All user reviews for the Marshall AFD100 Signature Slash

Lamps Amplifiers

100 w

Jack

RGLAGE SLASH

USE

Yes
Yes
Yes

SONORITS

Yes
just tc electronic reverb, gibson custom shop 57 black micro alnicon II as slash

foie

saturit but his clear



NOTICE GLOBAL

1 week

its plain weird.

Yes I have a jubilee jcm slash 2555

When I play the intro paradise city clean sound with a grain to be frank c commme is on the cd ... on the other hand I have finding clean sound effect like a compressor does Introduced her transistor why I have augment the bass thoroughly to obtain a more prcis ... I have a jcm 2555 jubilee, I must admit that the sound on this amp distortion is closer to the truth slash its ... to see what the beast must put a background which is not the case in my mind that 2555 presents a clear sound normal ... for clear sound on the afd have to play with the knob of the gibson decreasing.

Design surper has mkII ...

All tube amp
Slash Signature 100 watt
Both inputs low and high
No effect
Insert a loop
Two-channel one gain
one automatic adjuster bais easily change lamps .... top top
Lot of goodies included with (T shirt, certification etc ....)

Printing buy an amp character and quality.
Attention marketing Slash plays in the balance.
But that does not make today???

UTILIZATION

Simple configuration at the start and end not that much.
Let me explain.
If the config is as equal in marshall dab not very advanced, the rest needs to be tested.
Gain greatly affects the sound, not just the gain strictly speaking, but also grain, equal and texture of sound. You can spend blues type filter wha wha kind a very very high gain rock.
I love it. As mentioned in other reviews, you need to know to play on volume and tone knobs on the guitar.
From a micro switch, I went from big crunch to gain perfect.

Careful not strictly speaking a clear sound.
Two channels:
More dry and clear bass
A heavier
And a single gain .... YIKES!!
But playing the guitar volume and tone you get there.
Otherwise one solution number two preamp plugged into the insert loop (quality) and a pedal switch A / B and voila.

SOUNDS

I adore this amp to really rock, blues may be less on the pop albeit a Fender, it must be okay.
Slash's very typical, that is true, but not only. This grain was very special, very sharp, but really top top and allow to stand out in a mix easily together.

While compressed, with a reverb room or flat is fun blues rock.

OVERALL OPINION

I expected a lot before writing my opinion just to get back.
So for 4 months, I treat.

Value for money quality for the Marhall, I'm not disappointed.
For a more versatile amp, a réedtition the JCM 800 is not bad but I cracked the signature Slash, I admit ... lol

I home the JCM 2000, fender hybrid head lamp and frankly, it is my great complementary matisse today.
Side scraper, a 2012 Les Paul Standard and Les Paul Slash in Seymour Signature ...... ha ha ha
A washburn mounted handle jazz and rock bridge in its very Fenderien that sounds great on the AFD 100.

I remake this choice and I assume.
Amp that seem simple at first, but that can be fine as long as the owner uses his brain and refines the gain setting and tone of the guitar
After, I think I'll crack on a Fender Deluxe JTM or as soon as I have the budget.

The AFD amp is marshall's signature offering for Slash. Meant to replicate the sounds from slash's modded amps from the appetite for destruction era. The AFD features two modes (#34/AFD) that share a common EQ.
The amps is running ECC83's in the preamp and 6550's for the power section. The amp has marshall's proprietary attenuation built in and can be controlled via the "power" control on the front panel. A series effects loop around back can offer an additional 10db of boost, which is foot switchable. The aesthetics are typical marshall fare, my only nitpick being the insightly Slash trademark graphic printed on the silver faceplate.

UTILIZATION

The inclusion of an attenuator is very welcome here. Marshalls always seem to sweeten as the volume goes up, and being able to attain several different sounds and feels at virtually any volume is plenty useful. Using the foot switchable loop as a boost makes the amp all the more versatile and negates the limitations put in place by the shared EQ. I have not gigged this amp, but it is clear to me that the amp's feature set would perform exceptionally in a live environment.

SOUNDS

I played through the AFD with a Musicman Axis and SG standard. Mesa Boogie 4x12 cab. No pedals.

