Marshall Amplification 1959SLP Bedienungsanleitung

OWNER’S MANUAL

1959SLP

1987X

2245 JTM45

1962 BLUESBREAKER

WARNING! IMPORTANT SAFETY INSTRUCTIONS

ENGLISH

WARNING:

Before going any further, make sure that

your amplier is compable with your

mains electricity supply (for 1959SLP

& 1987X only, please refer to MAINS

SELECTOR [Rear Panel Funcon #16]).

If you have any doubt, please seek

help from a qualied technician – your

Marshall dealer can help you in this

respect.

MAINS INPUT & FUSE:

The specic mains input voltage

rang that your amplier has been

manufactured for is indicated on

the rear panel of the amplier. Your

amplier is provided with a detachable

mains (power) lead, which should be

connected to the MAINS INPUT socket

on the rear panel of the amplier

(1959SLP & 1987X Rear Panel Funcon

#17, 1962 Bluesbreaker Rear Panel

Funcon #20, 2245 JTM45 Rear Panel

Funcon #17). The correct value and

type of mains fuse is specied on the

rear panel of the amplier.

NEVER aempt to bypass the fuse or t

one of the incorrect value or type.

TRANSPORTING YOUR EQUIPMENT:

Please ensure that your amplier is

switched o, unplugged from the mains

electricity supply and that all removable

cables have been disconnected from

your equipment before aempng to

move it.

IMPORTANT SET UP INFORMATION:

1. Before connecng a speaker

cabinet(s), make sure the OUTPUT

SELECTOR (1959SLP & 1987X

Rear Panel Funcon #15, 1962

Bluesbreaker Rear Panel Funcon

#18, 2245 JTM45 Rear Panel

Funcon #15) is set to the correct

impedance.

WARNING: Failure to select the correct

impedance may damage your amplier.

When connecng a speaker cabinet(s)

make sure that you use a proper speaker

cable. Never use a screened (shielded)

guitar cable for this purpose.

2. Ensure that the MAINS (power)

switch is set to the OFF posion

(Front Panel Funcon #1).

3. Connect the supplied mains (power)

lead into the MAINS INPUT rst

and then into the mains electricity

supply.

4. Ensure that the LOUDNESS or

VOLUME controls on the front

panel are set to zero (1959SLP &

1987X Front Panel Funcons #8 &

9, 1962 Bluesbreaker Front Panel

Funcons #10 & 11, 2245 JTM45

Front Panel Funcons #8 & 9).

5. Plug your guitar into an INPUT

jack socket (Front Panel Funcon:

1959SLP, 1987X & 2245 JTM45

Front Panel Funcons #10, 1962

Bluesbreaker Front Panel Funcons

#12).

6. Ensure that the STANDBY switch is

in the ‘standby’ posion (Front Panel

Funcon #2).

7. Turn the front panel MAINS switch

to the ON posion and wait for a

few minutes before going to point 8.

8. Engage the amplier by switching

STANDBY to the ON posion.

9. Turn the LOUDNESS or VOLUME

up to your preferred level and your

amplier is ready to play.

PLEASE READ THIS MANUAL CAREFULLY BEFORE

PLUGGING IN.

FOLLOW ALL INSTRUCTIONS AND HEED ALL

WARNINGS.

KEEP THESE INSTRUCTIONS.

ENGLISH

This device complies with part 15 of the FCC Rules. Operaon is subject to the

following two condions:

1. This device may not cause harmful interference, and

2. This device must accept any interference received, including interference

that may cause undesired operaon.

This equipment has been tested and found to comply with the limits for a Class B

digital device, pursuant to part 15 of the FCC rules. These limits are designed to

provide reasonable protecon against harmful interference in a residenal

installaon.

This equipment generates, uses and can radiate radio frequency energy and, if not

installed and used in accordance with the instrucons, may cause harmful

interference to radio communicaons.

However, there is no guarantee that interference will not occur in a parcular

installaon. If this equipment does cause harmful interference to radio or

television recepon, which can be determined by turning the equipment o and on,

the user is encouraged to try to correct the interference by one or more of the

following measures:

• Reorient or relocate the receiving antenna.

• Increase the separaon between the equipment and the receiver.

• Connect the equipment into an outlet on a circuit dierent from that to

which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Any changes or modicaons not expressly approved by the party

responsible for compliance may void the users authority to operate the equipment.

This device complies with CAN ICES-3(B)/NMB-3(B)

COMPLIANCE STATEMENT

INTRODUCTION

OVERVIEW

The Marshall reputaon has been built

upon many things, but our longevity

comes mainly as a result of the connual

relevance of the concepts behind the

design and build of our ampliers – add

to this: solid workmanship, iconic looks

and above all, great tone.

The amp you have just acquired was

originally launched at a me when the

face and sound of popular music was

rapidly changing, with electric guitarists

smashing through musical boundaries to

create new musical genres.

Each of the ampliers in the Vintage Re-

issue Series was there at the beginning

of this music revoluon and they all

played their part.

