The TSL100's three completely independent, footswitchable channels (Clean, Crunch and Lead) effectively give you three different classic amps in one casing. Each channel has its own controls for Gain, Volume, Treble, Middle and Bass.
JCM2000 TSL100 Head
aron444, on april 25, 2005 10 of 10 people found this review helpful
Features: This amp has everything I could ever need. My music is rock and blues and it covers both with ease. I even have to put down tracks on country songs sometimes and I can dial that in too. Any one that says it's a one trick pony is full of s--t. For clean tones I always used Fender but this amp does the job well too. It has a 3 channels. Clean, Crunch, and Lead. I like the Crunch and Lead channels alot but I must confess that I refer to my Ibanez TS-9 Modded Tubescreamer as the holy grail of pedals and use that most of the time. As far as features, I can't think of anything it doesn't have. Among many other features, it has a VPR switch which I explain later, 2 seperate effects loops and a line out for recording. I love to record one track with the line out and another, micing the amp and then adjust to my liking. The tubes (4x12AX7's and 4xEL34's) Marshall-Svetlana. I used those for a while and then put in some JJ's and it sounded even better. Hopefully, you already know that no solid state amp can even come close to the sweet sounds of a tube amp and this one is the king at my house. // 10
Sound: Before I tell you the guitars I use, I must say that for the most part, if I am playing it, it has humbuckers of some sort in it. OK, I use a Gibson Les Paul Standard and a PRS Singlecut for the most part. The my Gibson SG. And the few times I need to play country, I use my Strat. Like I said, it's not a one trick pony. The only style I don't play through it is Metal but I have read that it can handle that as well. I read a reveiw on the TSL60 head and the guy said that compared to that, the TSL100 sucks because its to loud to get it to break up at high volumes. Well yes, 100 watts is loud. But what he failed to mention was the VPR switch where you can cut the watts down to get that breakup at a much lower volume. Not to mention that that 100 watts sure comes in handy when playing large clubs or more importantly, outdoors. This thing is loud as hell and with my JCM900 Lead1960 4x12, there is no noise to speak of. This amp is beautiful. // 10
Reliability & Durability: What can I say. It has tubes. I gig plenty without a backup amp but never without backup tubes. A tube went out on me right after I got it but no problems since then in the 2 years I have owned it. Like I said, it's a tube amp and for the first 5 years, that will most likely be the only problems you will have. // 10
Overall Impression: I have said a few times that it is not a one trick pony. I only mean that you can play a lot of different Marshall type tones out of it. I still have my ampeg V2 Ampeg Jets Mesa Boogie Nomad and Fender Hot Rod Deluxe Blues Jr and Pro Jr. I will say this though. I use this amp the most for gigs. It never lets me down in any catagory. I could go on and on about this amp. Go try one out. You will want to take it home. The only thing that might stop you is the $1000. // 10
JCM2000 TSL100 Head
unregistered, on february 10, 2006 4 of 4 people found this review helpful
Price paid: $ 1372.5
Purchased from: Sound Control
Features: This is Marshall TSL 100 head, and easily the best Marshall available. I purchased it early 2005 and have been loving it ever since. It is a very versatile amp with three channels (clean, crunch, lead). Each of these channels feature their own EQ, volume and gain. In addition the crunch and lead channels have mid-scoops and the clean channel features a mid boost. There are any other features including independant reverb and an FX loops for both clean and distorted channels. There is an XLR output for recording as well as an output mute for silent recording. There is no headphone output however Marshall included a VPR (virtual power reduction) switch that lowers it from a 100 watt amp to a 20 watt, allowing for quieter practising. Obviousely without that VPR it roars as loud as any good tube Marshall should. I am yet to play a gig where it is outpowered. // 10
Sound: For the crunch and lead sounds ill tend to use either my Les Paul or my Ibanez custom JEM. The combination of the humbuckers and the lead channel allow brilliant sustain for all those Gary Moore moments. Again with the humbuckers on the crunch channel you can achieve all those classic rock sounds from AC/DC to Zepellin. Using these guitars on the clean channel you get a great thick warm clean tone and with the mid boost switch pressed and a bit more gain you can get true bluesy break up. This amp also performs very well with single coil guitars such as my custom levinson strat. These are best used on the clean channel to get a real sharp bite for ya sound, fink hendrix's little wing. The distortion is not the most brutal ever and may disapoint any nu-metal fans or those that use low tunings. This can easily be solved by the purchase of a metal distortion pedal. However to many, inluding me this does not matter and the levels of gain are more than ample for all situations. // 10