I personally set the amp up to do higher gain sounds, relying on my guitar's volume to access milder tones.
The cleans are exceptionally good for a Marshall. The #34 mode does the classic marhsall gain very well, and sounds more brittle and old school, while the AFD mode gives you an extra gain stage perfect for hair metal and the like. I personally favored the #34 mode better when driving up the volume and using the attentuator, but their are a number of flavors that can be dialed in.

OVERALL OPINION

Slash fan or not, this amp should be on the radar of anyone who loves old school rock guitar tones. The amp is no swiss army knife, but it certainly doesn't leave you feeling compromised. Used prices are not excellent due to the limited production run. If you are looking for the modified marshall sound, there are several great mods on the used market by builders such as Mike Fortin and Dave Friedman.

100 w, finally ca varies slightly depending on the lamp used, which is huge.

2 channels AFD and the # 34, which are both modified JCM800 2203.
No effects, just the presence, gain, master, bass, mid, treble.
A pity it lacks a reverb (1 point less), but this is largely compensated by the power button that acts as a Power Brake to reduce power from 100% to 0.1% (ie 0.1 watt).
Effects loop series great: clean (without breath) and adjustable.
Full output HP: 4, 8 or 16 ohms.

UTILIZATION

The config is simple.
There is that bias adjustment for prompting to read the doc: you must activate the Loop switch when power to initiate a procedure that tests the bias lamps preamp and power, and balance the all. It allows for all lamps tuned impec for warm / hot they do not burn too fast imbalance.

SOUNDS

This is huge for the heavy rock crazy. Okay, playing with the knobs of the guitar, you can have sounds relatively clear, but it's still a little crunchy. For the true light, I prefer to put in the loop Return a preamp output as clean of a JVM, or directly a Boss Fender Bassman for example. The is divine. There are no words to describe this sound.

Other happiness with self bias, we can put all the lights you want (almost) and meme mix!. My favorite is config and 2x6550 2xEL34L. 6L6's are not bad either, but on this side I have a preference for 5881 that remind me of a fabulous JCM900 that I stupidly sold.
In pre-amp, I just replaced the V4 by ECC83S that softens slightly treble.
Note that you can not drastically change the sound of the preamp by changing the bulbs (I've tried many). In fact, I do not recommend cracking tune the preamp in lamps.

The AFD is a killer channel: bold and powerful, this is monstrous. Sure value. Always when you have to, but can tire a bit.

I use more mode # 34 because I like the challenge. This mode is more subtle: the further down the gain, the more acute AC can be reduced and being bothered a little, has less power up. On the one hand, if we want to break into the mix, the guitar should be more acute than the rest, right?. Clear the channel # 34 is meant to be played loud, very loud, but thanks to the power button one can manage a volume / quality acceptable for use in private, but you lose the mojo is on. By the way, I compared with a Power Brake power button and preserves better the sound.

What to get in his head, is that the microphones (eg on an LP) should certainly not remain at 10 as we often do. He must walk between 2 and 8 of the same volume and treble and bass for the sound and try the second input jack.

Of all those microphones that I prefer are obviously the h2EA-seymour s (surprise?) But the BB and other 490/498/500 going well. Honors for the P94 that interact beautifully with the preamp.

The LP spend impeccable, but the Strat or Tele. Regarding the HP, I have a preference for a mix in a V30 + G12H 2x12, because this head does not send too much bass on the V30 (like the JVM or JCM2000, which they prefer the G75).

The receiver accepts the reverbs well in entrance facade, but not many other effects.
The wha Slash goes well in direct entry into the Return (the musical distortion becomes finally), from the palm undoubtedly has the Digitech Jimi Hendrix (Notice to berserk sound).

8 because I wish the gain knob does not add sharp decrease.

OVERALL OPINION

It must be 6 months. I'm excited about this amp, but it does not replace the JVM or the JCM2000, nor the JCM800, JCM900 neither nor the VM, because at every Marshall amp has an own personality. So if we have money, we must have 2 or 3 Marshall, and also a small Fender / Mesa / Engl than done both.

