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1959HW

Discussion in 'Marshall Amps' started by Kody, Feb 14, 2021.

  1. EL 34

    EL 34 Well-Known Member

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    I wouldn't touch a used MODDED Marshall. Hard pass.
     
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  2. Kody

    Kody Active Member

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    But if you “Unmodded” it and had a tech put the original parts back in then it’s as if nothing happened....not sure why this is so hard to understand....hard pass all you want friend that’s your right, but I didn’t buy the amp to try and sell to you
     
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  3. Kody

    Kody Active Member

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    yeah man you make a really good point. I will bear that in mind if I do in fact end up getting this amp.
     
  4. Matthews Guitars

    Matthews Guitars Well-Known Member

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    Come to think of it....is there ANY tube amp you can name from the 50s or 60s that's worthless, if in good condition today?

    I had a Valco Supro that I got for almost nothing in the 80s. It was considered to be almost worthless but kinda cool. Today if I'd kept it and done some repairs to it,
    it'd be worth over a grand. I think I paid 15 bucks for it.

    I do highly recommend the Superlead but you will really enjoy it best if you can turn it up and let a power soak take the brunt of it. Or just let it roar like I do. I stand in the next room and play with a long cable connected.
     
  5. Kody

    Kody Active Member

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    idk man today’s amps in general don’t seem to be appreciating in value especially since loud ass monster amps are not as popular...of course the 1959 will probably be an exception to the rule. I do wonder what it could be worth in the future considering how many will be out there when and if Marshall decides to discontinue the model.
     
  6. BenjaminW

    BenjaminW Active Member

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    I say get it and an attenuator. I have a 2203X which is a loud beast to begin with like the '59, and pairing it with an attenuator such as a Rivera Rock Crusher in my case, makes it more manageable at lower volumes.

    You will also be a lot happier because if you pass up on this and get another amp, I guarantee you'll regret it. Ironically as much as I love my 2203, I almost went for a JVM410 that I wish I bought, but I'm happier with my 2203 as it was my dream amp and even if it means I have to push it harder to get the tone I could've instantly got from a JVM.

    I'm not sure what your mod tastes are if you decide to go that way, but if you're looking to get more amp gain, I highly recommend the drop in Legendary Tones HotMod V2 and/or Lynch Mod. The normal HotMod just has a switch to I believe go from stock gain to boost, and the Lynch Mod has a gain knob and a deep switch which adds more lower end. You just swap out one of the preamp tubes, drop in the mod, and you're good to go. No need for drilling holes or re-wiring things. However, I have never personally played an amp with one of these mods, but they do sound pretty damn good!

    Can't wait to see if you get the amp!
     
  7. Kody

    Kody Active Member

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    The only mod that will be done is a master volume if I even decide to do that. I’m not a high gain guy anyways so I’m sure it will have plenty. And if not it’s nothing a tube screamer pedal won’t remedy
     
  8. AndyD

    AndyD Well-Known Member

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    This has to be one of the best sounding amps I have heard.
     
  9. LPMarshall hack

    LPMarshall hack Well-Known Member

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    That’s the sound right there!
     
  10. black knight

    black knight Active Member

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    With regard to volume reduction, I say go for both the master volume mod and an attenuator. The MV is completely reversible and non-destructive if nothing is damaged during installation or removal, and it works perfectly. The intent of adding a PPIMV to this circuit in its stock configuration is not to get great pre-amp overdrive at a nice low volume. The beauty of this circuit is the combination of pre-amp and power sections when the amp is cranked right up (well actually not all the way as each amp has it's sweet spot). IMO, the PPIMV sounds terrible when reducing volume down to conversation levels. In fact, the tone starts degrading significantly when the MV is reduced past 50%. The best way to utilize this type of MV, again IMO, is to knock off a few DBs (like a 25 - 30% decrease on the knob), and then attenuate. The way I look at retaining great tone at reasonable volumes is not a one or the other approach. Why not 2 or more implementations of volume reducing/tone retention solutions?

    For example, and this isn't exactly apples to apples, but with my Bugera 1960 Infinium (100 loud watts), I have the option of changing out the EL34s to 6V6s. Not just that but the option of running only 2 instead of 4. Then I can further reduce volume by engaging the master volume (albeit not the best I've heard since it introduces a small degree of fizz). Lastly, I can insert a JHS Little Black Box (just a volume pot) in the effects loop. After these three measures towards volume reduction, I still have the EQ and Volume I and II knobs to tweak it back to the sweet spot. And all of this without introducing an attenuator.

