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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
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!
6


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