Front panel - Randy’s preferred settings shown
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
Rear panel
1959RR front panel features
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1. POWER SWITCH | The change is very simple but effective and involves ‘cascading’ (feeding the |
This is the On/Off switch for mains power to the amplifier. It will light up when | output of the first stage into the input of the second stage) the two halves of |
your amplifier is receiving the correct mains power and is switched on. It will not | valve 1. Traditionally, each half would serve as input buffer/first gain stage for the |
be lit when the amplifier is switched off and/or is not receiving mains power. | two channels, i.e. one half for channel 1 and the other for channel 2, from there |
Note: Please ensure the amplifier is switched off and unplugged from the mains | they would separately feed the respective signals to the next stage which would |
mix them, further amplify them and feed them to the tone stack. | |
electricity supply whenever it is moved. | Cascading valve 1 results in the guitar signal being increased by around 36dB or |
2. STANDBY SWITCH | 60 times, much larger than it would normally be at this point in the circuit. |
The Standby Switch is used in conjunction with the Power Switch (item 1) to ‘warm | Subsequent stages then try to amplify this larger signal by similar amounts and |
up’ the amplifier before use and to prolong the life of the output valves. When | quickly run out of headroom causing the waveform to distort severely. The two |
powering up the amplifier always engage the Power Switch first, leaving the | channel volumes still remain functional after the modification but adopt different |
Standby switch on ‘Standby’. This allows the application of the voltage required | roles for their affect on the tone, allowing control of the extra gain and volume. |
to heat the valves to their correct operating temperature. After approximately two | Plugging into channel 2 routes the guitar signal through the whole cascade circuit |
minutes the valves will have reached the correct operating temperature and the | while plugging into channel 1 allows you to bypass the cascade and use the amp |
Standby Switch can be engaged. In order to prolong valve life, the Standby | in its standard format where ‘Volume 1’ will function as it normally would. |
Switch alone should also be used to turn the amplifier on and off during breaks in | Standard Channel 2 format is sacrificed due to the modification. |
a performance. Also, when switching off, always disengage the Standby Switch | 7. VOLUME I |
prior to the main Power Switch. | |
Note: The following four controls - PRESENCE (4), BASS (5), MIDDLE (6) & | This controls the overall output level of Channel I, turning it clockwise increases the |
volume. This channel is voiced for a higher treble response. In full cascade mode, | |
TREBLE (7) - are all shared, meaning that they all work on both Channel I and | this controls the amount of signal amplified by the second half of valve 1, thereby |
Channel II. The Treble, Middle and Bass controls are highly interactive and | acting as a crude master volume for the whole cascade circuit and can also be |
altering one control can change the way the other two behave. For this reason, | thought of as a further gain control for the boosted signal to the subsequent |
experimentation is recommended. | stages of the preamp. In standard mode i.e. guitar plugged into channel 1, it |
Randy’s preferred settings are shown on the panel above. | functions just like a normal unmodified 1959 Super Lead volume control. |
This control operates in the 1959RR’s power section and adds high frequencies to | Full cascade mode. This controls the amount of signal amplified by the first half of |
3. PRESENCE CONTROL | 8. VOLUME II |
your sound by altering the power amplifier’s negative feedback. Turning this | valve 1 that is fed to the second half, thereby acting as a gain control for the |
control clockwise adds more edge and ‘sparkle’ to your sound, making it crisper | cascade circuit itself. |
and more cutting. | 9. HIGH SENSITIVITY INPUT FOR CHANNEL |
4. BASS CONTROL | This is the ‘high sensitivity’ guitar input for Channel I - the brighter of the two |
This adjusts the bottom end, turning it clockwise increases the amount of low | channels - and is the most commonly used input on standard unmodified models. |
frequencies in the sound. | Always use a high quality screened guitar lead. NOTE - Plugging into this input |
5. MIDDLE CONTROL | bypasses the cascade and the amp functions in standard format. |
This adjusts the level of those | 10. LOW SENSITIVITY INPUT FOR CHANNEL |
clockwise increases the mids and fattens your sound, giving it more punch. | This is the ‘low sensitivity’ guitar input for Channel I. It is 6dB lower (half) than the |
Turning it anticlockwise reduces the mids. | ‘high sensitivity’ input and results in less gain capability which may be required for |
