Bedienungsanleitung Marshall AVT100X (Seite 6 von 9) (Englisch)

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1. Mains Input Connector

Your AVT is provided with a detachable mains

(power) lead which is connected here. The

specific mains input voltage rating that your

amplifier has been built for is shown on the back

panel. Before connecting for the first time,

please ensure that your electricity supply is

compatible with your amplifier. If you have any

doubt, please seek advice from a qualified

technician. Your Marshall dealer will help in this

respect.

2. Loudspeaker Jack Sockets

There is one speaker jacksocket on the

AVT100X, marked Internal (8 Ohm), this is

where the output of the AVT power amplifier is

connected to its internal 8 Ohm Celestion

loudspeaker.

WARNING:

Always provide the AVT100X with a load equal

to, or greater than, 8 Ohms.

3. Footswitch

For connection of the supplied Stage Foot

Controller (PEDL-10038). This sturdy 4-way

Marshall footswitch allows instant selection of

the 3 channels, plus the DFX. It also features

LED's to indicate status.

4. Headphone

The headphone output is fully emulated using

an improved version of the circuitry found on the

industry standard JMP-1. Turning the Master

Volume (16) to zero will provide silent practice.

5. Emulated Line Output

This jack socket carries a specially treated

output signal from your AVT that accurately

emulates the sonic signature of a Marshall 4x12

cabinet. This unerringly accurate emulation

circuitry is Marshall's most advanced to date

and was developed via countless hours of

technical research, playing, listening and fine-

tuning. This output can be used in both live

performance and recording situations to achieve

authentic guitar amp tones, without having to

use a microphone. Turn down the Master

Volume (16) for silent recording.

FX Loop

As already mentioned, the AVT100X boasts a

Mono Parallel FX loop for connection with

external effects units. In addition to the FX Mix

control on the front panel (see ‘Front Panel

Features,’ point 18) this FX loop comprises of an

FX Send jack, an FX Return jack and an FX

level control button.

6. FX Return

For connection to the output of your external

effects device.

7. FX Level

This should be set to match the level of the

processor being used (generally -10dB for a

stomp box, +4dB for a professional, rack unit).

8. FX Send

For connection to the input of the external

device being used.

* FX Loop Hints

a) Always use high quality, shielded patch

cables.

b) If the processor being used has an input level

control, ensure it is set correctly.

c) Time based effects (delays & reverbs) and

modulation effects (chorus, flange, phase, etc.)

are ideal for use in a Parallel FX loop.

d) Certain stomp box effects such as Wah,

distortion, overdrive and fuzz were designed

specifically for use in-front of the amp and

sound best when used that way. This said, tonal

beauty is in the ears of the beholder so, if such

a pedal sounds great to you when used in an

FX loop then go for it! Sometimes, there are no

rules...

AVT100X Rear Panel Features

ENGLISH

Follow all instructions and heed all warnings

KEEP THESE INSTRUCTIONS !

Suggested Settings

On all the following suggested settings you will immediately notice how rich and authentic the sounds

are. As you will hear, even on clean settings Advanced Valvestate Technology adds those subtle

harmonics and that desirable compression which only a classic all-valve amp can normally deliver.

Funky Clean

A really bright clean which still maintains mid definition. This is best used in conjunction with a single-

coil neck pick-up or the neck/bridge combination on a humbucker equipped guitar. Keeping the Gain

control low ensures a clean preamp signal and also helps feed extra treble through to the power

amplifier for additional brightness and cut.

Blues Clean

Here the preamp Gain is increased and what you start to hear is pure, harmonically rich break-up and

compression from the internal Marshall ECC83 preamp valve. Again the neck pick-up on a single coil

guitar or the neck/ bridge combination on a humbucker-loaded guitar will deliver the warmest tones.

Jazz Clean

A warm rounded clean ideal for ‘comping’ and walking bass progressions.

Brit Crunch

Here the advantage of the separate Gain and Volume controls really comes into play. Notice how the

Gain is quite low but the Volume is quite high. This is the way the old Marshall crunch sounds of the

late 60’s and 70’s were created - namely by keeping the preamp pretty clean and creating the desired

distortion by driving the power stage hard. With such a setting, when you back off the guitar's volume

or pick lighter, you will feel and hear how the rich, clear tone of the clean sound remains.

Funky Overdrive

For those who wish to get lost in a purple haze, back off OD1's Gain to give extra definition and

dynamics.

MV Crunch

This crunch is reminiscent of the first Marshall Master Volume amplifiers of the much heralded

JCM800 series. The Valve Drive Preamp is driven into mild saturation, creating a big, open overdrive

using the bridge position pick-up, whether single-coil or humbucker.

Screaming Lead

Here the Gain is cranked to the max and the mids are brought up to fatten the tone of the single

notes. With these settings the rich, natural harmonic overtones that the valve introduces will be very

apparent. Best with the bridge pickup.

Heavy, Modern Crunch

Cutting the Mids while heavily boosting the Gain, Treble and Bass gives an aggressive, modern ‘tear-

yer-face-off’, scooped sound. The bridge humbucker is the one to use here if you truly wanna ride the

lightning...definitely not for the faint-hearted!

Marshall AVT100X Seite 6

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