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This authentic reiteration of an SL/A head made pre-July of 1969 is part of an ongoing series, which will feature handwired re-issues of revered historical Marshall products. The reason I have decided to do this is simple - public demand! One of the things I love doing most is meeting and talking to Marshall users at the many trade shows, music fairs and shop appearances I do all over the world every year. A subject that almost always seems to come up in conversation at such events is hand-wiring. In fact, in recent years so many people have asked me to please start building handwired re-issue products that I’ve lost count! Not surprisingly, given its much discussed tonal legacy and impressive list of groundbreaking, world- famous users, the most frequently requested vintage Marshall amps to appear in such a guise is an early version of the model 1959 Plexi head you've just bought - hence its inclusion as one of our first handwired re-issues. Just like its well-known vintage predecessor, the JTM45, the 1959HW is relatively simple in terms of controls, features and circuitry, but sounds and feels fantastic. To recreate the incredible tone and feel of the original, as well as its eye-catching good looks, my team of designers has gone to enormous lengths to seek out and reproduce all of the original components and materials plus revisit the original methods of construction we used back in the mid 1960s. From the handwired tag-board circuits to the custom-manufactured Dagnall output and mains transformers, I am extremely proud of the incredible accuracy and authenticity of this re-issue. I sincerely hope that this handwired landmark of Marshall history will provide you with countless hours of playing pleasure. Yours Sincerely, Introduction Overview: Historical, Tone and Tech Talk The 1959HW is a Class-A/B, all-valve, 100 Watt, two-channel head. When building this handwired re-issue of an amazing sounding, original Plexi head made in 1969, our goal was both obvious and simple: to make it as close to the original as possible in terms of components, circuitry, constructional methods, materials, specifications, aesthetics, signal path, performance, tonal characteristics and feel. We went to incredible lengths to achieve maximum authenticity and are delighted to report that our suppliers were equally as exacting in their tasks - none-more-so than our long-time partner, Dagnall Transformers. 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. As Jim Marshall has already stated, 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 circuit we have revisited for the 1959HW boasts several of said ‘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. Where relevant, specific details concerning these ‘deviations’, and others, are inserted into the text labelled as ‘Tonal Notes’. 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. A truth its impressive history has proven time-and-time again, from the mid ’60s to current day. In keeping with its other non-master-volume, all-valve, Marshall brethren such as the JTM45 head and the 1962 ‘Bluesbreaker’ combo, the 1959HW's aggressive yet sweetly distorted, harmonically rich, thick, musical tones result from its power valves being overdriven. As a result, when ‘cranked’ the 1959HW’s instantly recognisable, guttural, ‘punch you in the chest’ roar is incredibly touch-sensitive, cleaning up or, i...