Marshall JCM-2000 DSL 401

clean + overdrive + boost + reverb

this is the perfect amp for the overdriven clean sound, alla hendrix little wing and chilli peppers stuff. not quite got the spakle of a fender but for that break up sound it is top dog.

1st 1 made fart noises when turned up, second 1 i got home didnt have a fuse in it ?????

if ur in england i reccomend this amp coz its cheaper and better than the fender hot rods. This amp is big enough for any gig as u will be micd up. Sometimes i have to really crank it at practice, but thats how it sounds best. If u buy a fender hotrod, u will never turn the volume past 3, hence its very hard to get a good clean break up sound.

40w all valve amp with 3 channels - Clean, OD1 and OD2
Channel switching is footswitchable and the footswitch is supplied. Reverb is also footswitchable but unfortunately you have to buy that seperately. It would have been far better and easier if Marshall had supplied one footswitch that did the channel switching and reverb all in one. There is an effects loop which is of the parrellel variety and a control on the front panel determines the level of effects that is incorporated into the final sound. As a 40w valve amp there is plenty volume available for smallish gigs.

This particular amp has had the speaker changed to a Celestion G12T-75 and the valves changed for a full set of JJ Tesla's.

I use this amp with an Ibanez RGT42 fitted with Bare Knuckle 'Cold Sweat' pups and use it for everything from 60s and Blues music up to Metal. There is a surprising amount of headroom on the clean channel for a Marshall amp and the sound is initially crystal clear, eventually moving into a pleasant light crunch. With the stock speaker the sound ir fairly bright but has a touch more bottom end with the new speaker fitted. The sound is clear and warm but isn't really what a Marshall is all about.

OD1 introduces you to some of those classic Marshall tones that we all know and love. Think in terms of AC/DC and you have the basic idea. The OD2 channel increases gain levels and also adds a 20db boost for solos. In terms of gain, think of bands like Iron Maiden. Overdrive on both of these channels is harmonically rich, creating a warm tone. The stock amp can be a little fizzy and 2-dimensional but the changes made to this amp give more depth to the sound and greater articulation. It's a good amp at this price point as it comes but improving speaker and valves certainly helps to make a good amp great.

This amp cannot get to the heavily saturated gain levels of modern Metal so don't expect it to. Realistically, at this price point, very few amps do in any kind of successful way and is easily solved by using a decent pedal. Try a Seymour Duncan Twin Tube Mayhem and then the amp will do absolutely everything.

Cranked up the amp really sings but is surprisingly versatile. At very low volumes in the home, the whole thing seems flat and lifeless but the volume doesn't have to be that high for it to be very useable. I use this amp in the home and will work fine unless you're trying to play at a time that neighbours would object to.

My rating is based on the modifications done to this amp but it would be a point or two less if it was a stock item.

I believe early examples needed additional valve cooling to avoid problems and I may also do that but so far it's been fine.

Not really needed it so it would be unfair to comment.

I looked at loads of amp options before buying this and there was a case to be made for each. Laney VC/LC-30 is a cheaper option but not quite as versatile or reliable as the Marshall. The Spider Valve is very versatile but doesn't have the same quality of tone and ultimately is more expensive. This Marshall is just a really good amp for the money it costs and, as I discovered, there are some decent used examples around in stunningly good condition for relatively little money. I would certainly buy it again if I had to in a heartbeat.

Judging from the cosmetic condition of the tolex, I assume that this model was manufactured within the last two or three years (I am far too lazy to perform serial number searches). The DSL-401 is a fairly basic, two-channel, all-tube combo. It sports 4xECC83 in the preamp and 4xEL84 for power, which push 40 watts through the stock Celestion 1x12. Each channel has a volume, low, mid, and treble, and the lead channel includes a gain control and two foot-switchable gain stages. In addition, there is a master volume, a master reverb, and an FX mix which is used to color the parallel FX loop. Included is a two-button footswitch that switches from the clean to the lead channel, as well as switches between the two gain stages. Also, there is an additional ext. speaker output jack, a speaker emulated D.I. output jack, and an input jack for the reverb footswitch (not included). The drawbacks (feature-wise) include: the lack of a presence control; having a master reverb (as opposed to independent reverb for clean and lead); and finally, I dislike the need for a second footswitch for reverb (just give me a three-button footswitch). I cannot comment on the FX loop: conceptually, I understand the difference between a parallel and a series FX loop, but since I have never needed to use either, I cannot comment on which would be considered a more beneficial feature. Overall, when one considers the features as a whole, the drawbacks are not earth shattering.