Reliability & Durability: I never need a backup for this amp and have never experienced any problems at all. It is very well built and stands up very well to the abuse I give it durin transporting. I will be getting it serviced soon however, as with tube amps this is recommended. As long as you take time to allow it to warm up and cool down it'll be yours for ever. // 10
Overall Impression: Classic rock, hard rock, funk, blues this can do it all and more. I have only been playing for a little over three years now but I know with this amp I'm not going to need another one for a very long time. Don't be put of by the expensive price compared to the combo, this is the real deal and I'd buy it again if in the same position. I'd recomend the Angled 1960 cab with this. For the lead effects loop I use a Boss DD6 Delay for unrivaled sustain and smooth legato and in the clean loop I use a Boss Chorus for a whole range of amazing sounds. It's very hard to fault, however if going for the half stack version just make sure it fits in your car first! A truely amazing amp. No stage is complete without a Marshall stack and this is the one to have! // 10
JCM2000 TSL100 Head
hostilemonkey, on may 16, 2006 4 of 4 people found this review helpful
Price paid: $ 1151.07
Purchased from: www.gak.co.uk
Features: Okay, firstly I must clear up that before buying this amp I tried out absolutely every amp I could think of. It took me a long time to save up for my stack, and I thought as soon as I'd have over 1, 000 I'd buy one; but I didn't end up getting one for a further 5 months because I wanted to make sure it was the right investment. The amp is incredibly diverse. 3 channels - clean, crunch and lead (plus reverb on all). The reverb has independant settings for the clean and the same settings for crunch/lead. The amp has a VPR button. In a nutshell; this means that thanks to the preamp, it can be cut to 25Watts. So if you're at a band practice, and you wanna demonstrate a new riff, you can press the button and it'll go to a nice quiet level (without sacrificing the tone) and therefore you don't have to adjust your master volume. Furthermore, the clean channel has a mid boost button. This obviously; well, boosts the mid. It's a great feature for blues players or if you're playing live, and need the clean channel to cut through the mix. I don't really play much Indie music, but I'd imagine it to be extremely helpful if I did. The output on the amp can be turned off too. This is an excellent feature for 'silent recording'. If you record at home, even if it's just via a line6 POD, and want your TSL tone, you can do it without anything ocming through the cab. You can record without plugging your cab in (but as you should know, it's not a good idea to swtich on any valve amp without a cab plugged in). This means that you can record the tone if the levels are high (because let's face it, playing loudly does affect the tone of all valve amps); then you can get the tone when recording at home without hearing your amp sing at level 5. The other reviews cover basic features so I'm not gonna repeat them (e.g. footswitch functions, effect loops, tube specs). The amp certainly has enough power for me. I play a lot live and it more than copes with all kinds of venues, even small clubs without a pa system. It is nicely laid out and user friendly. If I was really picky I'd like to see it have a built in tuner, but I'm not going to loose any sleep over that. // 10
Sound: It's amazing for rock, metal, punk, blues, probably most other styles but I've not tried it to the max outside of these genres. The clean channel is outstanding. You do not comprehend! I have the mid on 4, bass on 6, treble on 6.5, reverb on about 2 and gain on about 8.5 - then select my rhythm humbucker (Gibson. Not a Gibson guitar, but Gibson pickups) and it sends shivers up my spine. When if first used these settings and played the intro to 'Hey Joe' and felt like crying. The clean channel is this amps strongest feature. The crunch channel (rhythm) is probably the amps weakest channel. It is still pretty damn good; but not quietly. When playing loudly (over 3) the sound is pretty decent, but it is hard to manage when under vol. 3. This is quite impractical in the house, but I just use the lead channel instead. The crunch channel is very raw, gravely and dirty without the 'tone shift' button on. If the tone shift isn't on, these attributes are perfect for classic rock. It provides players with that signature Marshall growl. I usually play with the tone shift on because I like a precise, punchy tone. The crunch channel offers absolutely NO unwanted noise. If I Muse the strings, no hissing, no fuzz, no unwanted feedback. Regardless of what volume and settings I have, this remains the same. It's