Marshall Amplification 1959SLP User manual

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
1
1
2
2
0
28
6
4
10 0
28
6
4
10 0
28
6
4
10
0
28
6
4
10 0
28
6
4
10 0
28
6
4
10
MK
II
1
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
II

PRESENCE BASS MIDDLE
TREBLE HIGH TREBLE NORMAL
MAINS
ON ON
STANDBY
LOUDNESS 1 LOUDNESS 2
INPUTS
1
1
2
2
0
28
6
4
10 0
28
6
4
10 0
28
6
4
10
0
28
6
4
10 0
28
6
4
10 0
28
6
4
10
MK
II
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
1
1
2
2

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
15
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.
15
16 17 18 19
ENGLISH

FRONT PANEL FUNCTIONS
SPEED INTENSITY PRESENCE BASS
MIDDLE TREBLE
MAINS
ON ON
STANDBY
INPUTS
1
1
2
2
0
28
6
4
10 0
28
6
4
10 0
28
6
4
10 0
28
6
4
10 0
28
6
4
10 0
28
6
4
10
VOLUME IVOLUME II
0
28
6
4
10 0
28
6
4
10
JTM
1
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