

tradional clean amps, it uses a simple

and straighorward circuit, keeping the

signal as pure as possible. In this mode the

channel’s VOLUME control is taken out of

circuit as is the case in vintage ampliers

of this nature. This is the only mode where

this happens.

CLEAN ORANGE MODE: By adding another

gain stage aer the tone stack we get a

punchier sound that’s easy to overdrive.

As in the rest of the modes the channel’s

VOLUME control is now acve.

CLEAN RED MODE: This mode pushes the

original clean sound even more and trans-

forms into a pseudo high gain channel with

the addion of yet another gain stage aer

the tone stack.

In keeping with the classic clean amps of

yesteryear, all three modes on this channel

feature what is known as a pre-gain tone

GAIN

0 10

GAIN

INPUT

POWER STANDBY

/ SILENT RECORDING

0 10

REVERBMASTER

OD1

MODE

CLEAN

MODE

CRUNCH

MODE

OD2

MODE

FOOTSWITCH/

MIDI PROGRAM

FX LOOP

TREBLE

0 10

TREBLE

0 10

MIDDLE

0 10

MIDDLE

0 10

BASS

0 10

BASS

0 10

VOLUME

(Orange & Red)

0 10

VOLUME

0 10

GAIN

0 10

GAIN

0 10

TREBLE

0 10

TREBLE

0 10

MIDDLE

0 10

MIDDLE

0 10

BASS

VOLUME

0 10

VOLUME

0 10

RVB

CLEAN

0 10

RVB CRUNCH

0 10

RVB

OD1

0 10

RVB OD2

0 10

MASTER

0 10

PRESENCE

0 10

MASTER

0 10

RESONANCE

0 10

MASTER REVERB

OD1

OD2

CLEAN

CRUNCH

OFF

JVM410H FRONT PANEL

10 7 6

1112

GAIN

0 10

VOLUME

INPUT

POWERSTANDBY

/ SILENT RECORDING

0 10

REVERB MASTER

OD2

MODE

CLEAN

MODE

CRUNCH

MODE

OD1

MODE

FX LOOP

FOOTSWITCH/

MIDI PROGRAM

BASS

0 10

BASS

0 10

MIDDLE

0 10

MIDDLE

0 10

TREBLE

0 10

TREBLE

0 10

VOLUME

(Orange & Red)

0 10

GAIN

0 10

VOLUME

0 10

VOLUME

0 10

BASS

MIDDLE

0 10

MIDDLE

0 10

TREBLE

0 10

TREBLE

0 10

GAIN

0 10

GAIN

0 10

RVB

OD2

0 10

RVB OD1

0 10

RVB

CRUNCH

0 10

RVB CLEAN

0 10

RESONANCE

0 10

MASTER 2

0 10

PRESENCE

0 10

MASTER 1

0 10

MASTER

REVERB

OD2

OD1CLEAN

CRUNCH

OFF

JVM410C FRONT PANEL

1 42

3 5

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ENGLISH

stack (i.e. the tone network lies before the

channel’s main gain stage). The reverse (i.e.

the tone network being aer the main gain

stage) is typical of most Marshall ampliers

and, as a result, the CLEAN channel’s tone

controls work in a slightly dierent way than

you might expect; in addion to controlling

the tone of the channel they also aect how

it reacts in terms of gain, allowing you to

shape how the signal distorts.

For example, turning up the MIDDLE

control on higher GAIN sengs will focus

the distoron there, making your sound

‘sing’ in a tradional blues/rock way. Also,

because of the channels’ ‘tone then gain’

topology, when a lot of GAIN is dialled in

(especially in the case of the red mode), it

may appear that its tone controls aren’t

doing as much as you’d expect or sound

over distorted. This is because the signal

is being distorted aer the tone stage,

minimising the eecveness of the BASS,

MIDDLE and TREBLE controls.

3. CRUNCH CHANNEL

At this point JVM4 reverts to the

more typical Marshall preamp circuit

characterisc of ‘gain then tone’. This is

also true of the OD1 and OD2 channels.

