All user reviews for the Marshall TSL100

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.

LAMPS

What is the power delivered?
100 W RMS 25W comuter

UTILIZATION

Lots of buttons but very simple, it's Marshall ...



SOUNDS

Will it fit your style of music?
I play mainly metal and when I read that the JCM2000 is not for metal ... just kidding Clearly this is not a high gain but push it a bit, with a good cab and a good shovel it sends heavy! Important not to cut the mids or play with the equalizer in V. .. Otherwise, you lose all the biting and aggression.

Clear: good clean sound for a Marshall! Complement it with a little chorus / Reverb / Delay and go for an arpeggio shivering ..
Crunch: the sound of AC / DC! Reduce the gain and you have a blues sound great!
Lead: my favorite channel! Needless to type an overdrive before or whatever else is ... sending it enough for the modern metal, clear you will not want to play in Suicide Silence or Behemott but what will the Guns to Kataklysm through Arch Enenmy or Paradise Lost, Metallica, ... is perfect, the question is, set his gear properly ...

With what (s) guitar (s) or effect (s) do you play?

LP standard and Shecter SheDevil.
TC electronic G-sharp (in the loop) + NS2


OVERALL OPINION

For how long have you been using it?
It's been a long time and I will say that for 10 years I have, it never fell down once, not even a fuse! I never got tired of her except when I get the urge to smash a small deathcore ... but hey I think if I had a 5150 I'm tired of not being able to play anything other than death ... Frankly, I have a LP and a Schecter (active) and the amp fully respects the guitars that branch there.

What thing do you like most/least about it?

Most: versatility, power 25watts past by pushing a button, 3 CHANNELS loops and effects (adjustable) with footswitch switchable, the lead sound ...
Minimum: The guys who criticize Marshall saying they do nothing good for the JCM800 .... I invite them home to test for TSL100!

Knowing what you know now, would you make the same choice?
Because clearly the versatility of the gear is the most important thing to me: you diversify his game, his style, the gear follows the musical evolution and ultimately that's what costs the least! When I see friends who have changed 3 or 4 times the amp since I have mine so that eventually they get tired and always looking SOUND ....

What is your opinion about the value for the price?
Excellent for the head but the cab 1960a cons is not really terrible, I modified mine with 2 V30 + cross + silicone wiring and it really changes much in the end.

hello to you musician

The Marshall JCM 2000 TSL100 is a tube amp 100W
An input jack, assignable effects loop separately or jointly which opens the field of possibilities (Please do not use the effects loop! Please) is horrible on any amp. You can use to connect a pre-amp for example. No musician is so ... why some still to do?!
Upcoming speakers: 2X4, 1X4, 2X8, 1X8, 1x16 ohms (class)
An output emulated line out for direct recording (again, again ... stop messing around ... I will not add anything else.)

UTILIZATION

The setup is simple?
Yes

The manual is clear and sufficient?
No need. Anyway, he must rely on his ear and that's it.
Skunk Anansie guitarist to record their first album (many awards) with a guitar that cost him $ 70. No change. Yep. The amp is not the musician.

Do you get a good sound easy?
We get it sound good enough right quick, but ... must spend time on it to find the right sound. For a guitar sound is set with other musicians. Especially with the other guitarist (if any) and especially with the bass. Everything must be harmonious and logical.

SOUNDS

Will it fit your style of music?
Perfectly. I play post-hardcore or rock to clean arpeggios, the amp responds very hyper. The choice of guitar is very important. Not only the choice of guitar as the height of the microphones. I have a Fender Telecaster Deluxe, a Gibson SG Standard and an Ibanez ASX32 (with Seymour Duncan SH4) and soon a Fender Telecaster Standard.
For effects I use Boss and Line6.
The choice of speaker is very important ... very very very. But the best is surely not the most expensive. The better ear, his style, his music and his group.
I play with a 1960AV (Celestion V30) and it's just perfect. I have a 1960A is it makes a difference (especially on the roundness of sound)

OVERALL OPINION

For how long have you been using it?
7 years

Did you try many other models before getting this one?
Oh yes. Savage120 of ENGL, Mesa Boogie's, several Marshall, Fender few ...

What thing do you like most/least about it?
It's a pretty versatile amp (not the south either)

What is your opinion about the value for the price?
Right price

Knowing what you know now, would you make the same choice? ...
Oh yes.

! VERY IMPORTANT!
I tried 3 other JCM2000 TSL100 store (different stores) and it was really shit. So do not insult those who spit on this amp. I understand them.
My singer / guitarist working in a music store and we had a giggle when I tested one of their JCM2000 right after mine. Same in another store ... and the same again in another store. RIDICULOUS.
We must think about changing the lights too. If you think that is expensive and you'll end up spitting on the amp, do not cross the pitch then.
Without oil, the engine of the car died! There is none.
I had to change the PSU a few months ago. Due to cuts in current hardcore room my head suffered. And I'm rewarding by changing the PSU I won round and sound sensitivity of the amp. Which makes sense after all. Kerry King, Slash, etc. have changed amps. If you believe that buying the signing of this or that you will have the same ... there is already affected, sensitivity, experience and the relationship between the musician and his instrument but also changes. Why there http://www.voodooamps.com/home/Upgrades/tabid/334/Default.aspx