Chassis: We are using a
Our original chassis has a lot of extra holes drilled in it that weren't used. No doubt these existed because the same exact chassis was also used for other products made at the time. The most noticeable ‘extra hole’ is one on top for a fourth ECC83 and on our reference unit, this particular hole has been covered up with a disc of steel that's been riveted into the two screw holes that would have been used to secure the valve holder, were it there. For the sake of authenticity we have copied all the holes on our reference chassis and have even duplicated the aforementioned circular steel cover!
ENGLISH | Front Panel: Extra thick, gold coloured Plexiglas (actually Perspex, causing some people to refer to it |
as ‘Perplexi!’) - exactly as the original. Specific details pertaining to the front panel features can be found on | |
page 5 of this manual. | |
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10 12
1959HW Front Panel
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 11 | 13 |
ENGLISH
Rear Panel: Once again, gold Plexiglas - just like the original we referenced. |
Cabinet Construction: |
maximum strength. The main cabinet frame (both sides, top and bottom) are 15mm ply, the front baffle is |
constructed from 12mm ply while the back of the cabinet is 9mm ply. All edges have a 15mm radius. |
Cabinet Cosmetics: The 6" gold Marshall logo, black Levant covering, beading and piping model the |
look and style of the original. |
1. POWER SWITCH
This is the On/Off switch for mains power to the amplifier.
Note: Please ensure the amplifier is switched off and unplugged from the mains electricity supply whenever it is moved.
2. STANDBY SWITCH
The Standby Switch is used in conjunction with the Power Switch (item 1) to ‘warm up’ the amplifier before use and to prolong the life of the output valves.
When powering up the amplifier always engage the Power Switch first, leaving the Standby switch on ‘Standby’. This allows the application of the voltage required to heat the valves to their correct operating temperature - hence the switches name. After approximately two minutes the valves will have reached the correct operating temperature and the Standby Switch can be engaged.
In order to prolong valve life, the Standby Switch alone should also be used to turn the amplifier on and off during breaks in a performance. Also, when switching off, always disengage the Standby Switch prior to the main Power Switch.
3. INDICATOR
This 6.3 Volts incandescent filament indicator will light up when your amplifier is receiving the correct mains power and is switched on. It will not be lit when the amplifier is switched off and/or is not receiving mains power.
the mids and fattens your sound, giving it more punch. Turning it anticlockwise reduces the mids, producing a more ‘scooped’ tone.
7. TREBLE CONTROL
This adjusts the
Note: The following four controls - PRESENCE (item 4), BASS (item 5), MIDDLE (item 6) & TREBLE (item 7) - are all shared, meaning that they all work on both Channel I and Channel II. They are highly interactive and altering one control can change the way the other two behave. For this reason, experimentation is recommended.
8. VOLUME I
This controls the overall output level of Channel I, turning it clockwise increases the volume. This channel is voiced for a higher treble response than Channel II.
Tonal Note 5: The value of the capacitor across Volume I is 0.005µF. This rather large value makes this channel aggressive and bright at relatively low settings. Many players bridge (see page 6 for details) Channels I and II (which has a darker, less aggressive tone) in order to have more control over their overall tone. Many earlier versions of the 1959 (from 1965 to 1967) used a 100pf capacitor across Volume I which gives a less aggressive sound at all volume levels less than 8.
Technical Specification
Power Output | 100W RMS | |
Weight | 21.4 kg |
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Size | 740mm x 270mm x 210mm |
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4. PRESENCE CONTROL
This control operates in the 1959HW’s power section and adds high frequencies to your sound by altering the power amplifier’s negative feedback. Turning this control clockwise adds more edge and ‘sparkle’ to your sound, making it crisper and more cutting.
9. VOLUME II
This controls the overall output level of Channel II, turning it clockwise increases the volume level. This channel is voiced for a ‘normal’, flatter response and is labelled as the ‘Normal’ Channel in later versions of the 1959.
EUROPE ONLY 
- Note: This equipment has been tested and found to comply with the requirements of the EMC Directive (Environments E1, E2 and E3 EN
EUROPE ONLY - Note: The Peak Inrush current for the 1959HW is 76 amps.
5. BASS CONTROL
This adjusts the bottom end, turning it clockwise increases the amount of low frequencies in the sound.
6. MIDDLE CONTROL
This adjusts the level of those
10.HIGH SENSITIVITY INPUT FOR CHANNEL I
This is the ‘high sensitivity’ guitar input for Channel I - the brighter of the two channels - and is the most commonly used input. Always use a high quality screened guitar lead.
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