like a dream come true. It's alsmot as if a noise gate is present, yet it doesn't screw up additional effects like a noise gate normally would. My pickups have a very high output too, so sometimes it's hard to keep control of that unwanted noise, but the crunch channel is silent when I want it to be. Infact, I always think I've got it on standby if I'm talknig or something. Then go to turn the standby off, and realise it already is, and the whoel time my guitar has been on full voulme and my amp on normal settings. The lead channel is blinidng. Especially for shred guitarists. I wouldn't say the lead channel would be perfect if you were to do solos like, sorta, Jannis Joplin. Those dirty, messy rock/blues solos. The reason for this is mainly because the lead channel is so tight. The valves are very prominant in this channel. It's hard to get a solid state kind of tone on the lead channel, but I'm not really complaining, some players may though. I play through a 1960AV cab; so I've got more bottom end than the standard 1960A cab. I think this gives the TSL a more crisp clean tone, and more raw crunch tone; and makes the lead channel sound less tinny. I would strongly recomend the TSL & 1960AV. My band mate has a TSL & 1960A and the AV sounds a lot nicer. When comparing the two, it's clear that the 1960A sounds more tacky and the speakers seem less responsive. // 10
Reliability & Durability: The amp is definately dependable. I intially had a few problems though because the first one I got developed an electrical problem after 2 weeks and wouldn't Switch channels. The place I got it from took it back though and sent me a replacement. After asking around; I'm convinced it was a 'one-off' on Marshall's behalf. The replacement that I got had buggered up tubes which could have happened on during delievery (but I'm pretty sure it was the supplier trying to fob me off an ex demo one). My third TSL is a charm though. The amp comes with a 3 year parts warrenty. This is quite impressive compared tovwhat other manufacturers offer (apart from Crate Who offer a 5 year warranty, I'm not even gonna go into that one). I've heard the Marshall TSL footswitches (PDL-50 I believe) can be a bit faulty for about 4 different sources. // 8
Overall Impression: This amp is pretty incredible. I must admit, I really didn't want a Marshall just because it seems everyone has them, and I didn't think they had much character. However, I just had to buy a TSL. I tried out more or less every amp I could think of. I had my heart set on a Hughes And Kettner triamp but the tone on the TSL blows the H&K away completely. I thought the Triamp was a bit of a pie in the sky dream, but I spent so long trying out amps before buying, I eventually had enough money to buy a Triamp. I just couldn't believe it, I had a Hughes And Kettner Triamp, Trilogy and Duotone next to a TSL. I was being biased towards the H&K becuase I wanted one so much, but the TSL beat them all for osund and features. I was trying to make up excuses to myself and the guy in the shop to defend the H&K, but in the end I realised that if I didn't get the TSL, I would really regret it. The TSL is about 500 cheaper too!. This is down to the fact that Marshall have such a high turn over, they can charge less for products, and the TSL is two years older than the Triamp (the latest of the H&K amps I tried out). A Mesa came the closest to 'beating' the Marshall. The Dual Rectifier was pretty good, but I'm not a fan of that signatre Mesa slude-tone. Also, the clean tone on the Marshall is so much better. I think the Mesa has better features, especially for recording, but nothing to justify about 1, 000 difference. It'd be nice if the Marshall came with a cover (the BC-40 I think it is). I've still not got around to buying one yet - even though they're only about 15.00. However, it must cost Marshall about 1 to make one of these, so they should shove one in. The footswitch is good, but my Crate had a way better footswtich. I hated the Crate I had a while ago, but the footswitch was fantastic! I think amp manufacturers could learn something form the design. Firstly, it had colour coded LEDs for clean, rhythm, lead and effects. I loved the way you could click on a channel, and then when you're done, click the same button and it'd go the the previous channel. However, with the Marshall, you have to click whatever channel you want to get on it. It's easy when you get used to it, but the practicllity compared to the Crate footswitch is noteable. The Marshall footswitch causes more 'tap dancing'. If the Marshall TSL adopted this design in the footswitch, it'd be perfect. Of if you'd like a review on any other amp head, because chances are, I've played it and analysed every little detail when I was looking for my TSL. // 10
JCM2000 TSL100 Head
seemeel, on june 28, 2010 1 of 1 people found this review helpful
Price paid: A$ 1500
Purchased from: Second hand
Features: Note: I bought the TSL100 head and the JCM900 1960A cabinet together.