Like many guitarists my age (early twenties), I started as a metal-tween, but quit that gig before I learned how to sweep well, after which I played rock band (the real thing, not the video game), then I forayed into college-guy jazz, then blues, post-rock, and then folk. Now I am having an existential crisis and just want to play guitar again (working my way to guitar hero). Luckily this amp understands me and can indulge my multi-faceted identity. I am in between genres and guitars right now, so I just plug in my MIM Fender Toronado (sp?) and see what happens. The Toronado's humbuckers do not have the hottest output, but they can push the clean channel to break up nicely, and they provide enough sustain on the lead channel to have some fun (it has a nice 70's moustache tone). The tonal spectrum of this amp seems quite promising although I hate to indulge the cliche and say that it will play anything from Jazz to Metal because it will not; that being said, it is also not a one trick pony. The amp is responsive to the player's dynamics, and it behaves like most other tube amps. I believe that it is most comfortable when you accentuate the throaty midrange and keep the crunch under control. That being said, it is pretty safe to say that most classic rock, alt-rock, stone-rock, and crack-rock are at your fingers. Further, the DSL 401 is rather unique for a Marshall in that the clean channel has some quality to it and can go anywhere from Nashville to Jangle (again, it is neither a blackface nor a Ac-30). The first overdrive is a nice controlled crunch, while the second overdrive saturates to levels beyond my need. One can get a "metal" sound out of it, just not the type of gain/tonal character of a Mesa Dual Rectifier (it's more Rudolph Schenker than Max Cavalera). Hey, it's a Marshall. This amp has plenty of volume on both channels for small clubs, but it performs reasonably at lower volumes as well. I'm sure one could throw a mic in front of it if needed, but I remain skeptical about the D.I. output. In conclusion: if you are looking for boutique tone, look elsewhere and blow the kids' college funds. If you are looking for scooped, ultra-high gain, then this is probably not for you. I am sure that with more experimenting, and some higher quality pieces of electrified wood, I will be able to wring some versatility out of this amp.

Apparently the JCM 2000 DSL-401s manufactured prior to 2003 have issues with overheating and cheap circuit soldering. This amp was no exception. While I was testing it at the local Guitar-wall Mart the amp just lost power (the main power switch and the ECC83s remained lit). Needless to say, the salesman I was working with became rather flustered and asserted that he would sell me the amp at a "stupid discount," assuring me that the only issue was the power tubes. His "stupid discount" was a markdown from $799 to $249 (that is roughly a %69 discount) if I took the amp as-is. Luckily I had read about the reliability issues, and I was prepared to sacrifice some more $$ to get it up and running. I took it to my local shop, had the bridge rectifier replaced, the soldering redone, and the pots/jacks cleaned for $125. This brought the total to $393, when one considers the taxes. I plan on throwing in heat sinks and a fan when I retube it (and maybe a Vintage 30). If problems like these are inherent to this amplifier, then I would be hesitant to gig with this w/o getting the mods done, or having a very reliable back-up (I would hate for the power to go during your shred-slam-twang-post-punk version of Freebird).

I didn't seek out Marshall for troubleshooting. That being said, there are many fantastic online communities that readily discuss all types of gear issues.

I love this section - the biography - here it goes: I've been playing off and on for about a century. I've owned hundreds of amps and thousands of guitars. I once played with Robert Johnson and Buckethead at the SAME TIME...in reality I'm a hobbyist who can appreciate value and quality when I see it. When all is said and done, this has both going for it, although it does not exemplify, so to speak, either aspects. When I bought this amp, I was initially searching for a modelling amp of similar wattage and comportment. However, after about 2 hours of testing and consideration, I felt deeply troubled by the fact that these modeling amps were metonymic for the post-modern individual: trying to accomplish too many things at once. I would rather have 4 pieces of equipment, each of which did one thing well, rather than one piece of equipment that screams, "mediocre at best." I understand that modelling amps have come a long way since their inception, and that their price and versatility tempt use to bite the apple, but I don't think they really are for me. I'm happy with my purchase and will enjoy this amp until the necessity or fate deprives me of it.

