TEST: Marshall DSL100H

 Let's do a little test, which is the most famous brand name in the music business? No, I don't mean specialist luminaries like Fender, Ludwig or Steinway. I mean a name that is so well known that even your mother has seen the name on TV during some family show and even a drummer can remember the trademark.

The answer is more than easy, absolutely nothing in the whole music industry is so much connected with music, respectively rock like Great Britain's figurehead for the "British sound", Marshall. No one can get past this. Of the nearly 2,000 shows I've played in my career so far, I've played at least 70% of them with these heads and cabinets, and even today, because of their worldwide availability, I still have these tops in my technical rider as an alternative setup for shows abroad to which I have to travel by plane.

Despite this omnipresence, Marshall fortunately does not make the mistake of resting on its laurels, but updates its product range at regular intervals and subjects the same from time to time an update. This recently happened with a standard top, the DSL100H, which at first glance looks familiar, but nevertheless different.


Construction

Already during the unpacking and the parallel digressive look at the price, three different points jump into my field of vision. First, the Head has increased in size. Were Marshall Heads so far always the "Twiggy" among the tops, in particular the depth dimension have taken on more modern features, which the numbers (W x H x D): 74.5 x 27.5 x 24.5 cm underline. Not too bad, only if you like me still have some single Marshall top flight cases, selbige have unfortunately wasted their protective effect here. The weight of just under 24 kilograms, however, has remained almost the same and rests on four massive rubber feet.

The look has changed slightly, the lettering has been slightly reduced, a different plastic has been used for the carrying handle and the imitation leather used almost has a slight textured paint finish. But otherwise, everything is classic and proven, from the shape to the color scheme, just Marshall. But wait, there was something else. Correct, the price has dropped compared to the previous model. This can only have one reason and the nameplate confirms it. Good Bye United Kingdom, also at Marshall from now on "Made In Vietnam".

The basic concept has not changed in direct comparison to the previous model. Also with the new DSL100H the amplifier gets its power from four ECC83 (12AX7) in the preamp and four EL34 tubes in the power amp. At the rear are connection options for the speaker combinations 1x 8 Ohm, 1x 16 Ohm, 2x 16 Ohm available, 2x 8 Ohm boxes or anything from the 4 Ohm range is no longer supported.

As before, a two-channel marching direction is the default, whereby both channels can each be designed in their basic orientation between Clean / Crunch (channel 1) and Lead 1 / Lead 2 (channel 2). Both channels share a five-band tone control with switchable center band, whereby the presence and the newly added resonance control (bass boost) only affect the power amp section. Via two separate reverb controls, a digitally generated reverb can be added continuously to both channels.

On the rear side the possibility of the power tube circuit by means of a switch between triode (50 watts output power) and pentode operation (100 watts output power) to be able to select, was inserted. Attention, the again and again gladly falsely invoked effect of the volume reduction with triode circuit by half is wrong! Only a 10 watt amplifier has half the output power of a 100 watt amplifier, but a 50 watt circuit has a different sound behavior in terms of response, resonance and compression behavior, which is the real attraction of this circuit. Furthermore, there is a switchable serial FX loop on the rear panel, which further increases the flexibility of looped-in pedals. Depending on the cable length and the used effect groups, keyword true bypass, you should still consider the use of a buffer amp when the effect path is switched.


Practice

The beauty of Marshall Heads has always been the self-explanatory user interface. There is nothing about the products that is not understood at the first inspection, or is revealed by a quick turn of the same knob. Even at a hectic festival gig, where you sometimes only get to see the respective amp 1 hour before showtime, everything can be recognized and handled in no time.

Let's start as usual with the clean sound of the amp. Probably everyone knows that Marshall was not the first choice for ultraclean sounds in the past. But if you approach the matter with an open mind, you will be proven wrong. Although you are still looking for the radiant 6L6 twang in vain, but a practical, undistorted sound is always guaranteed. But seriously, clean sounds at Marshall serve mostly only the circumstance to bring within a song or a show the clean passages of the recordings on the stage boards. This challenge passes the DSL 100 without reproach.

With increasing capping of the half-waves, the mood slowly gets going, or rather we enter the terrain that has helped the manufacturer to world fame. If we switch to the crunch range in the green channel, the first beautiful sonic edges come into play. However, the DSL100 is more discreet than its great forefathers in the Plexi or JTM style, which had a cutting power in the highs of a Flex equal to single coil guitar. Sure, you perceived the sound even in the highest Woodstock noise, but it bit mighty in the calf.

In the lead range, finally, you notice that the signs of the times do not pass Marshall. In the past, the crunch sounds of Marshall were always the highlight of the palette and a sometimes slightly muddy high-gain range always only a concession to the lead guitarists, so modern Marshalls can also in the heavy distortion range to the once firmly in American hand held sound palette. Both Lead 1 and the only moderately different sounding Lead 2 section manage to provide a high level of transparency even with heavy distortion, all nicely paired with the classic EL34 crunch. By operating the Tone Shift switch, Marshall even dives into areas of scoop metal sound. A nice addition, practically rehashed, but not necessarily the great strength of the head. It's just a pity that you have to break down the all in all 6 different sounds into only 2 channels via footswitch. It would be nice if at least the sound characteristics Clean / Crunch and Lead1 / Lead2 could be called up by another footswitch.