If we do not have too, yes, this is a great plan AFD100: for 1400 euros, you have two amps JCM800 customs, modified, with attenuator (power brake and the economy of small 1W birthday meme coming out at a price of sick), limited edition, with the possibility to change the Apple products of the beast by mounting piles of different lamps.

God bless you Jim.

LAMP POWER 100 W
EFFECT THAT USES A TC Eletronic J TO HAVE A LITTLE REVERB CHORUS AND LOST MORE THAN WHA WHA DUNLOP
I HAVE MADE THE HALF EFFECT knob BEHIND HEAD

UTILIZATION

YES THE SETUP IS SIMPLE
YES HAVE A GOOD SON WINS EASILY
YES YOU EXPLAIN HOW TO CHANGE THE LAMP BUT GOOD MUST USE A SPECIALIST

SOUNDS

GOOD YEAR FOR ROCK YES 70/90
J USED GB LES PAUL CUSTOM SHOP FOR BLACK 2008

I HAVE A JACK SIGNATURE Dave Mustaine to be realistic but hey THIS AMP IS THAT IF YOU WANT TO GIBSON SOUND 60 YEARS OF REAL

I HAVE TWO CABINS 1960 STANDART L ON AN AI AUTRE.J recently purchased a 1960 AWH THAT USED FOR J 2055.


ITS JUST AS POWERFUL AND BIG FAT ON CD FOR EXAMPLE ON PARADISE CITY GNR.PAR AGREEMENT THE PLATE ON TOP CD Sounds like a real treat for the ears ... J USED ON MY GB OF 10-52 TO GET LOW IMPRESSIVE.

MY SETTING IS

B 6
M 4
A 6
AS I HAVE 2 P REVERB TC
VOL DISTO BOTTOM AND VOLUME generally between 4 / 6
GRAIN I HAVE MIS 5 / 6



THE GRAIN OF THIS AMP IS SIMPLY OUTSTANDING, THE SAME AS ON LED ZEP WHOTTA LOVE FOR EXAMPLE ...

OVERALL OPINION

I HAVE A SLASH IN ADDITION JUBILEE 2055. ON STAGE IT IS USED FOR THE AFD 100 SOUND AND SATURATED 2055 JUBILEE FOR ITS CLEAR AS A PEDAL TO PLACE THE OTHER ONE AL.

MY FORMER OWNER SOLD ME THE CAR WAS NOT IT CLEAR ... BUT ITS DECREASE WHEN THE MICROPHONE knob Rhythmic 2 NEAR YOU GET A LIGHT WITH ITS CLEAR GRAIN.

I put a 09/10 CAR FOR WHAT I PLAY AND GNR FAN IS EXCEPTIONAL.

FRONT ALSO MAKES A REAL SILVER LOOK AT THAT MARSHALL HEAD WITH LOGO ABOVE.

NEGATIVE POINT: THE SOUND OF FOOTSWITCH AFD IS FOR ME FROM HOME COULD JUST LEAVE POURRIS.JE FOOTSWITH EFFECT LOOP.

ALSO THE HEAD IS PROVIDED WITH

T SHIRT XL
CERTIFICATE BOOKLET THAT I HAVE PUT IN A DECO FURNITURE AT ME
BOOK PRESENTATION
FUN HOUSE BLACK
FOOTSWHICH 2 BUTTONS

Everything is said below. I said that I tested and compared for 3 hours, pushing the volume and varying the guitars. Tested with a Les Paul traditionalist and a Musicman Axis Sport.
A noise gate or even a ch'tite reverb would have been welcome. 50w mode as well, but I will explain why.

UTILIZATION

Configuration very simple, even too. As the name suggests, it has only one destination and can not do anything else. But in his defense, he does really well!

However, having not even a second gain setting (like the JVM, for example), failing to have a really clear channel, it would was still comfortable.

SOUNDS

To be clear, if you buy a head bearing the name Slash, is that a priori we do not intend to play the BB King, Metallica's or with Yvette Horner. The drives are still typed rock, so we can go from blues Gary Moore sauce to the big fat Hard, Heavy, etc.. For some types of metal, it does not happen (like most Marshall).

