All user reviews for the Marshall TSL100

All-tube amp.
See the features in the advice given above.

UTILIZATION

I did not have the manual, but it is doing very well if you have not used this type of amp

The clean is really good: one of the best Marshall clean that I've tried!
The crunch is really the strong point of this amp one obtains the typical sound of the JCM800 without deafen half the neighborhood.
The lead channel is good too, but requires lower treble, under penalty of being slightly too loud (for my taste)

The reverb is excellent.

SOUNDS

Suited to rock and hard rock.

Used with a strat and a les paul.

OVERALL OPINION

For years, I tried a number of amps: this is one of those who has impressed me the most, in terms of sound quality and versatility.

The value for money is very good!

All lamps (4 * 4 * 12AX7 + EL34)

1 guitar input
1 footswitch jack
2 effects loops
1 emulated output
3 speaker outputs

100 watts RMS (25 watts RMS switchable by pressing a button on the front)

Integrated spring reverb

UTILIZATION

Sound very easily, which sounds off immediately obtained.

Note that the sound becomes less noisy once the bias set to 82mV (very simple to do).

At first, the sight of all those buttons may seem unsettling, but once try a few hours, it becomes very intuitive and easy to adjust.

The manual provides information that can be used by persons not familiar with this type of amp.

SOUNDS

With 3 channels (clean, crunch and lead), it really gets all the sounds you want, ranging from pop to metal, to pop rock, rock, blues, hard rock, etc. ...

It is very versatile and great on all channels!

(I play it with a Gibson SG, a Fender Marauder and an Ibanez Prestige, and the head is connected to a 4x12 JCM 800 lead series)

OVERALL OPINION

Bought it a few months ago.

I had the opportunity to have a lot of different amps in recent years, and this amp is the one who has more than most.
Unlike everyone else, I'll keep this one.

Excellent quality / price ratio!

Here's a tube monster that I was totally psyched to acquire. I was able to get a great deal through my local shop, so I ordered a brand new one, right from the factory to the store and I was there to open the shipment. This is a 3 channel 100 watt beast that has plenty of power for almost any playing situation. Plenty of switches including fx loops, deep, Virtual Power Reduction, Separate Reverb for Clean and Crunch/Lead channels, Mid Boost Switch for tonal options on the Clean channel plus Tone Shift on the Crunch and Lead channels



UTILIZATION

Yes, this amp will sound decent almost right away. Throw the dials to noon and crank it up and the sounds will be workable. The controls are intuitive, so I never even looked at the manual.

SOUNDS

I have lots of guitars at my disposal, but I mainly used my Gibson Les Paul. I typically dialed in a clean tone that was mainly crystal, with a smidge of dirt. I would also dial in a high gain sound, and use the guitar's volume controls to create alternate lo/mid gain tones. Typically went with the DEEP switch engaged and often used the VPR (Virtual Power Reduction). The VPR knocks the wattage down; I'm not sure how, but it's clearly better than any attenuator I've used...perhaps it turns a couple power tubes off? I don't know, but it's effective for taming what is otherwise a super loud amp.

OVERALL OPINION

I had a dsl combo before this head, so i knew what i was getting into. Unlike many scathing reviews, I actually like this amp for the pop/punk/hard rock applications I used it for in my band. Super hi clarity and slices right through. Critics will say that the amp is a bit sterile and lacks the organic feel of the older famous Marshalls- but I enjoyed this modern take and the plathera of options the amp offers. But here's the issue that makes this amp a total ZERO- the transformer went out countless times. I kept going back to the shop, and even though it was covered on warranty, it was beyond annoying. One show it went out 30 seconds into the first song, making me turn to the next band and borrow his Line6 for the gig (ugggh). I shouldn't bag on the line6, at least that amp worked. I had the same issues with my combo. A quick look around the web says that this is a known issue that keeps happening, meaning that marshall just doesn't seem to care about improving it's product. I guess you could get a transformer upgrade, but at that price point I would recommend looking at the countless other "marshallesque" options that are out there. i would have liked this amp- even though others say it is a bee buzzy disgrace. Crank up the volume and the quality drastically increases, if it works... Thumbs down!

I have not "aquired" this amp yet, but I've played it so many times at GC for hours that I know it so well. I beleive its the most expensive Marhsall Head. Does this mean it's the best...Definitly.

This is clearly the best modern amp of its class. I love that the second channel has lenty of gain for a solid rythem, and then the you just might not need you overdrive pedal when you switch to the third and final channel. I've heard this amp cranked to "10" while standing very far away, and I swear there is nothing that could ever sound so sweet. For shredders and punk rockers and metalfreaks, this amp truly covers it all. What I like about this unit: It is the mother of all units.

They should somehow get a built in delay unit in the JCM line. I know that Marshall's delay in the AVT series is great.

Very Strong. No problems here.