Yet another update to my previous review !!!
Ok i have now totally sorted this amp... I have replaced my gain changed ECC83 tubes and put back the standard marshall Pre amp ECC83 valves back in. The secret with this baby is to max out the master volume when playing , then use the channel volume and guitar volume to trim the sound. Using this method i can get a range of great tones from clean to grind. This is not buzzy at all and makes this baby sing. The guy playing a MG100HDFX through his 4x12 was nearly in tears
opposite me, The DSL401 tone was so good with my USA Tele...

Addition to my previous review..
After further reading and reserch on line i can now add i have further changed the gain structure of this amp.
1) Adding a JJ 12DW7 (in the V2 position) like the guy who wrote this....
"This is where the 12DW7 tube comes in. It is half a 12AX7 (high gain) and half a 12AU7 (low gain). I looked into this but found that in the V1 position,the way the tube was setup the 12AU7 section was the half working on the clean channel. After learning more about what was hapening in the mpa I looked at the schematic and found that in the V2 postion the 12DW7 would do just what I wanted it to - lower the gain of the OD Channel, while leaving the CLEAN channel unaffected. I popped it in and WOW!!! I could actually get clean sound out of the OD channel. The Buzzyness was gone, too!! On the RED channel I could actually hear that at a certain point the buzziness would come back. It still has PLENTY of GAIN, and it sounds SO much better. As a side effect the difference between OD1 and OD2 is much more pronounced now".
2)JJ Ecc83S (in the V4 position)
"A good balanced ECC83S in V4 for the phase inverter really helps these amps...."
Adding the above pre amp valves has significantly improved the gain structure, i have also added NOS Mullard's in V1 and V3 positions...nice !!!
Top stuff with these mods...

I have a very early 1998 model amp. 3 channel used for rock and blues / indi etc... Strange use of parallell effects loop instead of series but mine works fine !!! i have modified my amp to play as i like it. it is now awsome.

Ok the amp needed re valving and a speaker upgrade to get it to sing properly. I have read other reviews and taken advice and can say this amp is now fantastic. Shame that Marshall could not do it properly in the first place but.... modifications take heed the route to pure tone with this baby. 1) Speaker upgrade - get a Celestion Vintage 30. 16 ohm is fine. 2) Matched Quad set of JJ EL84's.3) Set the amp Bias to 0.7. This requires taking the chassis out finding the trim pot behind the reverb pot and then the 3 pin connector on the circuit board then using a multi meter. Take heed here dont do this unless you are very carefull and used to dealing with electronics. Info on how to bias amps can be found all over the net. After these mods the amp will run cooler and sound bloody marvelous.Score with mods perfection, without, sounds muddy and i was unable to find my sweet toneusing the EQ. As for the effects loop. it works fine using the mix knob. i use it at 9 oclock for delay, 1 oclock for flanger etc...experiment it works !!! i read another review regarding wah in the loop ??? no wonder it sounds awfull, wah is a front end device dude plug it between your axe and amp.

mine was made in 1998 from reading other reviews the early ones are supposed to be avoided due to overheating problems etc... but mine is re biased to 0.7 and has been going for 9 years !!! hope i havent talked up a problem now !!!

Marshall are brilliant just ring em up if you live in UK

30 years plus playing, i love valve amps, and marshall are my favourite and i have a JCM 2000 DSL 100 head as well. This little baby rocks seriously hard, good product with the mods. I use a 1992 EVH music man amongst others. if you own this amp or are thinking of buying one do the mods and you will not be disappointed.

Good range of tones, nice and warm - but I have swapped out tubes twice - see below

Bought it new out of the box - has burned out on my three times. Took it too authorized Marshall repair shop - they added a fan, replaced internal fuse, replaced tubes, took it in again, rreplaced tubes and master volume. Now it's down a third time (lights on, no sound). Whatever the true problem is they haven't fixed it. This is a lemon!!!!

No response from Marshall - service center clearly has no clue.

Being a 3 channel foot switchable amp with reverb, it would seem pretty versatile. However, it doesn't have the traditional Presence control, and the parallel effects loop doesn't work with any pedals, including wah, preamp for volume boosts, EQ, chorus, delay, etc. The most you can get out of any pedal is 50% of its effect output.

Sounds great. It's a bit buzzy and the top end is thin like the rest of the JCM 200 series. I've also owned the TSL100 with a 1960A cab. It's decent, but I've certyainly heard better.