GAIN

0 10

GAIN

INPUT

POWER STANDBY

/ SILENT RECORDING

0 10

REVERBMASTER

OD1

MODE

CLEAN

MODE

CRUNCH

MODE

OD2

MODE

FOOTSWITCH/

MIDI PROGRAM

FX LOOP

TREBLE

0 10

TREBLE

0 10

MIDDLE

0 10

MIDDLE

0 10

BASS

0 10

BASS

0 10

VOLUME

(Orange & Red)

0 10

VOLUME

0 10

GAIN

0 10

GAIN

0 10

TREBLE

0 10

TREBLE

0 10

MIDDLE

0 10

MIDDLE

0 10

BASS

VOLUME

0 10

VOLUME

0 10

RVB

CLEAN

0 10

RVB CRUNCH

0 10

RVB

OD1

0 10

RVB OD2

0 10

MASTER

0 10

PRESENCE

0 10

MASTER

0 10

RESONANCE

0 10

MASTER REVERB

OD1

OD2

CLEAN

CRUNCH

OFF

135

4 2

GAIN

0 10

VOLUME

INPUT

POWERSTANDBY

/ SILENT RECORDING

0 10

REVERB MASTER

OD2

MODE

CLEAN

MODE

CRUNCH

MODE

OD1

MODE

FX LOOP

FOOTSWITCH/

MIDI PROGRAM

BASS

0 10

BASS

0 10

MIDDLE

0 10

MIDDLE

0 10

TREBLE

0 10

TREBLE

0 10

VOLUME

(Orange & Red)

0 10

GAIN

0 10

VOLUME

0 10

VOLUME

0 10

BASS

MIDDLE

0 10

MIDDLE

0 10

TREBLE

0 10

TREBLE

0 10

GAIN

0 10

GAIN

0 10

RVB

OD2

0 10

RVB OD1

0 10

RVB

CRUNCH

0 10

RVB CLEAN

0 10

RESONANCE

0 10

MASTER 2

0 10

PRESENCE

0 10

MASTER 1

0 10

MASTER

REVERB

OD2

OD1

CLEAN

CRUNCH

OFF

10 11 127

6 8 9

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CRUNCH GREEN MODE: This mode shares

the preamp topology of the classic Mar-

shall JTM45/1959 Plexi™ models

(i.e.: gain + gain + tone) but with a bit more

gain than is found in the originals.

CRUNCH ORANGE MODE: This mode is

reminiscent of the JCM800 2203 amplier,

a staple of hard rock. The gain structure is

gain + gain + gain + tone.

CRUNCH RED MODE: This shares the topology

of the orange mode, but with more gain,

giving you sounds similar to a hot-rodded

JCM800.

4. OD1 CHANNEL

OD1 GREEN MODE: This is very similar to

the hot-rodded JCM800 sound found in

crunch red mode, allowing you to dial-in

two disnctly dierent yet similar crunch

sounds if you so wish - one in each channel.

OD1 ORANGE MODE: This adds another gain

stage to the OD1 green mode, resulng in

a sound that’s perfect for singing leads and

hard rock/heavy metal tones.

OD1 RED MODE: Adds more gain to the OD1

orange for a high gain Marshall sound.

5. OD2 CHANNEL

This channel is similar to the OD1 channel

but with even more gain and a slightly

dierent tone network with the middle

control shied down to being centred

around 500hz instead of the more typical

Marshall value of 650hz. The result is 3

high gain modes that are ideal for both lead

and modern rhythm metal tones.

MASTER SECTION

6. REVERB

Pressing the REVERB buon switches the

reverb ON and OFF in the current channel.

Each channel has its own reverb control

allowing individual channel reverb level

sengs: RVB CLEAN, RVB CRUNCH, RVB

OD1 and RVB OD2.

7. MASTER 1 / MASTER 2

These are the master volume controls

of the amplier. They can be assigned

individually to each of the modes as you

wish and their seng will be remembered.

8. PRESENCE AND RESONANCE

These controls are power-stage funcons

and only have eect when playing through

a speaker (not in SILENT RECORDING).

They aect how the power amplier reacts

to the connected speakers and how much

control the amplier has over them.

Increasing the RESONANCE control

emphasises speaker resonance for an

improved bass response and lower-end

thud. In the same way, increasing the

PRESENCE control emphasises the

speaker’s higher frequencies, making the

sound brighter and more ‘present’.

PRESENCE and RESONANCE constute

a powerful power-stage EQ, allowing

responses from a ‘ ’ shape when they are

fully o, which is felt as a mid-boost, to a

‘v’ shape when they are turned clockwise,

giving a more scooped sound. Again, the

eecveness of these controls is highly

dependent on the kind of connected

speakers. Care has to be taken to avoid

over excursion of the speaker cones in high

resonance sengs.

9. FX LOOP

Pressing the FX LOOP buon switches

the FX loop ON and OFF in the current

channel.

The FX loop is programmable and features

a MIX control on the rear panel. The FX

FRONT PANEL FUNCTIONS (CONT.)

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