6. TREBLE CONTROL | guitars with very hot output pickups or active circuitry onboard. NOTE - Plugging |
into this input also bypasses the cascade and the amp functions in standard format. | |
This adjusts the | 11. HIGH SENSITIVITY INPUT FOR CHANNEL II |
frequencies (treble) present in the sound, making your tone brighter. | |
Tone/Tech talk - The modified Valve 1 stage | Plugging into this input enables the full cascade. |
Unlike a standard Marshall 1959 Super Lead amplifier your Randy Rhoads | 12. LOW SENSITIVITY INPUT FOR CHANNEL II |
model contains a modification that increases gain and therefore extra distortion | Plugging into this input enables the full cascade. It is 6dB lower (half) than the |
within the circuit. This modification ‘hot rods’ the amplifier making it easier to push | ‘high sensitivity’ input and results in less gain capability which may be required for |
it into the saturation levels necessary for the sound that Randy needed for his | guitars with very hot output pickups or active circuitry onboard. |
musical station. |
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1959RR rear panel features
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1. LOUDSPEAKER OUTPUTS | WARNING! ALWAYS ensure that this rotary selector is set to the correct mains | ||
WARNING! Never use the amplifier without a load attached! | voltage applicable for the country where the 1959RR is being used. If you do not | ||
There are two parallel loudspeaker output jacks provided for connection to | know, consult your authorised Marshall dealer. Adjusting the selector from | ||
230V/220V to 120V/110V/100V or | |||
speaker extension cabinet(s). Please always ensure that the amplifier's output | (item 5) to be changed to the correct value as detailed on the rear panel. | ||
impedance selector is set correctly (see item 2) and ALWAYS ensure you use | 4. MAINS INPUT |
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good quality speaker (unshielded) cables. NEVER use guitar (shielded) cables. |
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Always use a | Your amp 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 | |||
extension cabinet. | is indicated on the back panel. Before connecting for the first time, please ensure | ||
2. OUTPUT IMPEDANCE SELECTOR | that your amplifier is compatible with your electricity supply. If you have any | ||
doubt, please get advice from a qualified technician. Your Marshall dealer will | |||
Matches the amplifier’s output to the load (speaker) impedance. | help you in this respect. | ||
Your 1959RR should be completely powered down before the Output Impedance | 5. MAINS FUSE |
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Selector is turned. | The correct value of mains fuse is specified on the rear panel of the amplifier. | ||
As is the case with any Marshall | NEVER attempt to bypass the fuse or fit one of the incorrect value. | ||
amplifier is connected to a load whilst in operation and b) the impedance selected | 6. H.T. FUSE |
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on the amplifier matches the total impedance of the extension speaker cabinet(s) | The correct value of this H.T. fuse is specified on the rear panel of the amplifier. | ||
being used. | NEVER attempt to bypass the fuse or fit one of the incorrect value. | ||
1x16 Ohm cabinet - Selector on 16 Ohm - Use either speaker output | Technical Specification | ||
2x16 Ohm cabinets - Selector on 8 Ohm - Use both outputs | Power Output - 100W RMS | ||
1x8 Ohm cabinet - Selector on 8 Ohm - Use either output | Weight - 21.4 kg |
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2x8 Ohm cabinets - Selector on 4 Ohm - Use both outputs | Size - 740mm x 270mm x 210mm | ||
1x4 Ohm cabinet - Selector on 4 Ohm - Use either output |
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WARNING! Do NOT use any other combination of cabinets and/or | * EUROPE ONLY |
| - Note: This equipment has been tested and |
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impedances. Doing so may result in damage to the amplifier! An extension | found to comply with the requirements of the EMC Directive | ||
speaker cabinet with an impedance of less than 4 Ohms, or two extension | (Environments E1, E2 and E3 EN | ||
cabinets of 4 Ohms or less should NOT be used with this amplifier. | Directive in the E.U. |
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Failure to comply with any of the points raised in this section will result in damage | * EUROPE ONLY - Note: The Peak Inrush | ||
current for the 1959RR is 38 amps. | |||
to the amplifier. |
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Matches3. MAINStheSELECTORamplifier’s mains transformer to the incoming mains voltage.
Your 1959RR should always be completely powered down before the mains selector is turned.
ENGLISH
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