Publicidad
Idiomas disponibles
Idiomas disponibles
Handwired Series Overview
Our goal when designing the UK made
Handwired Series was both obvious and
simple: to make all the models in the range
as close to the originals as possible in terms
of components, circuitry, constructional
methods,
materials,
specifications,
aesthetics, signal path, performance, tonal
characteristics and feel. We've gone to
incredible lengths to achieve maximum
authenticity and are delighted to report that
our suppliers were equally as exacting in
their tasks.
Every model in the Handwired range possesses
it's own unique tonal identity and yet they all share
a common sonic 'DNA'. Namely those aggressive
yet sweetly distorted, harmonically rich, musical
tones resulting from perfectly crafted circuitry
and overdriven power valves. When 'cranked' the
amps and combos deliver pure vintage crunch and
become incredibly touch-sensitive, cleaning up or, if
desired, sitting right on the edge of distortion when
the guitar's volume is turned down. Not surprisingly,
all the Handwired models respond extremely well to
picking dynamics, indefatigably 'in-your-face' when
you play like you really mean it and cleaning up as
you pull back on your picking attack.
1974X
The 1974X is an all-valve, 18 Watt, two-channel,
1x12" combo with valve driven tremolo and no
negative feedback in its cathode-biased output
stage. Channel 1 (the non-tremolo channel) only
boasts two, self-explanatory controls: Volume and
Tone; while Channel 2, the Tremolo Channel, boasts
four – namely Volume and Tone, plus Speed and
Intensity for the valve driven tremolo circuit.
A definite contributing factor in the sound of the
vintage 1974 amplifiers is the way the Celestion
Greenback loudspeaker sound softens with age.
Celestion revisited the 1967 recipe for the original
20 Watt, ceramic magnet, 15 Ohm, Greenback
T1221 speaker used in the 1974 and supply it to
us exclusively. They meticulously duplicated every
critical vintage parameter from winding lengths, coil
former dimensions and edge treatment to using the
original dustcap material and adhesive.
1958X and 1973X
Both of these combos are variants of the 1974X;
the 1958X features 2x10" Celestion aged G10F-
15's while the 1973X house the same quantity of
12" Celestion 'Greenbacks'. All other features,
components and construction are identical to the
1974X.
1962HW
The 1962HW is an all-valve, 30 Watt, two channel,
2x12" combo and is a faithful recreation of the
legendary 'Bluesbreaker', harkening back to the
original format and circuit topology of the first
production run back in 1965. Both channels feature
high and low sensitivity inputs with separate Volume
controls and a shared an EQ section containing
Presence, Bass, Middle and Treble. The 1962HW's
Tremolo circuit is governed by Speed and Intensity
controls.
Over the years the Tremolo circuit has been the main
target for many design improvements. However,
despite the Tremolo being reconfigured to give an
undoubtedly superior effect, its connection to the
signal path was also changed which, in turn, had a
sonic influence. For this tonal reason, we've reverted
back to the original valve Tremolo circuit as it's
undeniably part of the 1962's "mojo".
The transformers are supplied by our long-time
partners at Drake who manufactured the originals all
those years ago. To add to the authenticity of these
all important components, the Drake engineers
used the original designs and worked meticulously
to duplicate the originals. Needless to say, with
the exception of a few necessary adjustments to
satisfy strict modern safety standards, the resulting
transformers are as close as humanly possible to the
originals.
The two 12" Celestion G12C "Greenback" speakers
housed in the 1962HW play a vital tonal role. They
have been sonically matched to the amplifier in
order to re-create the most authentic "Bluesbreaker
tone" possible.
2061X
The 2061X is an all-valve, 20 Watt, two-channel head
with no negative feedback in its cathode-biased
output stage. As you can see from its front panel
layout, the 2061X is an extremely straightforward
amplifier with both of its channels only boasting a
Volume and Tone control each.
2
Unlike its 18 Watt predecessors which boasted
an EZ81 rectifier, the 2061X features a solid-state,
silicon diode rectifying device, and is a much more
aggressive and surprisingly modern sounding
amplifier, while still possessing that unmistakable
and highly desirable, vintage all-valve tone.
2245THW
The 2245THW can be thought of as either the original
2245 with added tremolo (hence the 'T' in the model
name), or as a head version of the 1962HW. Either
way, all the features and components (minus the
speakers of course) are identical to the 1962HW.
1959HW
As is now rock folklore, the 1959 came to be when
The Who's guitarist, Pete Townshend, approached
Marshall in the mid '60s and asked Jim to build him
a 'weapon' that would allow him to play so loud that
he wouldn't be able to hear what the members of the
audience were saying, should they have the sheer
audacity to talk whilst he was performing! Jim and
his team obliged and within weeks of Pete's request
one of rock's most instantly recognisable icons was
born - the 100 Watt Marshall stack.
The 1959 head first saw the light of day in late 1965
and was affectionately dubbed the Plexi because
of the material used for its front panel. Although we
continued to build 1959s, the now legendary Plexi-
era came to an end in July 1969 when we started
using gold anodised aluminium panels instead of
Plexiglas. While all original Plexi 1959s are held in
the highest esteem, several subtly different but
tonally significant circuit variations existed - the
most celebrated and revered versions being those
made between 1967 and 1969.
The 1959HW is a Class-A/B, all-valve, 100 Watt, two-
channel head. The circuit we have revisited for the
1959HW boasts several 'tonally significant' variants
when compared to the slightly later circuit we use for
our critically acclaimed, standard-production Plexi
re-issue - the 1959SLP . The most sonically relevant
technical departures in question lie in the negative
feedback circuit.
As you can see from its front panel layout, the
1959HW is an extremely straightforward amplifier. Its
two channels - Channel I and Channel II - each have
two inputs (High and Low sensitivity) and separate
Volume controls, while sharing the amplifier's
four tone controls: Presence, Bass, Middle and
Treble. Like all Marshall, all-valve amplifiers, the
1959 sounds at its very best when turned up full -
and because of its conservative power rating and
astonishing projection, is a formidable live amplifier
in even the largest of venues.
3
Publicidad