This amp was made in 2003 in Milton Keynes, England. It is a very versatile amplifier, with three genuine distinct channels: Clean, Crunch and Lead. I is rated to about 120 W. I like to play classic rock mostly, and some modern rock and metal. This amplifier can handle it all, easily. I have been able to achieve a number of tones with a bit of experimentation.
The amplifier comes with a footswitch that is primarily used to Switch between the three channels. Each channel has its own button on the footswitch. The other two buttons are Reverb and FX, which are reasonably self explanatory, but I will describe them later anyway.
This amplifier has 3 speaker outputs: two 4/8 ohm and one 16 ohm output. The 4/8 ohm outputs have a Switch to select which impedance is matched. This allows it to be matched to just about any cabinet you might have lying around.
The amp has a function, called 'Virtual Power Reduction', that modifies the power amp circuit to reduce output power to approximately 25 W. This allows the amplifier to be used in a small rehearsal room and turned up to a reasonable volume (about half) without being unbearably loud. The guitar can be an appropriate volume relative to the drums and bass and still be able to achieve the sonic character that you expect from a Marshall amplifier. This is a very useful feature, as at full power, the amp is too loud to turn up past 2 or 3.
The amp has a mute button. This is surprisingly useful. It disables the power amp stage. I have used this in conjunction with the Emulated Line Out. This allows me to turn up the volume and send the pre-amped signal to a mixing desk for recording. I can listen to the guitar over headphones, with the amp volume high but the desk volume low. This means I can get the full tube breakup sound straight to the desk.
This amplifier has an effects loop, in fact there are two: a Master and Overdrive loop. The Master loop will effect all three channels, while the Overdrive loop effects only the crunch and lead channels. However, when BOTH loops are in use, the Master loop becomes solely available to the Clean channel. Each loop has a level button to select High or Low level signal, depending on the effects source (pedal, multi-effects, rack unit (intermediate or professional), or whatever it might be).
This amplifier does not have a headphone jack. I don't need one.
I use this amplifier for proper band rehearsals and gigs. It has been easily loud enough for any gig I've played so far (rooms of about 1500 people) to be un-mic'd. It is ridiculously powerful when I need it to be.
There are no features that I need this amp to have that it doesn't already have.
The amp comes loaded with 4x 12AX7 pre-amp tubes and 4x EL34 power amp tubes. Accordingly, it has both Master and Standby power switches. // 8
Sound: My two main guitars are a Fender Stratocaster (stock pickups) and an ESP Horizon (stock pickups). I also use a Cort Acoustic guitar. Between the three guitars, I can achieve a wide variety of sounds through this amp. This amp is really, really good for what I like to play. I am very happy with it, and I've always been able to get the sound I want.
This amp has onboard reverb, which only works with the clean channel. It isn't really that good - it's a bit dry and dull. I don't use it though.
The clean channel has miles of head room. Even with the gain right up, the volume needs to be up a bit to achieve natural distortion. I can play clean (acoustic or electric) as loudly as I want without having to worry about unwanted distortion.
The distortion ranges from mild 60s overdrive to modern nu-metal hi-gain. It is extraordinarily versatile. I have been able to get just about any sound that I have tried to emulate, from AC/DC to Pink Floyd to The Beatles to Led Zeppelin to Metallica.
The Lead channel is a bit noisy. There is a bit of hum present, but when playing lead, I can't hear it. It's only when I'm not playing that I can hear it, regardless of guitar or pickup configuration. The Lead channel is the hi-gain channel and I don't mind the hum at all, because I can't hear any sign of it on recordings of the Lead channel. // 8
Reliability & Durability: This amplifier is very solid. The only fragile part of it is the valves, and these are well protected by a steel grill (that is easily removable for changing the valves or just to look cool). The amp itself has a solid wooden housing and is covered in standard black Tolex. The handle is very solid, and shows no signs of breaking.
I don't want to try it, but I would be confident this amp could survive a fall from its cabinet.
This amp has never done anything untoward. I have never had any cause to doubt it would work whenever I want it to. It has never failed. It's always worked exactly as it should. I regularly gig without a backup amplifier, and I do so confident that the amp will not fail.
I imagine that eventually the valves will fail, but I have had the amplifier for about 4 months now and the vales are still going strong. // 8
Overall Impression: This amp suits my styles exactly. Like I said before, I play classic rock, modern rock and metal, and this amplifier is more than capable of doing exactly what I need it to do.
