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Idiomas disponibles
1959HW Front Panel
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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.
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.
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 all-important midrange
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frequencies. Turning it clockwise increases 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 top-end. Turning it clockwise
increases the amount of high frequencies (treble)
present in the sound, making your guitar tone
brighter.
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.
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.
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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1959HW Front Panel cont.
11. LOW SENSITIVITY INPUT FOR CHANNEL I
This is the 'low sensitivity' guitar input for Channel
I. It is 6dB lower in volume than the 'high sensitivity'
input and has a darker sound as well due to its
significantly lower input impedance.
Interesting aside: Back in the day, a 'high sensitivity'
input jack was recommended for use with a guitar
loaded with low-output pickups (e.g: single coils)
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while the 'low sensitivity' input was recommended
for higher output pickups (e.g: humbuckers). This
said, the majority of guitarists - then and now - ignore
these recommendations and plug high-output
guitars into the 'high sensitivity' input because it
further boosts the strength of their signal.
12. HIGH SENSITIVITY INPUT FOR CHANNEL II
This is the 'high sensitivity' guitar input for Channel II,
the so-called 'Normal' channel.
13. LOW SENSITIVITY INPUT FOR CHANNEL I
This is the 'low sensitivity' guitar input for Channel
II. It is 6dB lower in volume than the 'high sensitivity'
input and has a darker sound as well due to its
significantly lower input impedance.
PERFORMANCE NOTE:
Bridging or 'jumping' the two channels
Because both Channels of the 1959HW have
the same number of gain stages (two) and are
therefore in phase with each other, it is possible
to bridge them together ('slaving', 'jumping',
'linking' or even 'daisychaining') and use them
both at the same time. Doing this enables you
to expand upon the amp's tonal possibilities by
mixing the two channels together.
The most common way of doing this is to plug
your guitar into the top (high sensitivity) input of
Channel I and then run a short 'jumper' guitar
cable (i.e. a screened cable) from the Channel
I's bottom (low sensitivity) input to the top (high
sensitivity) input of Channel II. (fig. 1)
The 'reverse' is also possible – namely plugging
your guitar into Channel II's top input and then
running the 'jumper' cable from Channel II's
bottom input to Channel I's top input. This less
common approach can yield some interesting
tonal variations. (fig. 2)
fig.1
fig. 2
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