This amp obviuosly cranks but we are all past that, but people get all mixed up when they hear Mesa Boogie Rectifier, and Peavey 5150, and Marshall Mode Four, and Frames (actually the best ampplifiers for sheer, rediculous metal only...in the world), and Crate BLue Voodoo, and Ibanez, and Carvin. I will just tell you right now, that the JCM is the way to go...it's always been the way to go, and it will always be the way to go. All the gain, all the power, all the bottom end, all the screaming highs, and all the tone you will ever need is in this unit. The JCM2000 TSL 100 should be your dream amp. I suggest going to the stores and trying ever amp in the store. Do not settle for the combo version. Stack it up and crank it.

This review was originally published on http://www.musicgearreview.com

I bought my amp @ a local music store & this was an upgrade from a DSL 50 as I traded (2) DSL 50's for the 1 TSL 100

The thing I love about the TSL 100 is it has (2) FX loops & for what I play that is great.Also having 3 channel's that are footswitchable is a big plus.

To be honest I haven't found anything that I dis like about the amp.

It is like any Marshall product built with tons of pride...I mean Marshall has set the standard for Rock & blues amps.Made with quality woods & parts.

I would have to add ....if you thinking of buying an amp & your kind of stuck & not sure what to buy that most companies try to copy Marshall but most fall way short.

This review was originally published on http://www.musicgearreview.com

bought this amp new at Music Lovers Shoppe for about $800. I traded a Rocktron Voodoo Valve pre-amp, Stereo power amp and stereo 4X12 cab for it. I wanted to get rid of the complex MIDI setup I had and get back to some serious TONE.

the TONE baby! The sound of this amp is pure Marshall, plus an amazing clean channel. The crunch channel is super chunky with strong mids and satisfying lows. Lead channel uses a more aggressive version of the same tone, while the clean channel will do everything from super clean tele tones to dirty blues. With the 4X12 cab this amp has more than enough headroom for almost any gig. If your looking for a great rock amp, look no farther. If you play Heavy Metal, check out Mesa/Boogie triple rectifier.

It's very large and heavy so it can be a real drag (literally) to haul it around to gigs in my car. The tubes get HOT.

Construction looks to be almost bulletproof. Seriously, the weight of this amp is considerable..it ain't made out of cheap-a$$ particle board! I have damaged the tolex covering on the cabinet by banging it into doorways and the trunk of my car but the 'road-scars' look good. It would take a lot of abuse to cause real damage. I suppose the tubes are the weak point and will need to be replaced someday but for now they are still rockin' like new after a few years in service.

This amp sounds great and is built like a tank. If you want the ultimate Marshall tone I recommend it. Granted, it's expensive but well worth it.

This review was originally published on http://www.musicgearreview.com

I have a JCM2000 DSL 100 but not in the list
100W all-tube amp

UTILIZATION

There is no need to present the brand will then have the essential
we get a big sound but it is more hard rock than east trash or death
trs and it suits well if you have a seymour my taste is better but it's a matter of taste.
This amplifier has a surprise of my trs good clean sounds when it is necessary to try to crunch ...
no worries
the manual does not exist

SOUNDS

Obviously it's a Marshall so do not expect it to sound like a FENDER
but unlike the other one now has usable clean sounds
Luckily there are some buttons that allow many came to fix things because otherwise I find the sound a little rc h
the equalization is not efficient enough for my taste shit right even for an amp of this price

OVERALL OPINION

I own this amp for 3 years I tried many before ais
H & K tube 50
ULTRA peavey but it sounded too rough for my taste
I have known for some time problems with the power tubes slamming it hurts the wallet while for the fans 100W AC does not serve a much
and not a guy (or girl) has capabble t repair it for me after a period of use there is muting and then a lamp Crame if someone can help me but otherwise j 'm happy

3 channel all-tube amp clean / crunch / lead
3 legalization spares (not like those old JCM 900 !!!!), 2 effects loops, plus some options affecting the VPR (virtual power reduction) or tone shift.
For once in the menu is hearty Marshall

UTILIZATION

It remains trs intuitive job, is a head amp, so it turns bouteons and it was the sound

SOUNDS

This is the amp that I use in rpt. Bah c'tait or a JCM 900!
The light is not bad, you can have sounds quite crystalline.
I have not tried the crunch on the lead I t quite surprised. The amp has a lot of gain, even if to thrash not count on it, but it's not bad at all for the Marshall. Ms. ggain the bottom, it's a clean rcupre trs lens by turning down the volume on the guitar. The tone shift button allows you dig the sound by turning the mids, while the qual is generally more effective than usual, or else my ears make me default.

OVERALL OPINION

It is of Marshall, not suitable for the heavy and thrash, but still a good head and a great value to address the hard rock and lightweight.

4 EL34, ECC83 4, 100 watts. 2 effects loops. Possibility to adjust the bias itself, which is very convenient, using a multimeter.

UTILIZATION

The use is very intuitive. The volume is very strong!

SOUNDS

The clean sound is fabulous! Crystal, we can make Crunch. The Crunch channel is highly versatile and quite friendly and the Lead channel is saturated, we have here a head of rare versatility, ideal for the studio.

