Follow the Informative Posts RSS Feeds
Register Now  or login (User|Pass) ->

Marshall JCM2000 TSL (Triple Super Lead) Guitar amplifier
Marshall JCM2000 TSL (Triple Super Lead) Guitar amplifier


Historically, the name “MARSHALL” and the word versatile have been anything but synonymous. Since the introduction of the JCM2000 TSL (Triple Super Lead) Series, however, that has changed. Featuring three discrete footswitch able channels (clean, crunch, and scream), footswitch able Accutronics reverb, two effects loops (also footswitch able), power damping and the direct-recording output, this new-beast Marshall strives to be everything to all people and succeeds in most respects, greatly outperforming the 30th Anniversary head, Marshall’s previous stab at three-channel glory.

Each of the TSL’s three channels have it’s own tone (treble, middle, and bass), gain and master volume controls. The crunch and lead channels each have individual “tone shift” buttons that effectively “scoop the midrange,” for modern metal applications, and the clean channel features a mid-boost switch that disables the midrange control and kicks in the meaty “blackface” warmth. The crunch and lead channel share presence, reverb and effects mix knobs and a earth-shaking “deep” switch, while the clean channel have its own complement of these controls.

At 100 watts, this amp has the capacity to be extremely loud, but kicking in the Virtual Power Reduction circuit reconfigures the power section to react like that of a 25-watt amp, and a mute button silences the amp’s output for the use of direct-recording applications. The amp’s rear panel features the usual complement of the speaker outputs, as well as a balanced XLR out for the silent recording (Marshall has crammed the very successful speaker emulation circuitry for the JMP-1 MIDI preamp into this package) and return jacks for the two parallel effects loops, which are cleverly designed to switch from parallel to series when the effects mix controls are turned fully clockwise.

So with all of these bells and whistles, how does it sound? Good. Damn good. To test the amp at its full, ear-splitting potential, we connected the head to a Marshall 1960 Vintage 4x12 cabinet loaded with 60-watt Celestion Vintage 30s and subjected it to and excruciatingly loud rehearsal that would easily fry a less sturdy amplifier. Alternately battering the TSL’s input preamp section with a ‘59 reissue Gibson Les Paul and a ‘65 Fender Strat, we found the amp responsive and mean. The clean channel’s smooth, elastic tone was a welcome surprise from Marshall, who have heretofore fallen short in this department. Especially with the mid boost engaged, it was easy to conjure the warm sparkle of an old Fender Twin. Cranking the gain on the clean channel yielded biting Hendrixian tones. And while the reverb wasn’t the most lush or complex I’ve ever encountered (spring reverb tanks squeezed into the heads are smaller than those utilized in combos), it was effective and satisfying.

The TSL’s crunch channel lived up to our expectations and proved stunningly malleable, too. The tone controls, particularly the midrange, are voiced to create the while array of British sounds and a wide variety of the “Californian” flavors reminiscent of other high-wattage favorites. For those who live for gain galore, the TSL’s lead channel delivers singing sustain and filthy grunge, and with the aid of the well-voiced tone controls, it’s easy to sculpt an almost infinite array of tones.

While the TSL really shined at the tinnitus-taunting volume levels, it was in the confines of our studio that the amp truly exhibited its adaptability. Marshall’s Virtual Power Reduction circuit is much more effective than the half-power switches, found on many heads, because it maintains the response and feel that the amp has at high-sounding pressure levels by making the power amp react as though it were rated at only 25 watts. This allows the player to create satisfying tones at even the most reduced volume levels. While the direct-recording output sounds quite excellent, it was almost superfluous, since it was so easy to mic up the amp and capture roaring, realistic tones at whisper levels. The usefulness of the this feature cannot be overestimated: beyond allowing you to avoid nasty eviction notices, it will be make you the best soundman in the world. And don't forget, you can buy used music gear online!
this article has been brought to you by gear-vault.com
By: Sarah Beers
Published: 03/18/08


Related Articles:

Page copy protected against web site content infringement by Copyscape

Article Sponsors:


    Currently there are no comments...

    Add Your Own Comment:

    • Top Commentor Note: For comments to be counted towards a Top Commentor spot, please provide the same email for all comments with the website you wish us to link.