The connual fascinaon and love that

many guitarists show for our vintage

ampliers is testament to just how

relevant and important these models

sll are today.

The re-issues of these legendary

ampliers are as faithful as possible to

the originals in terms of looks and tone.

Hand-craed in Bletchley, England,

these superb products feature nger-

jointed cabinets of birch plywood,

hand-welded chassis, hand soldered

potenometers and valve bases, and the

highest quality PCBs and componentry.

Thank you for choosing Marshall. We

sincerely hope that your Vintage Re-

issue amplier proves indispensable

and that it provides you with years of

legendary Marshall tone.

- The Marshall Team.

The Vintage Re-issue Series consists of the 100 Wa 1959SLP head, the 50 Wa

1987X head, the JTM45 2245 head and 1962 Bluesbreaker combo. All are faithful

reproducons of the 1960s originals that shaped the sound of the electric guitar as we

know it.

The main characterisc that these ampliers share is their simplicity of operaon and

superb all-valve tone. Achieving the beaufully organic and vibrant overdrive which

is their trademark, can only be done in one way – by cranking them up. The result is

pure, majesc tone uncluered by unnecessary circuitry. With solos this produces a

big, round, warm sustain, full of classic character. With chord work you get a bark and

percussive aack with a natural sounding break up, which allows each note to ring out

in a glorious musical crunch.

EFFECTS LOOP

Due to popular demand, a sonically transparent eects loop has been added to the

1959SLP and 1987X models. This circuitry has been designed to not colour the guitar

sound, so that your tone remains pure. The bypass switch gives you the opon of

completely removing this circuitry if desired. The eects loop level selector ensures

compability with rack processors and stompboxes.

ENGLISH

FRONT PANEL FUNCTIONS

PRESENCE BASS MIDDLE

TREBLE HIGH TREBLE NORMAL

MAINS

ON ON

STANDBY

LOUDNESS 1 LOUDNESS 2

INPUTS

10 0

1959SLP & 1987X FRONT PANEL

2 3 4 5 6

ENGLISH

1. MAINS

Mains power ON/OFF switch.

2. STANDBY

STANDBY is used in conjuncon

with the MAINS power switch (Front

Panel Funcon #1) to ‘warm up’ the

amplier before use and to prolong

the life of the output valves. When

powering up, always switch MAINS

power on rst, leaving the STANDBY

switch in the ‘standby’ posion. This

allows the applicaon of the voltage

required to heat the valves to their

correct operang temperature. Aer

approximately two minutes the valves

will have reached the correct operang

temperature and the amplier can be

engaged by switching MAINS power

ON.

Note: In order to prolong valve life, always

set the STANDBY switch to the ‘standby’

posion when turning the amplier sound

on and o during breaks in performance.

Also, upon full power down, always put the

amplier in ‘standby’ prior to switching o

the MAINS power.

3. INDICATOR

The power indicator will light when the

amplier’s mains power is switched on

and will be unlit when the mains power is

switched o.

4. PRESENCE

Controls the overall amount of higher

frequency content in your sound. Turn

clockwise to add crispness and bite for a

more cung tone. Presence is a power-

stage funcon and acts independently

of the preamp EQ controls.

5. BASS

Controls the amount of lower frequency

content, or boom-end, in your sound.

Turning clockwise will increase the

boom-end giving a fuller tone.

6. MIDDLE

Controls the middle frequency content

of your sound. Turning clockwise adds

girth. Turning anclockwise reduces

middle frequencies giving a smoother,

more ‘scooped’ tone.

7. TREBLE

Controls the high frequency content

of your sound. Turning clockwise will

increase the highs giving a brighter tone.

Tonal Note: The preamp EQ network

is dynamic and highly interacve, and

because of this altering the seng of one

PRESENCE BASS MIDDLE

TREBLE HIGH TREBLE NORMAL

MAINS

ON ON

STANDBY

LOUDNESS 1 LOUDNESS 2

INPUTS

10 0

7 8 9 10

ENGLISH

EQ control can change the way that the

other controls behave – experiment to nd

your sound.

8. HIGH TREBLE LOUDNESS 1

Controls the overall output level of

Channel 1.

Tonal Note: This channel is voiced for a

higher treble response than Channel 2.

9. NORMAL LOUDNESS 2

Controls the overall output level of

Channel 2.

Tonal Note: Channel 2 is voiced for normal

response.

10. INPUTS

1 (Top)

Connects the guitar to Channel 1.

1 (Boom)

Connects the guitar to the lower

sensivity input on Channel 1.

2 (Top)

Connects the guitar to Channel 2.

2 (Boom)

Connects the guitar to the lower

sensivity input on Channel 2.

Tonal Note: Although the top input of

channel 1 is the input that most guitarists

use, don’t be afraid to experiment. Some

guitar players prefer to mix the two

channels together by connecng a short,

screened patch lead between the boom

input of Channel 1 and the top input of

Channel 2. If you then plug your guitar into

the top input of Channel 1, you can mix

the dierent tonal characteriscs of each

channel for greater exibility (See diagram).