OVERALL OPINION

I for 2 years now and I must say also that I had some problems with the power tubes, because I knew nothing about bias, but since I set correctly, it works wonder: more power, the stamp is 10 times more warm and musical. Feel free to contact me for possible bias settings.

Introduction to the subject: four lights!
Dveloppement: 100W
3 channels! clean / crunch / lead reverb (and several hacks that please)
Something to intrssant: the VPR, when we do not want rveiller neighbors!
It can be mated with a variety of speakers! 4 x 4 ohms?? pk no!

UTILIZATION

The configuration is simple .... very very ... ha ha ha .... imagine short of the box jcm 800 could read and well 3 years and up to 2000 Jcm 34ans c and more!
The manual warned enough about the dangers of the lamp and the corny Submitted! ! But beyond to say that it is the bible of jcm ... NO!
Good sound! you heat lamps, you play, you're happy! THE sound is always Submitted marshall, and thanks to the three channels DIFFERENT WELL you really feel that his money is well invested!

SOUNDS

Unfortunately I had my little bob (JCM 2000), I give him eating a Epiphone SG, but it is waiting for a Gibson SG Supreme, and will please him more!
All types of sounds are affordable, even something a bit mtalleux, but not too much! nor gothiKKK! The blues in my opinion either, but if not .... PUNK ROCK GRUNGE the IF INDIE VISUAL ... great!! But I hate something that I can not play back due to my mother ... but is the fault of the JCM 2000 ???!!

OVERALL OPINION

I use it for one week now ....... hihi!
The most aprciable is full control over your sound, the precision! especially when one knows the amp and 54 buttons, the jcm 2000 will bcp!
I tried the Warp7 the jcm 800, the AVT150H the MG15dfx (which should not say it?), The MG100dfx (frankly it also provides) a peavey head ...
And frankly .... the baffle 1950 (1960 vintage pan and blow your head ... it's good lamp!
Just be changed lamps? rgler and through a 82mV ?????

I'm not advertising but Marshall remains in the rock, the best ... Thanks Jim

It's so good already has lamp is good.
it's 100w
rglages and are generally quite simple.presence midle bass treble for each channel. deep down to add a background of low and shift the tone to dig the mediums.

UTILIZATION

The config is very simple, rglez the knobs at noon and you already have good sound. go somewhere shortly after the ringing. (I personally is not the original lamps)

SOUNDS

It is fine for pop, rock and metal. compared to lamps that are in (ruby and electroharmonix in my case) and my rglages j'obtient sound quite round and dirty at the same time (not hear dirty in the sense inaudible) but what I d range much personally that's what's behind cot transistor and acute, which in general gives a cot too synthetic for my taste.

OVERALL OPINION

I use it for one month, prices cot quality (having to pay okaz ') c honest, but nine, I do achter probably not. but I do it again if the choice c'tait a remake, because I did not pay much and was always a tube amp of possd.

Amp head all lamps (4 lamps) delivering a total power of 100W. It has 3 channels: Clean channel, Crunch and Lead one and a reverb for all channels. One can also find the VPR, ideal for not making too much noise. The settings are independent for the three channels and the volumes. 3 outputs available from HP: 2x 4 / 8 Ohms and 16 Ohms once. There is also an effects loop series.

UTILIZATION

Say that there are still a lot of knobs ... lol Ultimately ca is ultimately not that hard ... Initially we saw the head said: "There's too many knobs Slim I'll never succeed "and finally it relativemet simple since it suffices to slightly turn the knob to change the sound (they are very sensitive!). Regarding the manual, I can not tell you since I bought my amp head to OCCAZ and I have not had a chace to have the manual with it!

SOUNDS

It is perfect for my style of music but I find it fairly versatile! I use a guitar-ESP LTD EC-100sqm on this amp without a multi-effects pedal or distortion: personally I find his spat with the lights more than enough. I prefer the crystal clear sound and distortion for the same because I hate the sound too blunt and too serious: I have to treble lol

OVERALL OPINION

I use it for a month and I am very happy! I baeucop the side of this versatile head and also the Crunch! I use it through a lot since I have this head and in a composition that allows, for example, not to make a transition over to the Clean Rutali Lead: I love it! I have tried a Marshall Mg100DFX (combo transistor that is not worth the lights lol but not bad for a transistor combo!) And a Laney head Hybrid 100Watts. In terms of price / quality ratio it is true that the original price of the head is quite high but I think even if it is expensive, even when we know we invested for nothing. Obviously the choice I would do ^ ^.

100w amp head lamps:
-4xECC83
-4xEL34
I had the opportunity to try this amp head in the store on a baffle 1960A

UTILIZATION

The head has a lot of buttons, it's a little mess. But with practice, it must not be a problem. on the other hand, in addition there are buttons to switch names not very ambiguous and completely change the sound when activated or not. I would summarize that for the adjustment of the beast is not at all intuitive.

