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Marshall AS50D Manual

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From the Chairman
I would like to thank you personally for selecting the AS50D, Acoustic
Soloist combo.
The Marshall name has been associated with many fine products over
the years and our commitment to quality remains as constant today as it
did right back at the birth of Marshall Amplification back in 1962.
In the case of the Acoustic Soloist, much time and research has gone
into making the sound as natural as possible. As all of my designers are
also guitarists, they fully understand the needs of the player and bring
their expertise to bear on all our products. You can also rest assured that
every Marshall amplifier has been designed and engineered to the
highest possible standards, so as a result will stand the test of time and
constant use.
I strongly suggest that you read this handbook carefully before using
your AS50D and then keep it on hand for future reference.
I am certain that you will get great enjoyment from your Marshall
Acoustic Soloist combo and wish you every success with it.
Yours Sincerely,
English
English
Introduction
The AS50D is a compact and portable 50 Watt combo amplifier specially designed for use with acoustic
instruments. Between its two channels, this combo has the flexibility to handle instruments with transducers, such
as piezo or magnetic pick-ups (channel 1), or microphone for either vocal or instrument reproduction (channel 2).
The built-in Chorus effect is assignable to either or both channels and the Reverb can be controlled and balanced
between the channels to create just the right ambience. If you want to add further effects, then there is an on-board
parallel effects loop which can be balanced between the channels in the same way as the Reverb.
One of the most difficult aspects of amplifying some acoustic instruments is feedback. To help you eliminate this,
the AS50D features several ‘anti-feedback’ controls, including a Phase switch and a frequency controllable Notch
Filter. The combination of these two elements will give you precise control of the frequencies where feedback is
likely to occur and help you to eliminate them.
For clear and detailed performance, the AS50D is loaded with two 8" speakers and a high fidelity polymer dome
tweeter. There is also an internal limiter which allows you to push the maximum level from the 50 Watt output,
whilst remaining distortion free.
Neat and compact, flexible and portable, the AS50D is the ideal amplifier for the acoustic player who wants a
system as suitable for small gigs as it is at home.
Front Panel Features
Channel 1 - Acoustic Instrument Channel
1. Input Jack
Plug the lead from your guitar in here. The high
impedance of this input will help you to get the
best from the passive or active piezo or magnetic
pick-ups.
2. Volume Control
Controls the volume level of the Acoustic Channel 1.
A good place to start with this control is the half
way, or 12 o’clock position, then adjust according
to the sensitivity of your pick-up.
3. Bass Control
Adjusts the amount of bass, or bottom end of the
instrument’s tone. Care should be taken when
setting this control as adding excessive bass can
cause unnatural howling. Again, the half way
position is the best place to start.
4. Treble Control
Adjusts the treble, or top end of your sound.
Careful adjustment will make your high notes lively
but not too harsh. It is worth noting that set in
higher positions, this control will induce a certain
amount of noise.
Channel 2 - Microphone / Aux Channel
5. Phono Inputs
Inputs to take connection fr
om a tape or CD player
.
6. Microphone Input
Balanced XLR type input for connection of a
microphone and suitable for vocal or instrument
applications. This input supplies phantom power.
7. Jack Input
Input to take any source, such as a drum machine,
keyboard, etc.
8. Volume Control
Controls the volume level of the Microphone / Aux
Channel 2. A good place to start with this control is
the half way, or 12 o’clock position, then adjust
according to the sensitivity of your pick-up
9. Bass Control
Adjusts the amount of bass, or bottom end of your
sound. Care should be taken when setting this
control as adding excessive bass can cause
unnatural howling. Again, the half way position is
probably the best place to start.
10.
Treble Control
Adjusts the treble, or top end of your sound.
Careful adjustment will make your high notes lively
but not too harsh. It is worth noting that set in
higher positions, this control will induce a certain
amount of noise.
Master Section
11. C
horus Assign Switches
Allows the built in Chorus effect to be selected on
either channel individually, or both channels
together
.
12.
Chorus Speed Control
Controls the speed of change of frequency for the
built-in Chorus effect.
13.
Chorus Depth Control
Controls the amount of change of the frequency
shift for the built-in Chor
us ef
fect.
Dr Jim Marshall OBE and daughter V
ictoria (Managing Director)
2


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