INPUTS

11. LEVEL

Provides two dierent levels to suit

the type of eects connected to the

EFFECTS LOOP. The higher level

(+4dBV) suits rack processors and the

lower level (-10dBV) suits stompbox

eects.

12. BYPASS

This switch completely bypasses the

eects loop to maintain absolute tonal

integrity.

13. EFFECTS LOOP

To increase the exibility of your

amplier further you may choose to add

external eects. The eects loop allows

direct connecon of either stompboxes

or rack processors.

Usually eects involving distoron

or wah wah would not go through the

eects loop, but between the guitar

and amplier input. Time or modulaon

based eects such as chorus, delay and

reverb are best suited to the loop.

SEND

Connect the input of the external

eects.

RETURN

Connect to the output of the external

eects.

14. SPEAKERS

Loudspeaker outputs. Connect your

speaker cabinet(s) here.

WARNING: Before connecng speakers

please ensure that OUTPUT SELECTOR

(Rear Panel Funcon #15) is correctly set to

match speaker cabinet(s) impedance.

15. OUTPUT SELECTOR

WARNING: Your amp should be completely

powered down before the OUTPUT

SELECTOR is turned.

The OUTPUT SELECTOR matches the

amplier’s output to speaker cabinet(s)

impedance.

With all-valve ampliers it is imperave

that the amp is connected to a speaker

cabinet whilst in operaon and that the

impedance selected on the amplier

matches the total impedance of the

speaker cabinet(s) being used. For

example, if the amp is running into a

single 16 Ohm cab, the amp should

accordingly be set to 16 Ohms. If running

into two 16 Ohm cabs, the amp should

REAR PANEL FUNCTIONS

1959SLP & 1987X REAR PANEL

11 12 13 14

ENGLISH

be set to 8 Ohms. If running into two 8

Ohm cabs, the amp should be set to 4

Ohms.

WARNING: Failure to comply with these

points may result in damage to the amplier.

16. MAINS SELECTOR

WARNING: Your amp should be completely

powered down before the MAINS

SELECTOR is turned.

The MAINS SELECTOR matches the

amplier to the incoming mains voltage.

Ensure that the mains selector is set to

the correct voltage applicable to the

country where the amplier is being

used. If you are unsure of the mains input

voltage contact your authorised Marshall

dealer.

WARNING: Failure to comply with these

points may result in damage to the amplier.

17. MAINS INPUT

Your amp is provided with a detachable

mains (power) lead which connects

here. The specic mains input voltage

rang that your amplier has been built

for is shown on the rear panel. Before

connecng for the rst me, please

ensure that your amplier is compable

with your electricity supply. If you have

any doubt, please get advice from a

qualied person. Your Marshall dealer

will help in this respect.

18. MAINS FUSE

The correct value of mains fuse is

specied on the rear panel of the

amplier.

19. H.T. FUSE

The correct value of H.T. fuse is

specied on the rear panel of the

amplier.

16 17 18 19

ENGLISH

FRONT PANEL FUNCTIONS

SPEED INTENSITY PRESENCE BASS

MIDDLE TREBLE

MAINS

ON ON

STANDBY

INPUTS

10 0

VOLUME IVOLUME II

10 0

JTM

1962 BLUESBREAKER™ FRONT PANEL

2 3 4 5 6 7

1. MAINS

Mains power ON/OFF switch.

2. STANDBY

STANDBY is used in conjuncon

with the MAINS power switch (Front

Panel Funcon #1) to ‘warm up’ the

amplier before use and to prolong

the life of the output valves. When

powering up, always switch MAINS

power on rst, leaving the STANDBY

switch in the ‘standby’ posion. This

allows the applicaon of the voltage

required to heat the valves to their

correct operang temperature. Aer

approximately two minutes the valves

will have reached the correct operang

temperature and the amplier can be

engaged by switching MAINS power

ON.

Note: In order to prolong valve life, always

set the STANDBY switch to the ‘standby’

posion when turning the amplier sound

on and o during breaks in performance.

Also, upon full power down, always put the

amplier in ‘standby’ prior to switching o

the MAINS power.

3. INDICATOR

The power indicator will light when the

amplier’s mains power is switched on

and will be unlit when the mains power is

switched o.

4. SPEED

Controls the speed at which the

‘tremelo’ eect oscillates.

5. INTENSITY

Controls the depth of the ‘tremelo’

eect’s oscillaon.

Note: ‘Tremelo’ will only work when playing

through Channel 2.

6. PRESENCE

Controls the overall amount of higher

frequency content in your sound. Turn

clockwise to add crispness and bite for a

more cung tone. Presence is a power-

stage funcon and acts independently of

the preamp EQ controls.

7. BASS

Controls the amount of lower frequency

content, or boom-end, in your sound.

Turning clockwise will increase the

boom-end giving a fuller tone.

8. MIDDLE

Controls the middle frequency content

of your sound. Turning clockwise adds

girth. Turning anclockwise reduces

ENGLISH

Andere Handbücher für 1959SLP

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