SOUNDS

I have no particular style of music, but what I expect from an amp head, c is that it is not a clear degeu, distortion and clean. I play an ibanez JPM100 climbs DiMarzio (Air Norton & Steve Special).
in terms of sound obtained on this head:
Light: I find it rather well. not transcendent, but so far I expected much worse from the different points after I had read about the clean sound "made in marshall"
-Crunch: the same, it was pretty good without being amazing
-Lead: I'm not against it by AIM at all: the grain is too dense and rather ugly. Basically I felt like I hear the electric barber's clippers ...

OVERALL OPINION

Well, I tried it at the very least one hour so the level of adjustment, can not say that I master. but I longtmp Attard in the lead by trying a multitude of settings. I could only move from its lousy sound very ugly ...
This was the first time I tried this head, but it was also the second time I asked the test being given the first time at the turn, the seller has the grill head ... I heard about the problems of reliability of this amp is what I got proof??
to conclude I will say that I will never buy this amp head. Mainly parsqu'elle is expensive for a not her top.

I use two MARSHALL TSL 100 (amp-Watt lamps -100) with offices MARSHALL 1960 A & B. A guitar Gibson Les Paul Standard 2002 and a Boss GT-6.

UTILIZATION

I use my TSL 100 for about 6 years and I carry a twice a week to a rptition or concert. Each time, the amp is installed and uninstalled with hte (dj tomb is even the top of my two offices in 1960 a & b). Despite all these shocks, I ' I never had the slightest problem. Our singer (also guitarist) possde also a TSL for 3 years and he too had no problem. I even bought a deuxime I plug in Stereo. At solid reliability I give it definitely a 10!

SOUNDS

At the sound, the clean is clean! Can not be a Fender clean, but a clean warm. The disto's are warm and enjoyable (not for nothing that many great guitarists use this amp). The possibilities are rglages standards. Marriage idalie: TSL 100 + Gibson (Les Paul) (Jimmy Page, Angus Young, Gary Moore, Slash and many others ...)

OVERALL OPINION

The sound is powerful and trs rock, hard rock from the 70'jusqu 'now, but I understand that fans of "Mtal" or "funk" (with sound cleans acute trs) do DIFFERENT choices.

Amp head 100 watts all-tube, 3 channels, two serial loop and / / according rglage, 2 reverbs (one on clean channel, a channel on saturated), a simulation output (except anecdotally ar attack outside a simulator hp) and two output HP 4 / 8 ohms and 16 ohms on. Pdalier of control provided for changing channels and activation deasctivation loops and reverbs. Super full

UTILIZATION

The configuration is far from being as simple as it seems for many reasons: the CONTRL is trsractifs prcis and the lamps are original also a little stiff (I chang for ECC83 JJ E34L and Eurotube home is not expensive and has a standard Difference), ideally should rgler the bias of the amplifier to 82mV for a little roundness is missing home ... and it's smack habit ... For the old type of marshall SERIES 800 or you put everything back and we play, it's quite a change but for those who want to sound as close as possible aspiration del ers then this amp is excellent. Everything is possible, a warm creamy blues sound ultra heavy sound of prog or IDAL for the Dream Theater has colors similar to Vai or Malmsteen ... the amp is versatile and ultra sounds incroiyablement well. Also if you save it, it will have no trouble placing themselves in a mix since the mediums are the same prdominants engaged tone shift. Mention for the clean channel that sounds incredibly empite and frankly in the territory of Fender. I guess by that against the gain level will leave on their hunger for guitarists eager to saturation as a compress on the boogies, even if the saturation level is dj trs lev. It's just that the game has to be the guitarist trs prcis because the amp does not forgive. If a lack of gain, overdrive pedals a lightweight front is just fine and we go home and boogie engl carefree (for half the price).

SOUNDS

The sound is standard, trs rich and dynamic. What is the lamp, it's basically unbeatable, we can say what you want. You can approach but not the Galer, even if I love modlisation ct for its practice, even when sound is playing on diffrent a lamp at all. .. This is weird indeed, it is not even in the grain is in the plutt fawn whose notes rsonnent and in their decay, vibrato on his left hand. .. that kind of stuff ... it's subtle but when you play it you feel it ... it takes guts to APRS ... the diffrence is not heard in a mix and epublica never know it even not consider it a personal thing, but some of us it is important ... I love that feeling ... On a polyphonic tapping as in Angra song "Heroes of Sand" from the album rebirth, the intro sounds monstrously on TSL clean channel with chorus and a lightweight delay, or to "Call of Cthulu" by Metallica and the channel saturates the JCM800 crunch sounds like a boost in the lead channel gain and going without regard to Vai, Satriani or Slayer Black Label Society, a good multi effect in the loop and welcome Tone-Land, like a G-major, which allows more control changes channels midi ...