I have about 8 years of playing experience. Like I said before, I have a few different guitars which I use for different styles. My other equipment ranges in quality from beginner to professional, and this amp works well with everything.
I am totally satisfied with this amp. It's everything I expected it to be and more. It has some undesirable features, but I can live with them and, in a way, they add to amp's character.
What's more, I love how imposing this thing looks. With the Marshall 1960A cabinet underneath it, it looks brilliant and intimidating. It's part of my show.
If this amp were stolen or lost, I would probably investigate other Marshall heads that are slightly more higher end - something like a Marshall 1959SLP or JTM45/100 or similar. But, because they would probably be too expensive, I would probably turn back to my trusty TSL100.
There is nothing about this amplifier that I hate. Yes, there are some annoying features but overall it's brilliant. I have used my friend's Mesa/Boogie Triple Rectifier and I honestly prefer the TSL100.
I give this an overall 9/10, and I think it really is that good. If you're considering this amplifier, do yourself a favour and BUY IT. You will thank yourself for doing so. // 9
JCM2000 TSL100 Head
unregistered, on may 15, 2006 0 of 1 people found this review helpful
Features: This JCM2000 Dual Super Lead 100W head was released in 2004. As you all know Marshall is probably the flagship brand for guitar amplifacation, and this amp is the epitomy of versatility for the two channel range. I play a range of styles from death metal/hardcore with my band Nothing remains to improvising jazz/blues riffs and runs at home. I must say this amp is freakin loud. As I said before it is a two channel (4 mode) amp with one footswitch. These can either be just a channel switcher or you can add another with can Switch the reverb on and off aswell. It uses 4xEL34 tubes which is powered by 4xECC83 pre amp tubes. There are 2 modes per channel to play with depending on your style of music. Other features also include effects loop, deep switch (adds bass and ressanance), scoop switch (scoops out the Mids). Only dissapointment was not being able to switch between the modes or have a boost via a footswitch. // 8
Sound: Playing this amp through my Ibanez SZ with Dimazio Drop Sonic pickups was absolutly amazing. The clean channel sounds so crystal clear with any type of EQ setting. This channel is very bright but just roll back the presence and treble knobs a little and it warms up nicely. This amp could be perfect for any style of music providing you don't mind "tweaking" the EQ a little. Go to the second mode of Channel one and it starts to crunch up a bit. it still has that same "clear" tone but with just a little bit of gain. Keep turning the gain knob and it really starts to sing. Perfect for all the old style rock like the Eagles and Bad Company. No saturation at all. Infact this mode with the gain fully cranked is very simalar to an early model JCM800. Now on to channel two (Lead Channel) and instantly there is a growl that can only be described as Brutal but beautiful. It really has that Marshall singing ability that all of the endorsed artists cream their daks about. With the gain about half way you start to get that modern rock style of distortion wich reminds me a lot of Sum 41. Even if ya don't like you have to say that their guitar tone is quite killer and it's all JCM2000. Crank the gain all the way and you have a really tight semi saturated tone which sound remarkably like As I Lay Dying or even Trivium. Going through some shred style runs was damn fun and this amp is very responsive, note articulation from chords to single notes is awsome. Pushing in the deep Switch gave the sound a huge kick in the ass but with this amp cranked to 9 or 10 it would be a little over kill unless you don't have a bass player. the scoop Switch didn't really interest me that much as I love my mids and Marshall is know for it's beautiful midrange tone. It's very Pantera/Fear Factory sounding with the sccop button in. But I started to sound like Wayne Static after 10 mins which started to put me off. Going on to the next mode 'Ultra Gain' and this beast really started to show it's brutality. You would never have any need to have this suckers gain on 10 as it is way too much gain. For my band I use this mode but only with the gain on about 6.5 to 7. The sustain that this amp can produce is noting short of breath taking. Pinch Harmonics screamed for days and the Natural Harmonics were so clear. // 10
Reliability & Durability: I have gigged and practiced with this amp fully cranked at about 6-9 and It has never failed me. The only thing I have had to do since I've perchased it was put a new set of pre-amp tubes in as the last person who owned it fried them. After that it has just been terific. I couldn't ask for more. // 9
