Marshall Amplification 1923 Bedienungsanleitung

From the Chairman

Congratulations on your purchase of this very special Marshall

amplifier – the 1923.

Firstly, I must say that I feel very honoured that the team at

Marshall have created this amplifier to commemorate my 85th

birthday. I am simply thrilled with the design, the quality of

craftsmanship and of course the way it sounds – big, bold and

brimming full of Marshall tone.

Throughout my 85 years and in particular my past five decades in

the amplifier business, I have witnessed many changes in the

world of music. I have seen trends come and go, whole new

genres created and old ones revived. But whatever the musical

style of the last 46 years there has always been a Marshall amp to

suit – and there’s a good reason for this. When I made the first

Marshall amplifier in the early 1960s it was built to satisfy the

demands from guitarists for a ‘bigger sound’. I’m pleased to say

that this ethos of listening to the requirements and aspirations of

guitarists is as important today as it has ever been, remaining an

integral part of our continuing amplifier development.

I would like to thank the whole Marshall team for marking my 85th

year in such a poignant way and extend my gratitude to all

Marshall staff, past and present, for their hard work, skill and

craftsmanship. I have been privileged to have met many talented

musicians over the years, some of whom have become close

friends, and to them I would like to extend my gratitude for their

inspiration and friendship. I would also like to thank my family for

the years of love and support they have shown me, and last, but

by no means least, you the guitarist . . . it’s your passion for music

that drives me and the Marshall team to carry on creating new

innovative amplifiers and speaker cabinets.

I sincerely hope that this Limited Special Edition 1923 brings you

countless hours of playing pleasure and I would like to welcome

you to the ever increasing Marshall family.

Yours Sincerely

Dr. Jim Marshall OBE

ENGLISH

1. Power Switch

This is the On/Off switch for the mains electric

power to the amplifier.

Note: Please ensure the amplifier is switched off

and unplugged from the mains electricity supply

whenever it is moved!

2. Standby Switch

The Standby Switch is used in conjunction with

the Power Switch (1) to ‘warm up’ the amplifier

before use and to prolong the life of the valves.

When powering up the amplifier always engage

the Power Switch (1) first, leaving the Standby

switch in the ‘OFF’ position. This enables the

heater voltage, allowing the valves to come up

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. 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 the amplifier

off, always disengage the Standby Switch prior

to the main Power Switch.

3. Deep Switch

The Deep Switch adds a tuned or resonant bass

boost to your sound, increasing bottom end

thud, without making your tone woolly around

the all important low end.

4. Presence Control

Adds higher frequencies to the guitar tone,

creating crispness and bite. Turning this up will

make the sound more cutting and in your face.

5.Treble Control

Controls the high frequencies of the guitar tone,

making your guitar sound brighter when

increased.

6. Middle Control

Dictates the middle register of the amplifier.

Turning this up will make your guitar sound

fatter. Conversely reducing the amount of middle

in your tone will result in a sharper and thinner

guitar sound for the classic “scooped” tone.

7. Bass Control

Controls the amount of low frequencies or

bottom end in your tone.

8.Tone Shift

The Tone Shift Switch reconfigures the tone

network components to give a new dimension to

passive tone shaping. With the switch selected

to the ‘in’ position and the Middle Control (item

6) turned down the result is a scooped mid

sound ideal for certain classic metal styles.

Reverb

9. Channel B

Controls the reverb level on Channel B.

10. Channel A

Controls the reverb level on Channel A.

Ultra Gain / Channel B

11. Volume

Governs the volume level of Channel B.

12. Lead 1 / Lead 2 Switch

The Channel B features two modes. The first,

Lead 1, gives an open high gain crunch, with

traditional Marshall characteristics, similar to a

hot-rodded JCM 800 2203 master volume. The

Lead 2 mode however gives a mid-boosted tone

coupled with even higher gain possibilities.

13. Gain

Controls the gain level for Channel B. As the

amount of gain increases so will the distortion

level in your sound.

14. LED

Indicates when Channel B has been selected.