OVERALL OPINION

I use this head since the year of its release in 2001 I believe. I love its versatility, ct indestructible, and incredible dynamic. This is my 5th marshall (as head lamps) and is the best. In any case the most versatile and warmer. I think to take a second to tell the truth ... I had almost everything: Triax and 2:90, with JMP1 9200, JCM900, DSL100, GH100L Laney, Peavey 5150 and Tubefex, Rocktron Piranha (very nice for that matter), Digitech GSP2110 and 2112, ADA MP1, Line 6 Flextone HD 1 and 2, all in various baffles (Marshall and Line 6) ... I'm still on the TSL100 for its simplicity and ... Rglez or make a rgler the 82mV bias and the amp back to life ...

edit 08/04/06: always delighted with the sound of the amp, trying new APRS pramplis, amps, etc., etc., I remain Fidler this amp is really the best SERIES marshall of current with a small ERRF DSL ... When I read that some did not get a russi with its excellent, I always tend m'tonner, but knowing the bad habit Marshall's rgler the bias of his amps with feet and blindfolded, I think they should really take the time to do properly because the amp is radically DIFFERENT once well rgl ... With other brands of amp sounds are obtained DIFFERENT, but certainly not the best ... It takes all kinds to make a world, but a marshall in a 4 * 12 of the brand, even when it's standard ... AND super versatile with the new marshall ... can not really put as 11 note?

100w all-tube amp: four 12AX7 preamp and four EL34 in power
a knob for adjusting the bias very convenient (even necessary to use a multimeter qaund !!!!!)
3 channels (clear, crunch and lead) with eq for each channel
2 effects loops (1 to clear a channel for crunch and lead)
multiple outputs according to the impedance of the speaker
simulated output (AC is not much)
Reverb 2
power reduction is also very convenient for the performance of the lamps
5-way foot controller (3 + channel + reverb fx loop)
in short it is complete
attention to the original lamps no better quality and bias adjustment to the purchase
I takes only 8 because there is necessarily more complete (mesa road king, etc. ....)

UTILIZATION

You plug the guitar on his chosen channel is the rule and we play.
obtained quickly by a nice clear sound for lead is against the taking of a head for his own if you push too gain.

Finally, the manual is rather successful

SOUNDS

I'll try to be objective:
metal guitarist: go your way: not for c
But I play a gibson voodoo Exporer I tried on 2 of 5150 and with my friend, it's the big metal assured: we send very specific rhythmic and wild palm mute effective without being a breakdown in wrist, the receiver also responds to the finger and the eye. With tsl 100, despite hours of tweaking and adjustments, lamps changed (12ax7eh svetlana EL34 and new) set the bias (82mv) etc, its impossible to get a metal drinking: the dynamics is too limited and the sound is rough when you push the gain too far. However this amp is great for rock and maybe hard rock.
The clean sound is still very beautiful and very sweet and is rich with a slight chorus or delay. That will be the only sound that I miss when it is sold.
I put 8 because it still sounds nice and should find its audience among blues and rock musician. It is not at all jute suited to those wishing to get closer to the In Flames.

OVERALL OPINION

I have three years now but I want to part with it for an amp oriented metal (engl - Laney - Peavey).
Complete and with few options (bias adjustment - power limiter) it offers many opportunities for a wide range of musical styles except metal.
the price / quality ratio is quite correct.

All lamp. 100 Watts
Comprehensive connectivity
Mid Boost for Clean
Tone Shift on the Crunch and Lead
Touche "Deep" for three channels
Reverb integrated
VRP (virtual power reduction, great when you want to push the animal without breaking the foundation of the house)

UTILIZATION

The configuration is the simplest, but it is far from being a critic, what choice!
Controls bass, mid, gain, etc ... independent for each channel!
It takes a bit to widen, but what a pleasure when one gets his own sound.
Manual useless, they just waste paper is the ear that hump.

SOUNDS

I play a Stratocaster Vintage (Duncan SSL-3) and an ESP signature kelly hayes (EMG 81)
This means that the stratosphere is not the stew and the ESP is its just the high end
Clean: Great, clean the marshall in all its glory, then obviously it's not clean the lens is not as clear as crystal, it is a clean warm, a bit dirtier, with its character, is to type a lil 'Under The Bridge "Red Hot to realize that it is top. With the mid boost and gain much pushed it starts to cruncher (blues)
Crunch: With a low gain is partly for the blues-rock, soft rock. With the gain is donf Deep Purple and ACDC (I managed to get the sound SMOKE ON THE WATER). The Tone Shift, which removes mediums, will also allow you to play sounds. Deep down will dig your sound (Bass)-I forgot to say but of course it's the same for the clean-
Lead: So then, gain at least 3 / 4, the Tone Shift pressed, not too much midrange, the bass in donf and deep, you'll be able to tease the Heavey Metal, not too strong anyway, Metallica's debut . But it is also a fabulous world of solo available to you (Guns'n'Roses), fiddle with the knobs with the reverb and then roll my chicken. With the microphone you can send serious Santana.

Then finally there by against I raise the roof against those who say that Marshall = no metal. Not true! I have the T-Rex Bloody Mary (as well say no to a discount in pédalette Behring), and connected with the PSE and my foot (well regulated), the Clean, without the mid boost, Bass donf, Deep engaged, without too much medium (1 / 2 max), I reach the peaks of pleasure. Let's go for the killswitch, the pantera, etc ...
As I read in another review, have to stop to play it like I'm "true", I play with the distortion of origin, etc. ... Come on. No metal band does not play with distos home, not even on the Mesa.
Concluded: Amp good for ALL (there only to see groups from all walks of life, using the brand)

OVERALL OPINION

I use it for 2 months. Settings effective, varied, in short, a range of impressive. Good value.
This choice I would do without hesitation.