Overall Impression: This amp is fantastic for all styles of music. For all the purists, you wouldn't even need to use the Lead channel as the two modes on channel one have enough gain and clearness to satisfy. For shredders this amp would be perfect as it has gobs of gain without sounding shrill or over saturated. For all you metal guys. Don't get a Mesa, Unless you are a millionare and like a real thuddy low end. This amp pisses all over them at a fraction of the price. I played through a mesa not long ago and didn't really enjoy it at all. This amp can match any of the high cost botique amps with out burning a hole in your pocket. The only thisg I would trade in for this DSL would be a TSL. Only to have that exra footswitchable channel. // 9
JCM2000 TSL100 Head
unregistered, on february 06, 2007 0 of 0 people found this review helpful
Features: First off, the 100watt model kicks the crap out of the 60watt head. the extra EQ section is a big help in setting rythm and lead channels that are diferrently voiced. Many other amps I've played are voiced that same on both channels, which is quite unfortunate. Good versatility at any rate. The footswitch if really handy. But yeah, not much to say other than the way the channels are set up allows for a wide range of tones. // 10
Sound: I've played this with my old, strat-style Ibanez with a HB in the bridge, and a Les Paul custom; all I can say is this amp rocks. Great break-up tones, from gritty clean to sort of a wicked blues setting that even sounds great for Black Sabbath tunes. That's just the OD-1 channel. OD-2 is pretty much the classic Marshall gain voicing on steroids. Plenty of gain for me, sounds great for the really heavy Sabbath tunes, and with a few slight EQ adjustments it will get a nice Kill 'em All 'Tallica tone. Overall, the tone is quite bright. Distortion has a nice bright growl, and the clean sounds very articulate. However, the clean does lack a bit compared to something like a Fender Twin Reverb, but cranking the channel volume and keeping the master reasonable gives a nice clean/breakup sound depending on how hot your pickups are, works for blues, country, basicly clean with grit, all the while remaining thick, kinda like toothpaste! If it doesn't give you quite enough gain though, just throw a tubescreamer out front, set gain to 1 or 2, tone however you like it and volume at full. this will boost your output and give you plenty of gain. // 9
Reliability & Durability: This is where this amp kind of lacks. Trying it out in the store I noticed that the pots were already 'fuzzy' and feeling loose. I don't even think that the amp had been in the store all that long. That and the footswitch doesn't seem as durable as Randall ones, the Switch seemed kinda weak. Other than that though, the housing seems solid and the cabs are built like tanks. I don't know how long the tubes will last, I've heard that high-gain tube amps burn out quicker. I'll repost when the tubes need changing. But yeah, any problems I've had are superficial, the fundamentals of the amp are very solid. // 7
Overall Impression: I personally love this amp. Great for the heavy blues-based stuff that I do, and it can get enough gain for when I step out and do heavier Metallica stuff or Zakk Wylde escapades. I just wish Marshall paid more attention to the finishing touches. The design is amazing though, hat's off for that! // 10
JCM2000 TSL100 Head
unregistered, on june 19, 2007 0 of 0 people found this review helpful
Features: Same features mentioned in the other reviews. Three channels clean, crunch and lead. Very versatile amp. I play in a heavy metal band and also a classic rock/soft rock/alternative band, so I need an amp that can cover a wide range of tones. This is without a doubt the best amp for any style. // 10
Sound: I use a Les Paul with EMG81 and EMG85 setup. Clean is damn good (even better with a Boss chorus on it through the effects loop). Crunch can range anywhere from AC/DC to Guns n Roses. It has some great distortion that can be as subtle or heavy as you desire. Lead can sound very heavy. This channel is my favorite. It is easy to find a great tone. Much like the tone of Zakk Wylde, and basically any other heavy metal guitarist that has an incredible tone. The reverb is probably the only "bad" part of this amp. It sounds ok, but it's nothing incredible. I use the Marshall 1960a Cab and it sounds good through this cab, although I'd like to try it through a cab with either Vintage '30s or greenbacks. // 10
Reliability & Durability: So far everything has been great. I haven't gigged much with it yet so I can't really say how durable it is yet, but I am sure it will be good for years to come. I would gig without a backup because I cannot afford two of these amps, so hopefully nothing will happen. // 10
Overall Impression: I tried out a bunch of different amps when I bought this wonderful head. Comparing it to other amps such as a Mesa Boogie Dual Rectifier, Peavey Triple XXX, and a Peavey 5150, I found the Marshall to be the best sounding and most versatile. It was a no brainer. I mean come on a Les Paul into a Marshall that's heaven! // 10
