Marshall 1987, 1959, 2204, 2203, 4010 Manual

Introduction

For the past two decades, one name has been synonymous with the best in rock amplification. Marshall has now become a household name throughout the world as a symbol of precision acoustic engineering to be relied upon, not only for superlative sound quality, but also for high performance night after night.
Each amplifier chassis is constructed from steel, precision cut, punched, hent and seam welded to form a substantial, rigid foundation, strong enough to take all the knocks of the road.
All electronic components are selected and tested to outperform their required functions, and the electrical hardware, such as switches, selectors, etc., comply to most international safety standards, to ensure the user is safe from the risk of electric shock.
The same applies to both the mains and output transformer that are designed and built to withstand full output for hour upon hour, To complete the electrical specification all valves are selected from the finest grades available.
After testing and adjusting, each chassis is assembled into cabinets made from finest quality birch ply, corner locked and r.f. bonded for immense strength and longevity.
After the black P.V.C. covering is bonded and stretched into place, A.B.S. corner protectors and air vents are riveted into position, creating a cabinet that is manufactured to an equal standard as that of the chassis.
The Master Volume and Super Lead amplifiers and combos cover the whole musical spectrum from the small practice amp to the full stage set-up, forming the basis of the classic Marshall range, which has become so renowned throughout the world.
Jim Marshall (Products) Ltd. operate a policy of continuous development and reserve the right to change specifications without prior notice.

Front Panel Functions

1987, 1959

1. Power Switch
   Controls total mains power to amplifier.
2. Standby Switch
   Controls H.T. supply to amp valves. Allows the filaments to remain heated during breaks.
3. Channel 2 Input Jacks
   Connects instrument to amplifier. Top input high power, bottom input low power.
4. Channel 1 Input Jacks
   Top input high gain, bottom input low gain. This channel is treble boosted, therefore brighter than channel 2. With guitar plugged into channel l high input, amp may be linked to other amps by linking from low input channel 1 to high input channel on next Marshall amp.
5. Channel 2 Volume Control
   Controls the overall output level of channel 2.
6. Channel 1 Volume Control
   Controls the overall output of channel 1.
7. Treble Control
   Controls the high frequency content of the amplifier.
8. Middle Control
   Controls the middle register of the amplifier.
9. Bass Control
   Controls the low frequency content of the amplifier.
10. Presence Control
    Controls additional boost to the upper frequencies to add crispness and liveliness.

2204, 2203, 4010, 4104, 4103

1. Power Switch
   Controls total mains power to amplifier.
2. Standby Switch
   Controls H.T. supply to amp valves. Allows the filaments to remain heated during breaks.
3. High & Low Input Jacks
   Connects instrument to amplifier (high input gives more volume than low input).
4. Pre-amp Volume Control
   Controls the volume of the pre-amp hence the amount of overdrive, i.e. when control is on full, maximum overdrive will be achieved.
5. Master Volume Control
   Controls the overall output of the amplifier.
6. Treble Control
   Controls the high frequency content of the amplifier.
7. Middle Control
   Controls the middle register of the amplifier and at high levels will also modify the treble and bass.
8. Bass Control
   Controls the low frequencies of the amplifier.
9. Presence Control
   Controls additional boost to the upper frequencies of the overall sound and adds crispness and liveliness.

5010, 5002, 5005

1. High Input
   Connects instrument to amplifier (high powered input).
2. Low Input
   Connects instrument to amplifier (low powered input).
3. Pre-amp Volume
   Controls the level of pre-amplification (high settings for overdrive, low settings for cleaner sound).
4. Master Volume
   Controls the overall output level of the amplifier.
5. Control
   Controls the high frequency content of the amplifier.
6. Middle Control
   Controls the middle register of the amplifier.
7. Bass Control
   Controls the low frequencies of the amplifier.
8. Presence Control
   Controls additional boost to the upper frequencies of the overall sound and adds crispness and liveliness (not included on models 5002 and 5005).
9. Headphone Line-out Jack Socket
   For linking headphones, insertion of jack hallway mutes speaker and gives headphone signal. Full insertion of jack gives line-out.
10. Mains Power Switch
    ON/OFF for mains power to amplifier.

NOTE! On models 5005 and 5002 the mains lead is attached. On model 5010 the mains lead is plugged into the socket on the back panel of the amplifier.

4001

1. Input
   Connects instrument to amplifier.
2. Gain Control
   Controls input level (high settings for overdrive, lower settings for clean).
3. Treble Control
   Controls the high frequency content of the amplifier.
4. Middle Control
   Controls the mid range of the amplifier.
5. Bass Control
   Controls the low frequencies of the amplifier.
6. Output Level Control
   Controls the overall volume level of the amplifier.
7. Standby Switch
   Controls H.T. supply to amp valves allowing the filaments to remain heated during breaks.
8. Power Switch
   Controls total mains power to amplifier.