This would be an awesome amp if the effects loop were of the series type instead of the parallel type. This amp is almost $1,100. new, and that's just way too much cash for an amp that has a useless fx loop. What were Marshall thinking- did they expect us to run rack effects through an amp this small? Did they intend it mainly for studio use? Because if they did, they still made a mistake because if you were to use this in the studio, you would use the studio's effects rather than run rack gear through the amp.

I'm disappointed because I can't do anything with this amp beyond simple plug and play. I should have opted for the Peavey Valve King 2x12. That thing is 100 watts, 2 speakers, 3 channels, Presence AND Resonance controls, and a host of other cool options such as a real effects loop and you can plug in an extension cab while using the internal speaker at the same time, and class A/B controls.

Overall this amp sounds like a Marshall and the basic coolness factor is high, but in the end it lacks a lot by today's standards. I suggest buying something else.

Is a all-tubes Combo 40 watt with one Celestion 12" 100W 16Ohm speaker and spring reverb.
Has 3 channel (1 clean with gain,treble,middle,bass controls; OD1/OD2 with volume,gain,treble,middle,bass controls and switch for Od1/Od2 selection),the OD2 channel is same of OD1 boosted with more saturation.
Has FX mix,reverb and volume master controls.
In rear pannel 1 output with impedence selector(8/16 Ohm) for external cabinet , 1 output for direct mixer with cabinet simulator, send-return for loop efx, 2 input for reverb and channel footswitch.I have only the 2 bottons channel footswitch.
Don't has presence control.

I love the clean sound: is warm and jazzy, set T-M-B controls at 7-3-6 (range 0-10) and sound good with my humbuchers guitars. If you take the gain under the master volume control there is no distortion.
The OD1 channel is "vintage", very vintage. Good for Cream sound.
The OD2 is more saturated and confused, more aggressive tone, good for Greenday sound.not bad at all.
Set Vol at 2 has enough power to me at home, at 4 in rearsal room.

Is my only Amp!
I change the preamp tubes, and all the soldering on the board: they brokes after 3 years (teach explain that happen because of the vibrations of the speaker).not good soldering!

My Brother has a Fender Hot rod Deville 60W, Very good clean sound but not good enought distortion (Bright, and no eq. controls, good for rythm parts not for lead ones).
Not too much versatile, but enought for my style.

Mine's a 2002 which I bought in about 9/10 condition, and I retubed it with all new Groove Tubes Gold series, including a matched phase inverter.

2 and 1/2 channel marshall 40 watt combo w/reverb. Channel switching is cool, no delay, dropout, or popping when switching. I think the parallel effects loop is the most useless feature of the amp, virtually making the fx loop useless. Series loop would push this amp's features to 10.

It's pretty loud, loud enough for just about any gig the common player might play. It does everything from clean to high gain classic rock, a bit beyond Priest/Maiden metal, but nowhere near modern metal territory.

It's generally quiet, but there is some white noise which would be significant in a studio mic'ing situation.

I like the Who, Thin Lizzy, Zep, Skynyrd, AC/DC, 70's Kiss, Aerosmith, etc, and this amp does that schtick as well as any other Marshall available so far. It's no prize winner, b ut a good all-around tone tool. The clean channel gets really nice Jazz tones from all my guitars, and that's saying a lot.

I like the tone a lot, but the top end is pretty buzzy- especially with the red channel. Less so with the new tubes, but still it's pretty slicey. It cuts through a mix ok depending on which type of guitar I use, but that buzz can dominate sometimes.

The clean channel distorts pretty early, so you need to keep the master volume up pretty high and set the volumes of each channel relatively low.

I'm not into this bit about changing tubes and speakers, and modifying things, I like things stock. I retubed it because it was used, but the speaker will remain original.

These amps aren't the most reliable combos in the world, but I feel if you take care of them properly they should last indefinitely. In fact, mine's used and 5 years old now; I took the guts out and the board looks as pristine as the day it was made. As for overheating goes, well it hasn't happened with this one yet, though the top does get hot. I would expect that since heat rises and gets trapped under the chassis. I will not even consider adding my own internal fan mod. If it comes to that, i'll just tag along a desktop fan.

Playing since 1977. I've been in glam bands in the 80's and turned to a church worship group in the 90's. I've played for more 30,000 peeps per year. I use USA Made guitars like Gibson and Fender and prefer fender and Marshall amps.