Just read the previous posts

UTILIZATION

Complex configuration? Hmm not

At first, obviously, it can be destabilizing. But with a bit of practice, we get easily what you seek.

SOUNDS

Amp oriented Blues - Rock Hard Rock-assuredly.

I play Black Metal and rock to the softer Anathema. This head has never disappointed.

My guitar is a Gibson Nighthawk Standard 3. I have a Rocktron Multivalve in the effects loop. Otherwise, the front, I use the following scheme: guitar - noise gate - Rocktron gainiac (I use a clean sound, it's easy to slam the bridge pickup in my Gibson which I find too hot when plugged directly ) - Compressor - back to the noise gate.

Very nice clear sound. For Marshall, it was There's a lot of change in the share of the firm. But hey, when you're a rock-oriented amp, the distortion is important, is not it?

The crunch is very effective. It quickly gets a good sound bluesy at will, pushing some of the gain knob, the blues solos to cry out easily in a warm tone through the lamps.

Now its Lead: Excellent. A bold grain and warm! A distortion in the way we like it short. A slight overdrive to neutral slam power chords and take out the harmonic easier is welcome, but that's true for a lot of amps, even in Mesa Boogie! And for a really low price that they, not you hesitate!

OVERALL OPINION

I use it for some months now. I particularly appreciate its versatility, the beast was nothing to be ashamed, whatever the style practiced.

I also use qq Mesa Boogie before. But they are too expensive and not necessarily always superior to others. Anyway, stay on the head. The value for money is fairly good.

I would do without hesitation that choice!

It conplet frankly I see no shortage.

UTILIZATION

It is very conplet in all directions, so it's a little maze, but it's going good, it conpréhenssible possibillity to view.

SOUNDS

Then frankly say that the crunch I synthetic sounds, not nice what.
Channel distortion frankly disgusting.

But I like to say I hate Marshall. But I would love to crunch the Marshall amp, but some of it going completely.

Clear by the cons! The light is really great. This clear, it really sounds great. Never heard before. It is not clear jazz. This is clearly a rock but still very clear There's a pa le. It sounds nothing I have heard before. With a tube screamer, it is a great crunch, but then I have ever seen in great ca.

jRemove 2 saturation point for the head but after I know not judge marshall sound is not a fan! Amp TESTED BY ALL SO! PRO-AND ANTI MARSHALL MARSHALL CE TRUK Tater! It is an anti MARSHALL tells you!

OVERALL OPINION

I love that marshall's crazy for his clear
This opinion is frankly very perssonnel. I love this light!
https://myspace.com/divinepaiste

listen to the sounds have been with ISPs owned this amp before the guitarist of the group.
lol good then this group may like or not! but I love the sound "clear" Rhythmic and arpeggio! This amp is THE Marshall for me with the new Vintage Modern Series
+ Conection
Light + Sound / Blues / Hard
+ Look

Price-
Satu-

Head amp 100W all-tube, pro hardware, trs complete its multiple rglages.

- Between 1, 2 effects loops (non-ngligeable) sparment assignable or jointly which opens the field of possibilities
- Speaker outputs: 2X4, 1X4, 2X8, 1X8, 1x16 ohms roughly the bte little prs can attack all speakers (personally, I added a 4X12 Laney GS412 who never complained).
- Output emulated line out for recording live (I tried & am not sure, stick him under a Palmer in the ass ...)

presence, mix effects loops, reverb sparemment assignable to clear a & ct the crunch / lead of the other. Ditto for the civil tone shift (the hollow mdiums) & deep (below reinforces mdiums)
qualos conventional (low mdiums, treble) & volume & gain SETTING THE indpendents for 3 channels.
A mid boost on the clean channel

rglages if with all these, we come not find happiness ...

10 I will not because I'm kind of picky and that the emulated line out seems to me not useable in a professional context.

UTILIZATION

The config 'does not seem to me complex, there are many rglages but the rest of the "classic": bass, mid, trebble, reverb, etc ... is clear, not fantastic titles like: "punch", "growl" or "bite" as can be found in some competitors.
You turn the knobs & quickly found a sound! Personally, I like the "deep", which flatter the bottom of the spectrum, I got, is often a bit lightweight in Marshall: big rhythmic Dropped D or 7-string welcome!

SOUNDS

The light is amazing trs for Marshall, clear & warm
Crunches are the height of what to expect from Marshall in the register, on my Start or my prs standard amricaine CE24 has always rings the moment we take the time to try all the multiple r tings: the roots of modern as rglages has still sounds warm & trs musical.
The lead is trs prcis, typ Marshall modern features deep toneshift & trs are effective on the latter for sounds & Metal Company.
+ for sounds hot, I deprecated the toneshift that "smooth" over the sound I got.
For the price, it can be by the sound of the BTE, we can prfrer Engl, Bogner, Rivera, Mesa but compare the price, + twice for 3 channels in these brands l.