Rear Panel Functions

1987, 1959, 2204, 2203, 4010, 4104, 4103

11. H.T. Fuse
    See label for correct value.
    Only use correct value fuse.
    (Please note, on models 1987, 2204, 4104 and 4010 this item is reversed with component 12.)
12. Mains Fuse
    See label for correct value.
    Only use correct value fuse.
    (Please note, on models 1987, 2204, 4104 and 4010 this item is reversed with component 11.)
13. Mains Input
    Connects amplifier to power supply.
    (Please note, on models 1987, 2204, 4104, and 4010 the position of this component is at the extreme of the chassis.)
14. Mains Selector
    Matches amplifier output transformer to the incoming mains voltage.
15. Output Selector
    Matches amplifier output transformer impedance to loudspeaker load impedance, i.e. 4/8/16 ohms. (Speaker impedance usually marked on cabinet), if in doubt check with supplier.
16. Loudspeaker Output Jacks
    Parallel connected jacks for loudspeaker connections.
    Speaker load must always be connected. If one or both sockets are used, total impedance must be matched to selector and must not be less than 4 ohms.
17. D.I. Output
    Jack socket carrying low level version of amplifier output, suitable for connection to recording and P.A. mixing desks, or into slave amplifying systems.

4001

9. Mains Input
   Connects the amplifier to mains power supply.
10. Mains Fuse
    See label on the back of the amp for current fuse value.
11. Balanced Line-out Socket
    XLR type socket for connection to balanced line outboard equipment such an mixing console, etc., fully floating and giving 0dBm. output.
12. Speaker Output
    Output for connection of internal or external loudspeaker 8 ohm nominal impedance giving 15 watts R.M.S.
13. Headphone Output
    Output for headphones (only operative when speaker is disconnected), alternatively the internal speaker may be connected to this output for attenuated output.
14. Line-out
    Unbalanced line-out for connecting the amplifier to unbalanced outboard equipment such as slave/speaker systems, etc.

Operational Functions

Note! Before switching on this unit it must be correctly earthed.
The super lead amplifiers 1987 and 1959 provide a very powerful rock sound. At lower levels the sound remains fairly clean, as the volume controls (5 or 6), are turned up, the natural distortion of the valve amp comes in. The tone may be shaped with controls 7, 8, 9 and 10. These controls work in conjunction with each other, hence it may be necessary to adjust more than one control to achieve the degree of variation required.
The master volume range will provide the overdriven sound at lower volumes by turning pre-amp control number 4 to maximum with master volume control number 5 at a lower level. For cleaner sounds, the pre-amp control (4), should be kept at a lower level than master volume control (5). The tone being set in the same way as models 1987 and 1959.

5010, 5002, 5005

Connect the guitar to input (1 or 2). The high input for louder, more distorted playing or the low input for a cleaner, less distorted sound. The pre-amplifier control (3), should he set to achieve the type of overdrive required - in conjunction with the Master Volume (4). For clean sounds, the Master Volume (4), should be set high and the pre-amp (3), low, For distorted sounds the pre-amp (3), should be set high and the Master Volume (4), should be lower - depending on the overall volume required. Set the tone controls (5, 6 and 7), to achieve type of sound required, using the presence control (8), where applicable, to further colour the sound.

4001

Connect the amplifier to the mains by using lead provided into socket (9). Switch on power switch (8), and set amp controls to zero. Connect the guitar to
input (1), and switch on standby (7).
Many different sounds can be achieved using the tone and volume controls. For overdrive, gain control (2), should be kept higher than output level (6). A variety of cleaner sounds can be achieved by keeping output level (6), higher than gain control (2).
The speaker may be disconnected without any damage to the amplifier section allowing the amp to be used as a valve pre-amplifier via the line out socket (14). The internal speaker can be connected to the headphone socket (13), which gives a very low signal through the speaker - allowing the amp to be used at maximum volume and giving full-bodied valve distortion. The internal speaker must be disconnected (12), to allow the headphone socket (13), to be used with headphones.

Diagram for linking models 1959 or 1987

1. Ensure internal or external loudspeakers are connected (16), and properly matched to the amplifier by correct usage of the impedance selector (15).
2. Turn the volume controls to zero.
3. Check that mains settings (14), correspond to mains supply and connect the amplifier to socket (13).
4. Switch power on (1), and allow valves to heat up to working temperature.
5. Connect instrument to input jack (3 or 4).
6. Switch standby on (2).

Specification

Measured at 1KHz. Controls set to maximum, top input unless otherwise stated.

1959

1987

2203, 4103

2204, 4104, 4010

5005

5002

5010

4001

PLEASE READ THE FOLLOWING LIST CAREFULLY

1. ALWAYS Get a good quality mains plug, conforming to the latest B.S.I. standards.
2. ALWAYS wire the plug according to the colour code attached to the mains lead.
3. NEVER, under any circumstances, operate the amplifier without an earth.
4. NEVER attempt to bypass the fuses or fit ones of the incorrect value.
5. NEVER attempt to replace fuses or valves with the amplifier connected to the mains.
6. DO NOT attempt to remove the amplifier chassis, there are no user serviceable parts.
7. ALWAYS have this equipment serviced or repaired by competent qualified personnel.
8. NEVER use an amplifier in damp or wet conditions.
9. DO NOT switch the amplifier on without the loudspeaker connected, and ensure that the impedance selector is correctly matched to the speaker or speakers. (Valve models only.)
10. DO NOT obstruct airflow around heatsinks (where applicable).
11. PLEASE READ this instruction manual carefully before switching on.

ALWAYS ENSURE THAT MARSHALL APPROVED COMPONENTS ARE USED AS REPLACEMENTS

Amplifier Cabinet Set-Ups