    My point is, you could use the PPIMV and an attenuator to achieve great tones at reasonable volume levels with the 1959HW. Heck if I was to get another one, I'd add a MV and a loop, and essentially achieve the same thing I described above, likely to greater effect. For gigging, it would suit my needs (sometimes low volume is necessary in more modest size venues). At the end of the day, I'd say this would sound a great deal better in a live situation than for instance a SV20 or lower watt amp (went down this road). I plan on returning to heavy, higher wattage amps, hence my interest in this thread.

    I have a PPIMV in my 74 JMP 50. The tone degradation when using it up to 25% reduction is imperceptible to my ear. The characteristics of the amp that I love, and need, are still there, with some volume reduction (I haven't measured it but I'd guess maybe 10 to 20 DBs). My next purchase, when they become available again, is going to be a Fryette PS100 for attenuation. The cool part about the PS100 is time based effects can be run post pre-amp/power stages. This might be an option for you as well, and you wouldn't have to drill two holes in the chassis for the loop in your 1959HW, or any amp without a loop for that matter. And if you don't need effects, search John H's attenuator thread on this forum and you could build one for around $100.00 USD.

    Again Kody, good luck and I hope you get the amp. IMO it truly is the perfect benchmark circuit for rock music.
     
  11. 2203xman

    2203xman Well-Known Member

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    Not sure if you have any experiance with the PPIMV,but for me it's a great way to make your very cool Super lead sound like a huge turd.It robs the amp of it's pesence,and used up high just sound like crap.A good attenuator or pedal sounds better.Many people expect a 2203/2204 type MV tone,but it's very different.
     
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  12. Kody

    Kody Active Member

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    I appreciate all of the solid advice gents! I will let everyone know if I get the amp or not...I mean, I already have a 100WATT slash Jubilee I don’t exactly need another 100 watter; I sure as hell want it though :)
     
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  13. AndyD

    AndyD Well-Known Member

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    Isn’t it just!
     
  14. AndyD

    AndyD Well-Known Member

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    I totally agree. These big amps have a lot to offer in tone and taming them can be approached by combining things. Very well put!
    I have just taken on a 2103 and I am learning how to get the best out of it. So far, an attenuator is, in my view essential. Beyond that, I am leaning toward reducing the gain to get further into the master sweet spot. Then boost gain with a pedal. Haven’t got there yet but I’m having fun learning how to use it!
    Oh, and I have recently discovered the Solodallas Storm. At lower volumes, it is brilliant at opening up the amps sound. Brilliant piece of kit!
     
    Last edited: Feb 21, 2021
  15. Mitchell Pearrow

    Mitchell Pearrow Well-Known Member VIP Member

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    Awesome amount of tones in one guitar, one amp . An excellent choice, and can’t go wrong here.
    Cheers
    Mitch
     
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  16. Crikey

    Crikey Well-Known Member

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    Its not about”needs” its about wants. Be excessive
     
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  17. V-man

    V-man Well-Known Member

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    My take: Stay away from the MV and focus on attenuation.

    good attenuation addresses the problem and is something you don’t have to worry about reversing. Additionally, the money saved is either another feather in the cap for this choice and/or it enhances your budget for greater choice in units.

    AND you can have your cake and eat it too. Start with my suggestion. This gives you the amp on its merits leaving you to appreciate it for what it is and how to interact with it as intended (using guitar volume, etc). If your unmolested circuit plus attenuation experiment is not ideal, you can always reconsider the MV options. However, if the experiment is a success, you saved money, amp coloration and time wasted on the bench.
     
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  18. booh

    booh Member

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    If in doubt, ask Johan:
     
  19. neikeel

    neikeel Well-Known Member

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    I have tried most iterations of MV and have gradually got rid of them as I much prefer a good attenuator. Except the pre-pi MV used in 2203/4 etc. Even then to get best tones (to get the speaker cones moving) you need a little attenuation.
    Ymmv.
     
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  20. matttornado

    matttornado Well-Known Member

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    I have done that using master and an attenuator together. What I do is turn the PPIMV up just enough to get the Presence control fully functional along with some Power Amp distortion. Best of both worlds. My Presence control starts to work with the master turned up not quite 1/2 way I think.

    Easier on the power tubes too.
     

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