The sound has charm, admittedly, but there is little opportunity to intervene in the very grain of the amp, unless you change some lights (in V1 and V2, as explained in the previous opinion ). And it seems necessary. The # 34 is much too sharp and aggressive in the register, even if he has a good base. AFD mode is more chubby, well-balanced. However, it lacks some definition for some quick shots (especially in legato), but easily correctable, as in the previous mode. Nevertheless, it gives body to single notes, and goes in very feddbacks music easily (to see also if it is not annoying live in certain contexts).

Overall, I found the grain and sound very nice, although not a fan of Slash (yes, it exists, dsl). I reproached her for missing body below a certain volume, and not too sharp, high volume of imprecision.

OVERALL OPINION

This amp has an undeniable charm, very easy to play, and I really hesitated before taking the final YJM100. It has a 50w mode, to play the least power reductor, and whatever the config, it was always a lot of body and definition, even with settings "fuzzy". This is especially (really) the sound "plexi" you can go from metal instruments Scandinavian signatory, but all the sounds of the greatest rock records (made in japan, Highway To Hell, the live Hendrix ... ) eventually attérir under your fingers after a few adjustments: one has the impression of listening to a disc, having first sound. In short, it was a slap, AFD 800 nor my favorite, could not fight. AFD is a good amp, but YJM100, despite its "signatory" risk of a huge cardboard critical. I can not explain what in the sound, we really did not feel like boxer in the same category. Let me be clear: this is not the AFD which is below is the YJM is above a large package of other amplis.Il is more "roots" to play (no adjustment fig leaf for the imperfections of the game). But I would notice on that page.

So I do not say "Fontaine, I would not drink your water" because the AFD is really endearing. I still hesitated before choosing (as it was unfortunately choose) between the plug'n'play without the fuss and YJM superior but more complicated to manage.

Meanwhile, a Les Paul, AFD is still the base for those who love the sound of the scratch high-hat.

100W all-tube amp head, 5 * ECC83 in preamp and 4 * 6550 + power + the awesome power Scalling AutoBias + presence, bass, medium, trebble, and master gain.

UTILIZATION

In # 34, very bright at first, not easy to solve.

In AFD, super simple, you plug, play and it was bananas!

Manuel succinct but sufficient.

SOUNDS

I play in a group of "big rock" trend metal (like Tool).

I play an Epiphone AFD, an Ibanez RGR (mic Di Marzio), a PRS PAul Alenda (mic EMG 81 & 85), and a strat Japan 85.

# 34: Great LP of AFD and Ibanez RGR, too much metal on the PRS, super hot on the stratum.

AFD: TB anywhere, especially with the Ibanez RGR which severely pummeled in this mode.

PAr cons, in # 34 I was really far too aggressive treble, the sudden I just played with the lights preamp, and here are my tests:
Origin: JJ ECC83 V1 and V2-V5 silver Chinese dragon.
Trial 1: V1 Tungsol ECC83, ECC83 JJ V2, V3-V5 origin: much less acute but its too flat, more dynamic. AFD too fat.
Test 2: V1 JJ ECC83 Gold JJ ECC83 V2, V3-V5 Origin: The super hot, beautiful clear sound compression and great warmth and harmonics. But lack of attack, less through the mix ... AFD chouille still fat.
Test 3 (I kept): JJ ECC83 V1, V2 JJ ECC83 Gold V3-V5 origin: a little less acute than the original, super dynamic compression friendly but not too strong, beautiful shine and mix through without PB. And AFD Boxing )

My favorite settings: presence at 5, 8 bass, middle at 6, treble at 4, master at 10, gain 6.

There's less of Scalling power, the more it hits and that's the foot!

I play on the cabinet of my mesa express 5:50.

OVERALL OPINION

I use it for 2 weeks, repeated in a big sound on a 1960A that I found a chouille dug too. I wait a 1936V ordered last week, I think with the V30's going to do it well.

I have a mesa express 5:50: modern, super clear sound and full, a little crunch rappeu
I have a class5: great, but a killer when you have the beautiful sound (master / gain to 8).