JCM2000 TSL100 Head
unregistered, on july 25, 2007 0 of 0 people found this review helpful
Features: My amp is a 2006 Marshall JCM2000 TSL100. It has 3 channels clean, crunch, and lead. This thing rocks for anything from blues to country to punkrock. It has 2 effects loop, one for clean and one for OD channels, however when only one loop is being used, it works for all the channels. The 100w is more than enough power, I've never had it above 5 or so at a gig, and I play some moderately large gigs (300+). At home I turn on the V.P.R. switch which cuts the power in half basically, and it makes the amp operate at practical envirements for home practice. The 3 channels offer more than enough gain. It pack a tight focused gain on the lead channel, compared to Mesa/Boogie's looser gain which is all over the spectrum of frequencies. // 8
Sound: I use many guitars with this amp. I use Strats, Teles, Les Pauls, And A ES-333. I play in a post-punk/alternative band and this definately fits my styles, however, in my spare time I play blues and this amp works great for that tone. When you have the gain on the crunch channel around 2-3, you get a great blues-y overdrive tone, where it's just breaking up abit into distortion. When I play "Muse" cover, I can get the tones of Muse almost exactly. When you turn the clean up past 8 or so, it start to break up slightly, but then again, it's loud enough you don't need to push the amp that hard. // 10
Reliability & Durability: This amp is great, I've never had any problems with it that werent my fault. A while ago, I didn't match the impedance correctly, and I blew a fuse, and ran to an electronics store, and bought a new fuse. Now, I always keep a backup fuse taped to the inside or the amp head. I gig without a backup, however, usually I gig with a road crew, who could run back to my place(I tend not to gig to far away from home) and get me another amp if I need to. // 9
Overall Impression: This amp is great, I don't regret buying it. I own a slew of other amps, but this ones the best. I love the tight focused gain of the lead channel and the ease of use. As of yet, I've had no problems with this amp. It's great, I only wish this thing were made in a rack size, so I'd be easier to gig with. When I have people in my studio, they all want to use this amp. The other guitarist in my band loved this amp soo much, he went out and bought a cheaper version (DSL50 Head, I think). // 9
JCM2000 TSL100 Head
JLT73, on march 12, 2008 0 of 0 people found this review helpful
Price paid: $ 1200
Purchased from: Guitar Center
Features: I purchased it early 2007 and have been loving it ever since. It is a very versatile amp with three channels clean, crunch, and lead. Each of these channels feature their own EQ, volume and gain. In addition the crunch and lead channels have mid-scoops and the clean channel features a mid boost. There are any other features including reverb and an FX loops for both clean and distorted channels. There is an XLR output for recording as well as an output mute for silent recording. There is a VPR (virtual power reduction) Switch that lowers it from a 100 watt amp to a 20 watt, allowing for quieter practising. // 9
Sound: I am using a Lawsuit Ibanez Les Paul with DiMarzio pickups. Clean is damn good (even better with a Boss chorus on it through the effects loop). With the Clean channel, if you crank the gain and have the volume at around 5 or 6 it has a real awesome blue tone. Crunch can range anywhere from AC/DC to Guns n Roses. It has some great distortion that can be as subtle or heavy as you desire. The Lead channel can sound very heavy. This channel is my favorite. It is easy to find a great tone. Much like the tone of Zakk Wylde, and basically any other heavy metal guitarist that has an incredible tone. The reverb is probably the only "bad" part of this amp. It sounds ok, but it's nothing incredible. // 10
Reliability & Durability: I gig a few times a week and practice basically the rest of the week. So this amp is cranked just about 6 days of the week. The amp hasn't broken down and I doubt it will. It's built like a sherman tank. I do not use a back up. I will probably need a tube change after a year of playing it 20-40 hours a week cranked. But that just comes with the territory. // 10
Overall Impression: I'd buy this amp again in a heartbeat. The only thing I would change are better reverb and a better effects loop. When I bought the TSL100 I was looking at other amps such as the Mesa Boogie Dual Rectifier, Peavey 5150 II, and the Peavey XXX, I went with the Marshall because it was the most versatile and plus I've grown up idolizing the tone of players using Marshalls, so it really felt like home to me. // 9
JCM2000 TSL100 Head
unregistered, on november 04, 2010 0 of 0 people found this review helpful
Price paid: € 600
Purchased from: some dude
