NAD: Marshall 6100 LE

TotallyRadGuitars

Well-known member
I don't usually share new amps but I'm pretty excited about this one. Someone traded this in - an absolutely mint condition '92 6100LE head and matching 6960LE cab, to a guitar center. I don't know what would possess someone to do something like that, but GC also listed it as a whole package so I paid a mere $35 to ship this entire head and cab to me in Florida (amp was in California). Of course, I try not to get my hopes up, GC has destroyed quite a few amps and guitars I've ordered, and since this is "vintage" gear I only have 3 days to return it.

Anyway I'm both pleased and surprised to say it actually arrived extremely well packed, inside of plastic, with all corners protected by thick foam - thankfully cab and head in separate boxes. Clearly someone cared about packing it right and I can't understate how much I appreciate that. Even better, it also included the original folder, certificate, and manual, which I definitely was not expecting since it wasn't pictured. The only thing technically missing is the footswitch, but maybe it's better that it wasn't included since it surely would've damaged/scratched something in transit. For now, I'll use it the same way I use my regular 6100LM, with an old Boss GT3 and midi cable for switching - added bonus, analog drive section and acoustic simulator, so I have it rigged up kind of like 4 channels - acoustic, clean, crunch, lead, with boost on the CTL switch. Considering a Boss GT3 costs less than a replacement footswitch, I'll be sticking to this solution for a while.

So how does it sound... well the clean channel is superb but I don't think that surprises anyone. Not much I can say about it that hasn't already been said. It's "Fender" style, EQ is before the gain stages, and it has a very useful bright switch that doesn't make it too shrill. The GT3's acoustic simulator sounds really great through this channel too, but I'm not the most well versed in acoustic music or sounds, just kind of a neat bonus. Close enough for a crowd, not that I'd ever play this amp out anywhere.

Channel 2 has 3 modes, and I still need to do a proper A/B but for some reason this amp's Channel 2 "B" mode (superlead) sounds way better to my ear than the same mode on my 6100LM. It has a bit more gain, a hair more scooped, and it just gives the impression of a little better clarity and punch. Some of that may be that I'm using the matching cab which has '92 G12T75's, and I'm used to the smoother/rolled off sound of my '86 G12T75's which are in the cab I usually use with the 6100LM. For those who don't know, early vented G12T75's are more akin to G12-65's and aren't all that related specs wise to later T75's, except in name, so they sound very different. I'm looking forward to doing some a/b tests between the two cabs as well. "A" mode sounds great too, less gain and a little softer in sound, less bite than B. I actually would love to be able to footswitch between A and B modes since they are both so useful, especially if they had separate gain/vol controls. "C" mode is the "JCM900" mode, super high gain sound but all tube, like an SL-X, and can get really saturated. It sounds good but pairs a little strangely with Channel 3...

Channel 3 is interesting, because it has less gain than Channel 2 Mode C, even with the gain boost turned on. The contour switch feels mostly un-usable, far too scooped and kills the punch. It is otherwise voiced pretty similarly to Channel 2, but with a noticeable amount more bass. The end result is that it's a little too... undefined? In the low end for high gain sounds, and I think Channel 2 B + boost, or Channel 2 C are better for high gain rhythm sounds. And I guess that's the point, the lead channel has that extra bass to thicken up single note lines, which it is really good for, but I can see why they LM mod became a factory enhancement in the later non-limited editions of this amp. My 6100LM dates from 1997 and has 5881's instead of EL34's, so a little different, but that amp's channel 3 is far better sounding to me, with tons of gain (I keep it around half) and super punchy in the low end. Of course, I'll be leaving this 6100LE factory, no mods here. Too pristine for that.

Forgive the crappy phone pics. Even the brass front and back panels are crystal clear, no smudging or finger prints, I try not to even touch the panels haha. I have a chrome chassis Dual Rec and a chrome front 2555X and both of those show a lot of spotting that will never come out as much as I try, so I'm going to make extra sure that this amp gets taken care of so it doesn't get tarnished.
 

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Congrats, they are cool amps. They have a cool feature that changes the NFB when you switch channels which I think is one reason they have such a good clean. And it’s adjustable via a 3-way switch.
Great score on your Marshall 6100LE! I have a 1992 blue vinyl Marshall 6101 1x12 combo amp & matching 1912 1x12 closed back cab and am the original owner. The 3 way switch that you're referring to is called the damping select switch that's located on the rear of the amp. I leave mine set on auto, but can be set to either high/auto/low, depending on how you want to want it to voice the amp. I agree with you how channel #2 & #3 are voiced and I don't use the contour control on Ch. #3 and set the gain half way. I also set the treble around 10 o'clock on Ch. #2 & #3 since the combo amp has an Electrovoice EV12L speaker. I have the original footswitch for my combo amp, but don't use it to save it from wear & tear. I also used to own the Boss GT-3 which was the last Boss floor processor along with the GT-5 to have analog distortion/overdrive.

The Marshall 6100 amp stack on the left in the picture belongs to my friend. The blue vinyl Marshall 6101 1x12 combo amp/1912 1x12 closed back cab on the right belongs to me.