I love the sound of the crunch in AFD100 / saturation: very vocal and expressive, super responsive in helping pick is really zicos and scratches that make the sound. More singing the mesa, over the body and the dynamic class5. AFD is very responsive to adjustments scratches (tone and volume). On an LP, it has two direct channels of mic from low to high, if you have a volume 2 and the other 10 ))

I can already do without, it is mesmerizing and I play with every night!

I invite you to read the description of Fredzouille64 is complete.
However, a distinction to be made on "2 Channel": in fact there is only one but two entries (one entry for guitars with passive pickups that need more gain and a second for others with less gain) and 2 modes, the "AFD" and "# 34".
Excellent effects loop which can be used as a boost and self bias!

UTILIZATION

There is not much to understand, you plug it sounds.
The settings were not such a big influence on that sound, you can never get his jazz fusion example (it makes sense).
The manual is minimalist and it's a bit normal.

SOUNDS

I bought it for his name, "Slash signature." I expected this well-packed rock acute, as a sort of open wah which filters a crunch, the sound of Slash on "Use Your Illusion".
Marshall did not lie, I got it.
It's quite nasty but at the same time sharp and it brings out the harmonics. I love it.
AFD mode is more "artificial", it does not look specifically at the sound of the album Appetite, he just more bass and gain and drool a bit more than the mode # 34. That said, it is equally great and I really do not understand those who complain.
As for those who are not particularly fans of the guitarist in top hat, of course they can play classic rock and blues, the amp is more subtle than one might think and adapt to the game and guitar Loved his picks (excellent dynamic really remarkable).
But with only one channel (so no clear sound) and a single style of his (do not lie, EQ settings and will not gain anything other than the typical sound of Slash) is the One of the least versatile amps I've encountered.
With a Les Paul is really singing on neck pickup, aggressive in the positive sense on the micro acute. With a TV, too much treble, with a Start, it is positively amazing.
There is a really nice feeling to attack the strings of his guitar with this amp, Adikt69 used words rather just "brilliant, biting, crispy" ... It's hard to describe but it makes you spellbound.

OVERALL OPINION

This is an amp apart, because it is already a collector (with a relatively low price) and it comes out a single sound ... but what a sound!
I admit not having tested it yet on stage but at home it is enjoyable (especially with the power scaling).
It even makes me forget that there is no clear sound.
This is by far my most satisfying musical acquisition to date (nearly 20 years of guitar behind me and a big list of stuff you can read).
To tell the truth, I am far from being objective, I am an absolute fan of Slash

Power: 0.1W to 100W Adjustable
Lamps: 5 x ECC83 & 4 x 6550
Channels: 2
Controls: Master Volume & EQ
Connector: 1 input channel, switchable effects loop on the front, speaker output 2x 2x4 Ω 8Ω 1x16Ω
Bias circuit with automatic fault indicator lamps
Finish: Mid 70s style. Slash signature.
Accessories: Footswitch 2 positions
Comes with certificate of authenticity (miss more than that!), A t-shirt (bof bof) and a protective cover.
Missing the hat and hair!



UTILIZATION

We are on the Marshall ... The connection is very simple, and there to play!
The manual is very clear and concise. No way to be wrong (or should be doing it on purpose!).
An explanatory note is even mentioned to the head amp configuration in the same way as our favorite guitarist.
In short, everything is clean and precise.

SOUNDS

Guns playing with a Gibson USA LP SFM or Tobacco, the sound is too similar to the various CDs of GNR. The channel 34 can play music while the style UYI afd mode is identical to the album of the same name.
The only downside comes from clean to issue ... nonexistent. But a little fiddling (style increase the gain of the afd and decrease that of your guitar) it manages to easily find the intro to paradise city or do not cry.


OVERALL OPINION

Having tried various models, I'm still on my income afd100. Coupled with a Marshall 1960A, we get a killing (have good neighbors, it helps).
Use a Gibson Slash and you do win more hands on your guitar.
Since this musical osmosis, my old amp is forgotten.
It is found not to be the ultimate Marshall amp head but it just approximates.
In short, if you have the opportunity to obtain one, go ahead, you will not be disappointed ...