OVERALL OPINION

I use this head for over 3 years, I bought 900 used & nothing for the wrong price. I used it on scne & & turn them over to survcu trpidations the truck, the roadies presss, cuts & juice has never lach. Ah the quality Marshall! In the studio, it allows a fairly large variety of sounds, which is handy when one does not have to pay for a round VOX AC30 Combo, a HIWATT or a JCM 800 for crunch, a fender or a roland jazz chorus for a clear & high gain type or mesa for the Soldano sounds big.
A report of qualitversatilitprix more satisfying.
I pass on TT laney, fender, tech JCM2000 21 & & & in hindsight I do not regret my purchase! Certainly, one can find + high-end but, again, the price is not the same!
I regret Sparer me because I will invest in a mesa roadster and my finances do not allow me to keep the 2 ... shame because the two grains have the most complmentaires t!

The Marshall TSL100 was designated as Marshall's flagship amplifier for some time, and indeed on paper it looks to be a killer amp. It's designed a lot like the DSL series, and is a 100w tube head that is powered by four EL34 tubes. There are three channels ranging from clean, to crunch, to lead, and there are many different settings that Marshall claims will offer a wide variety of pleasing tones. Here's the full list of specs:

Features:
All valve powered. [4x Svetlana EL34 power valves]
3 independent channels for Clean, Crunch, and Lead
Mid Boost Switch for tonal options on the Clean channel plus Tone Shift on the Crunch and Lead channels
Unique Marshall Deep Switch on the Clean and Crunch/Lead channels adds extra low end resonance when selected
Separate Reverb for Clean and Crunch/Lead channels
Virtual Power Reduction [vpr] gives the extra saturation of a lower powered valve amp being driven hard
Power Amp Mute switch for silent recording
Separate FX Loops with front panel Mix controls and level selection for the Clean and Crunch/Lead channels
D.I. XLR Output with acclaimed Marshall Speaker Emulation
5-way foot controller for switching channels, Reverb and FX Loop on/off

UTILIZATION

Setting up this amp is almost pointless because of how generally awful it sounds. The three channels really just provide different levels of harsh and scooped tones, varying in levels of fizz and gain. I've never been a fan of how the EQ reacts on Marshall amps and this one is no exception. The controls really all seem to control a narrow range of frequencies, leaving the extreme low end and high end untouched... if you don't like it how it's set stock, too bad. To its credit, the interface of the amp isn't too bad but dialing in a tone that's not either scooped or loaded with high end fizz is all but impossible... though that's a common malady of modern Marshall amps anyway.

SOUNDS

I've tried this guitar with various Fender and Gibson guitars. This amp really just doesn't cut it for me. It seems to have been designed to be a killer all in one amp that could handle everything from clean to mean... but really doesn't do any of these things remotely well. The clean tones were thin and brittle overall, with a seriously piercing high end that I just couldn't dial out. I like a slightly fuller clean tone overall (IE: Fender or Mesa) and this amp's clean just sounded forced and mediocre. The distortion channels really are just fizzy and lifeless, but one of them has more gain and compression than the other one. The gain structure is nothing like the classic Marshalls of old, nor other flagship 3 channel amps like the Mesa Dual Rec or Soldano Decatone. The amp is very compressed and buzzy, and given that the EQ has an extremely limited range of tweaking available, there isn't much I can do to dial out the fizz and tame the ever present high end problem. Ah well.

OVERALL OPINION

All in all, I wouldn't recommend this amp. The fact that it sells for $1800 new is a fairly strange concept to me, as you can get something like a Splawn Quick Rod or a Mesa Mark V for not much more, both of which will SMOKE this amp. It really doesn't live up to the hype that Marshall built for it and I can't recommend it in good faith to anyone. I'd say to stay away from this or the combo companion (TSL122) unless you have ears that love fizz and untamed high end.

See below

UTILIZATION

Configuration a breeze.
After some small adjustments, we get a very good sound quickly.

SOUNDS

Clean, blues, rock, hard rock: No problemo.
I've included a great chorus, delay and a Boss equalizer in the loop and roll ....
I love the sound of the lead and clean.

OVERALL OPINION

I use it for 18 months.
It is extremely versatile (personal opinion), with some pedal felt good, I'm going Pink Floyd Maiden.
I thought I would sell, and finally, I do not want more.
I read a bunch of c **** ries about this amp, must stop, it's a very good amp.
When I read the nonsense clean, the crunch ... I'm tired!
Some should stop navel gazing and just back to the basics of music.
He does not agree to a Gilmour or Slash, I could understand (and again ...) but for the plebs guitarists including myself and party whose only goal is to try to draw a coherent sound and s burst while playing in a group, no problem ...
I paid € 1300 with a marshall 1960 cab Lead.
Good value for money.
I of course do it again this election.