15. Channel Switch

Selects Channel A or Channel B.

16. LED

Indicates when Channel A has been selected.

Classic Gain / Channel A

17. Volume

Governs the volume level of Channel A

18. Clean / Crunch

As with Channel B, Channel A features two

modes. The first, Clean, is reminiscent of an

early 1959 Plexi Super Lead head. Depending

on Gain settings (item 19) this mode will take

you from clean to a controlled Plexi style crunch.

Crunch will take you up to a JCM 800 2203 style

grind.

19. Gain

Controls the gain level for Channel A. As the

amount of gain increases so will the distortion

level in your tone.

20. nput Jack Socket

This high impedance input is where you plug

your guitar into the amp. You must use a

screened (shielded) guitar cable. Never use an

unscreened (unshielded) speaker cable

because you will find it very noisy to the point of

annoyance. The input to any guitar amplifier is a

very sensitive part of the signal path and is

therefore susceptible to air born radio

interference, hence the need for a screened

guitar cable. This screened cable should

preferably be of good quality. If you are in any

doubt regarding this, your Marshall dealer will

be more than happy to help, advise and supply

you.

20 19 17 13 11 10 9 7 6 5 4 2 116 141518 12 8 3

2 3 4 5 6 7 9 10 11 13 17 19 208 12 1514 16 18

ENGLISH

Footswitch

1. Channel

By connecting the supplied PEDL10001

footswitch to this jack it is possible to switch

between Channel A and Channel B. The

footswitch will override the front panel Channel

switch position (item 15).

2. Reverb Footswitch

By connecting another PEDL10001 footswitch

(optional) to this jack it is possible to remotely

switch reverb on and off.

Effects Loop

3. Send

For connection to the input of an external effects

processor.

4. Return

For connection from the output of an external

effects processor.

5. Loop Level

The loop level can be adjusted to match either

floor pedals, requiring a low level or effects

processors which require a high level.

Loudspeaker Outputs

With all valve amplifiers it is imperative that the

amp is connected to a load whilst in operation

and that the impedance selected on the amp

matches the total impedance of the speaker

cabinet(s) being used.

Failure to comply with these points will result in

damage to the amplifier.

The three outputs, a dedicated 16 Ohm output

and two outputs selectable between 4 and 8

Ohms.

The amp should not be run into an impedance

less than 4 Ohms.

6. 16 Ohm Output

For the connection of a 16 Ohm speaker

cabinet. It should be noted that when this

Speaker Output is in use the remaining Speaker

Outputs, items 7 and 8, will become

inoperational.

7 & 8. 4 & 8 Ohm Outputs

For use when the total impedance of speaker

cabinets used is either 4 or 8 Ohms. That is,

when using either a single 4 Ohm cab, a single

8 Ohm, two 8 Ohm cabs or two 16 Ohm cabs.

9. mpedance Selector

Allows selection of 4 or 8 Ohms impedance for

items 7 & 8. See Loading Points.

10. H.T. fuse

See rear panel for correct value.

11. Mains nput

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 shown 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

person. Your Marshall dealer will help in this

respect.

12. Mains fuse

See rear panel for correct value.

Loading Points

One 4 Ohm cabinet, set to 4 Ohms

One 8 Ohm cabinet, set to 8 Ohms

Two 8 Ohm cabinets, set to 4 Ohms

Two 16 Ohm cabinets, set to 8 Ohms

N.B. Always ensure that proper speaker leads

are used to connect speakers, not guitar leads!

WARNING

If loudspeaker is disconnected a high voltage

can be present at these output terminals.

Operation in this manner can damage your

amplifier, therefore ensure that loudspeaker is

properly connected.

Your amp should be completely powered down

before changing loads.

12 11 10 9 8 7 6 5 4 3 2 1

2 3 4 5 6 7 8 9 10 11 12

* EUROPE ONLY - 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 1923 and 1923C is 33 amps.

Follow all instructions and heed all warnings

KEEP THESE NSTRUCT ONS !

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