Conclusion

Make: Marshall, Tone: Rock/Metal! So easy a drawer can be opened / closed and Marshall does well to neither enlarge this drawer nor change it in any other way. With the DSL100H, the company offers a very good workhorse, which covers the entire distortion range from subtle crunch up to high-gain in superior quality and as an encore offers a good clean, respectively Scoop sound.

Optics, haptics and sound behavior are timeless and will also be seen in the next decades on all large and small stages of this world. Like hardly any other manufacturer, Marshall can look back on one of the greatest success stories in the music business, and thanks to products like the DSL100, a break in the line of success is not to be feared.


Additional Informations:

Marshall Amplifiers is an iconic British company that has revolutionized the music industry with its high-quality guitar amplifiers. Founded in 1962 by Jim Marshall, the company quickly gained a reputation for producing some of the most powerful and sought-after amplifiers in the world. With their distinctive sound and distinctive design, Marshall amplifiers have become synonymous with rock music, playing a crucial role in shaping the genre's sonic landscape. This comprehensive report delves into the history, innovations, impact, and global presence of Marshall Amplifiers.

History:
Marshall Amplifiers has its roots in the early 1960s, when Jim Marshall, a drum shop owner in London, began to experiment with building amplifiers for guitarists. Responding to the demand for more powerful and versatile amplification, Marshall designed his first amplifier, the JTM45, which was heavily influenced by the popular Fender Bassman. This marked the beginning of Marshall Amplifiers as a brand dedicated to meeting the needs of guitarists seeking a heavier, grittier sound.

Innovations:
Over the years, Marshall Amplifiers has been at the forefront of technological advancements in amplifier design. Some of their notable innovations include:
    a) The "Marshall stack": In the late 1960s, Jim Marshall introduced the concept of the "Marshall stack," which consisted of a powerful amplifier head paired with multiple speaker cabinets. This setup significantly increased the volume and presence of the guitar, becoming a staple of rock concerts and influencing the live performance experience.
    b) Distortion and overdrive: Marshall amplifiers are renowned for their ability to produce rich and harmonically complex distortion and overdrive tones. This characteristic "Marshall crunch" has become an essential ingredient in rock, metal, and blues music.
    c) Master Volume control: Marshall introduced the Master Volume control in the mid-1970s, allowing guitarists to achieve power tube saturation at lower volume levels. This innovation enabled musicians to obtain desirable tones without excessive volume, making Marshall amplifiers more practical for studio recording.

Product Range:
Marshall Amplifiers offers a diverse range of amplifiers to cater to various needs and preferences. Their product lineup includes:
    a) Valve Amplifiers: Marshall is best known for its valve amplifiers, which use vacuum tubes to deliver warm, responsive tones. These amplifiers, such as the iconic Marshall JCM800 and JCM900 series, continue to be widely used by professional guitarists worldwide.
    b) Solid-State Amplifiers: In addition to valve amps, Marshall manufactures solid-state amplifiers that offer reliability and affordability. These models, like the MG and CODE series, provide a wide range of tones and built-in digital effects, making them popular among beginners and gigging musicians.
    c) Signature Series: Marshall collaborates with renowned guitarists to create signature amplifiers that capture their unique tone and style. Artists such as Slash, Jimi Hendrix, and Joe Satriani have all had signature models with Marshall, solidifying the brand's association with legendary musicians.

Influence and Legacy:
Marshall Amplifiers' impact on the music industry cannot be overstated. Their amplifiers have played an integral role in shaping the sound of rock music, from the classic rock era to modern genres like metal and punk. Countless iconic guitarists, including Jimi Hendrix, Eric Clapton, Angus Young, and Eddie Van Halen, have relied on Marshall amplifiers to achieve their signature tones. The distinct growl, power, and sustain of a Marshall amplifier have become instantly recognizable and highly desirable among musicians and fans alike.

Global Presence:
Marshall Amplifiers has a significant global presence and enjoys widespread popularity. Their amplifiers are sold in numerous countries worldwide and are a staple in music stores, studios, and live venues. The company's commitment to quality and innovation has earned it a loyal customer base and endorsements from leading musicians across the globe. Marshall also manufactures a range of accessories, including cabinets, pedals, and headphones, further expanding their product offerings.

Conclusion:
Marshall Amplifiers stands as a pioneering force in the music industry, synonymous with the sound of rock. With a rich history, groundbreaking innovations, and an unrivaled influence, Marshall amplifiers have become an essential component of the guitarist's toolkit. Continuously evolving and adapting to meet the needs of musicians, Marshall Amplifiers remains at the forefront of amplifier technology, ensuring their legacy continues to shape the future of rock music for generations to come.