The Marshall JCM2000 TSL100 is the amplifier that actually helped inspire the JVM. It's a three channel amplifier with four EL34 and four 12AX7 tubes that features independent controls, a midboost, deep switch, tone shift, power reduction, output mute, reverb, line out, effects loop and more.

UTILIZATION

While the amplifier has tons of features packed into it, and they're laid out clearly, I find it is somewhat hindered with all the stuff thrown inside it. I'll get to that later in the sound section. The loop in this is decent, and it's easy to dial in a decent tone. The manual is pretty good for this, and it describes what all the various features do, how they interact with each other, etc.

SOUNDS

Despite this being more versatile than the DSL100, I find that it simply doesn't sound as good. I really think it's because they threw in all that extra nonsense that people don't exactly need. One thing is that I find the distortion to be fairly buzzy. It doesn't have that organic gain that the JCM800 has, and while it tastes boosts nicely, it just doesn't sound quite "up to par" as the DSL100 did. The clean tones on this thing are pretty weak too, but that's kinda to be expected with a standard Marshall tone stack. I much prefer a Fender or Mesa/Boogie tone stack for clean tones.

OVERALL OPINION

Despite the additional features that this amplifier offers, it just doesn't seem to sound quite as good as the DSL100. Maybe it's because I'm a bit more of a minimalist that I feel that way, but it just seemed to be overall "bland" sounding. The amp needs to be boosted to get a really "good" gain tone. Stock, it has tons of gain, but I just find it to be buzzy sounding once you start cranking. These go pretty cheap on the used market, and unlike the DSL100, there's actually a reason they're so cheap.

100 W + Reverb, which is welcome because it lacks a bit on the 30th anniversary Marshall that I was ready. I put 8 because there is "only" 3 Channels and no delay (unlike JMD100) but hey, it's already much better than the 2 Channel amp, I quibble.

UTILIZATION

Configuration is very simple. Finally a product or each button that I touch brings a change "heard" instantly.
I downloaded the pdf manual for the history of 4, 8 and 16 ohms and the use of effects loop, but it's simple and suddenly, the manual is not really useful.
This gives a good sound and the clean channel is not as bad as what has been said in Marshall.
More reverb helps.
It is not for the bagpipes of course, but that, I think you understood

SOUNDS

For the pop / rock is perfect.
To repeat, I hold down "limitation POWEEEER" to use 25W which is already sufficient. Note however that the volume does not clean the crunch / lead.
I just find it's "low volume" (it's on), it is more difficult to diff2rencier a real crunch of a lead. For cons, the knobs that you push, the, of course, mind-blowing ca! The power generated is monumental!
Coupled with a Fender Stratocaster STD U.S., and a Gibson Melody Maker reissue 77.
With the Fender, but it is less clear pechu with the Gibson is more slobbering and less defined, however.

OVERALL OPINION

I've had about three months.
I tried a Peavey 50W clearly more blues, and a Roland JazzChorus a Marshall 30th anniversary.
The peavey is well suited to small rehearsal room and need not be pushed too hard to have a warm and round.
The Jazczhorus not suitable for Rock .. Simply.
And The Marshall 30th anniversary is almost on the same wavelength even if he has no reverb.
I put 10 because I came across a great opportunity (NEW state amp + speaker 1960A) and it purrs quietly but surely waiting to be released this summer ...

100w All Tube, switchable to 25w (top)
3 real channels with three Masters (top)
Deep function for more bass (1 key for clean, one for a lead / crunch), really effective,
Two balls effects
Any speaker can be connected (4 to 16 ohms).
Mid function boost digging mediums to switch its "vintage" to "modern" easily, without changing settings.
Separate reverb control for the clean and the other channels.
2 settings attendance.

Footswitch fragile: the socket is too fragile. He commanded the 3 + channel + reverb effects loop.

In short, the stuff built for professionals.

UTILIZATION

Config arch simple plug & play.
The 3 channels are visually distinct, which is not the case with DSL.
We obtain immediately (or almost) sound good.

SOUNDS

I use it constantly with a BBE Stomp in the loop, which adds much to its presence.
sounds like a good Marshall, period.
The clean is one of the best produced by Marshall
The crunch of a potato madness
Lead with the Deep feature allows very easily to the big metal (provided that the following guitars ...)
I'm doing 4 gigs a month, I play in a cover band (from red hot to Jamiroquai, via AC / DC and Spin Doctors), I need a super versatile amp.
I'm thrilled.

Sometimes connected to a 1960 V30 (Slash Snakepit), sometimes in a 1960A (very good too, need to stop down the G12T75!) See in a 2 * 12 Framus ... He assured each time, whether with a Start, a Telecaster, a PRS or SG.

I do not know what else I could ask for more ... A little less than blowing the lead perhaps?

OVERALL OPINION

I therefore used for 7 years.
I've never changed the lamps, and it never failed.
It provides its weekly concert without flinching.
It saves me having 36 pedals distos.
The 3 master are ultra independent practices.
In short, a great Swiss Army knife for demanding musician to have a sound and practical, all at a reasonable budget.