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2017-11-27.jpg
 
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I used a LM model in the late 90’s for a while and it was a very good plug and play, no pedals head with a Gibson. The only thing that held it back was the fixed value of the low volume compensation for channel 3 (bass boost). If they had made that to be variable on a pot like a depth control the amp would have been almost perfect. I always had to do a balance of engaging it but barely bringing up the bass for it to sound good to me at gig and practice volume. Can’t say I used the other channels at all. Ch 3 gripped and ripped. It actually replaced an Ultralead which just didn’t have the same aggression and cut in a band mix. Brought it to practice and every one agreed (including me) the Marshall cut better.
 
Awesome, I had a few of these back in the day. Great amps. I don't think any Marshall since has been able to capture as many eras of their sound as these did. It's too bad their relays have issues, cause these don't get the love they deserve.
 
I also had the combo and used the GT3 for several years. I remember the combo got really really hot.

My GT3 survived a flood. It was dripping water. I shook it out and left it for a week. It powered right up after.

Edit: typo - GT3 not MS3 (which I use now)
 
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Thanks everyone! A few replies:

I agree with you how channel #2 & #3 are voiced and I don't use the contour control on Ch. #3 and set the gain half way. I also set the treble around 10 o'clock on Ch. #2 & #3 since the combo amp has an Electrovoice EV12L speaker. I have the original footswitch for my combo amp, but don't use it to save it from wear & tear. I also used to own the Boss GT-3 which was the last Boss floor processor along with the GT-5 to have analog distortion/overdrive.
This is why I hesitate to make posts right when I get a new amp haha, when I first played it I very quickly found myself turning the gains to max on both those channels. Now that I've spent some more time with it, I've rolled down Ch3 to about "6" and Ch2 to maybe "8." It brought back in some of the brightness and clarity (as expected) but it doesn't "feel" too much less gainy. Ch3 especially got a lot less boomy/flubby and better for rhythm stuff. Can always boost if I need more, I think sometimes instant gratification gets the better of me and it's too tempting to just max the gain out.

That 6101 combo is just killer - talk about a versatile + portable amp. I didn't know they had EV speakers, for a while I had a JCM900 Mk III combo and it had a G12H-100 - great speaker.

The GT-3 sounds great to me, although I do wish I had the GT-5 just so I could run some effects in the loop and some in front. The GT-3 only has L/R outputs so I can't keep the overdrive in front and add a delay in the loop, which is what I'd really like to do. Not a big deal for just noodling at home though.

Congrats and a great matching color scheme with the Boss GT-3! :p (y)
I noticed that too after taking the picture. I also was playing a purple guitar with a maple fretboard and it kind of matched as well - just needed some gold hardware to make it all come together.

I used a LM model in the late 90’s for a while and it was a very good plug and play, no pedals head with a Gibson. The only thing that held it back was the fixed value of the low volume compensation for channel 3 (bass boost). If they had made that to be variable on a pot like a depth control the amp would have been almost perfect. I always had to do a balance of engaging it but barely bringing up the bass for it to sound good to me at gig and practice volume. Can’t say I used the other channels at all. Ch 3 gripped and ripped. It actually replaced an Ultralead which just didn’t have the same aggression and cut in a band mix. Brought it to practice and every one agreed (including me) the Marshall cut better.
I was just playing with that control last night. Seems like just a fixed bass boost, it sounds good but you're absolutely right - it would be awesome if it were adjustable. It's not quite the same but I have a Pittbull CL, and while it's great I'm not surprised to hear you say that. The CL is a lot darker, less cutting. The 6100 is way brighter so I bet it really stands out in a mix.

Awesome, I had a few of these back in the day. Great amps. I don't think any Marshall since has been able to capture as many eras of their sound as these did. It's too bad their relays have issues, cause these don't get the love they deserve.
Fingers crossed, but I haven't had any issues with my LM, and none so far with this LE. They are pretty wild looking inside, 5 separate PCB's and a bunch of ribbon cables. Lets hope I never have to dig into it.
 
I also had the combo and used the GT3 for several years. I remember the combo got really really hot.

My GT3 survived a flood. It was dripping water. I shook it out and left it for a week. It powered right up after.

Edit: typo - GT3 not MS3 (which I use now)
Unfortunately, my 6101 combo amp does get hot to the point where it made the channel switching function malfunction and it reverted to Ch.1. I had to bring it to the amp repair shop and get the MIDI channel switching board repaired. After that repair, it had no issues after that. The 6101 also goes through V2 or V3 12AX7 preamp tubes after heavy usage so it's important to keep extra 12AX7 preamp tubes on hand, listen to the amp while playing if it starts to get microphonic feedback, and replace it right away.

I've had either the V2 or V3 12AX7 preamp tube go microphonic during a show. It was embarrassing and HAF to reach into the combo amp which runs hot and have to swap out a bad preamp tube on my band break. I've had to flip the combo amp upside down to reach inside a combo amp with hot power tubes, avoiding making contact with the hot power tubes while taking off the preamp tube shield to get to the worn out V2 or V3 12AX7 preamp tube. You have to use a rag to get at it to avoid getting burned. I use a fan on the amp while it's onstage and I now also carry a spare amp head as a backup amp.
 
If you 30th guys ever lose output signal and the usual checks (tubes, fuses, cables, burnt PCB components, etc.) don't show anything, I'll bet you a month's paycheck the effects loop jacks need to be replaced. This happened on both my 6100 and 6101.

Also, you guys with the 6101, run a fan into the back of yours at a gig. 11 tubes hanging upside down gets things way too warm. Fan, fan, fan.
 
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