Features: I don't know when this amp was made, it features 3 channels, eq for each channel, a presence and reverb section. It also has kobs for mid boost on clean and tone shift on the distortion channels it also features a effects loop. It came with a 5-knob footswitch, channels, reverb fx. This amp sure is loud enough, first time I cranked it in my bedroom stuff started falling off the wall. f--k yeah! I use this amp for gigging, jamming and practicing, at home, or anywhere else. // 9
Sound: I use this amp with a JCM900 lead cabinet, a Ibanez RG321 & a korean Squier from 1994 wich has a humbucker. I play a lot of punk, metal, some bluesy shit and some other shit. It suits my style perfectly, this amp has more than enough gain on the od channels and the clean channel is sparkling clean. I always use the mid boost on the clean, it gives some extra character to your tone. On the od chanells I use tone shift wich turns off your eq. That pure, raw, over the top, harmoniic filled tone is awesome. The lead channel will give you everything you need for soloing, it has enough sustain, gain en power. The crunch channel is also perfect, more than enough gain, but you can also get those, "slightly overdroven" tones. You can basicly get any tone out of it. The clean stays pretty clean on high volume. The only way this amp gets noisy is when you crank the gain at higher volume. How brutal is the distortion? Imagine someone throws a brick in your face, so brutal is this amp. It's a beast. // 10
Reliability & Durability: I haven't had this amp for a long time but I'm quite sure it wil last. It never broke down on me and I hope it never will :) I never use a backup, only spare valves. I do not expect it will break. // 5
Overall Impression: I fell in love with this amp. I have been playing for 5 years now and I tried a lot of amps and this one sure is one of the best. I have nothing to complaint about. If it was stolen I would search the thiefs and kill them with a axe. I actualy wanted to buy a Dual Rectifier but I didn't have enough money. This amp will blow your mind! // 9
JCM2000 TSL100 Head
unregistered, on january 17, 2012 0 of 0 people found this review helpful
Price paid: £ 900
Purchased from: Music Ground
Features: My first TSL 100 was purchased new in 2001 and I got a replacement under warranty in 2002. I was attracted to it because it does everything. It has a staggering amount of valve power. It has three channels allowing for a bluesy and crunchy middle channel which was really useful on stage with the 5 switch footswitch (3 channels, reverb and FX loop). The "deep" switch saturates the sound with warmth and bass but I can't describe it as a feature because I never turned it off... Basically it has everything that you could want from a modern amp. // 9
Sound: As good as anything I have heard in terms of valve distortion ranging from twinkling sharpness to saturated singing distorting madness. The clean channel has a gain boost which is useful. On the neck pickup you can get some great jazz tones but I found it lacking for bridge tones. Sharp but not expressive.
Another slight criticism is the emulated output. Its pretty dire, no matter what anyone tells you. I have tried to use it in a studio setting and have been literally laughed at by technicians. // 9
Reliability & Durability: Firstly, I should say that Marshall may have fixed some of these issues. I had many problems with reliability. The first one I had set itself on fire on stage, literally. Funny in retrospect but not at the time. Thankfully it was under warranty so I got a replacement. The useful thing about this is that I have owned 2 from new so can give a better idea of what is a design flaw as apposed to a one off.
For instance, the footswitch socket on the ampo is prone to falling in requiring some really tricky soldering. If not checked this leads to bad connections and spontaneous channel changing... Not good on stage. I am told that this is a common issue. Also, both amps got through valves pretty quickly.
My second TSL 100 managed to burn out its circuit board requiring an expensive replacement. It was partly due to reliability issues that I eventually sold my (beloved) SL 100. Basically I learned not to trust it and as a result you need a plan B when playing live. But given how amazing it sounds, you may think that, that is a price that you are willing to pay. // 3
Overall Impression: Well, I recently got rid because I got sick of having it repaired so I can't be too positive. It did sound fantastic though. Basically, I love the sound and features but its really temperamental. When you have time to just stand in front of it and play its joyous... if it works. Transporting the thing is interesting as its a heavy beast and the reverb coil sound like its going to break at any minute.
SO in short it is like an Italian sports car. It makes a fantastic noise and everyone will be jealous but it won't work half the time and will cost you a fortune in repairs. // 7