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Inspired by Pete Townshend's quest for power, this is a half-stack for heavy hitters.
Marshall 1959SLPX Vintage Series 100W Tube Head
This all-tube tone machine cranks out fabulous lead distortion and tight crunch exactly like the original model from the 1967 to 1969 era. Inspired by Pete Townshend's unquenchable thirst for volume, this guitar amp head features 100W of power from 4 EL34s and 3 ECC83s in the preamp--the exact configuration of the original. True bypass series FX loop, 3-band EQ, and presence control.
Marshall 1960TV Cabinet
The 1960TV speaker cab has an angled front; four 12" Greenback speakers; and a warmer, thicker sound than the 1960A. This 100W, mono, 16-ohm cabinet is 3 inches taller than a standard 1960A 4x12 cabinet which results in well defined mid range and a lowered resonant frequency for more prominent lows. The 25W Greenbacks are less in your face than the 75W Celestions in the 1960A. Although not a reissue--it was never offered in the past--this cab recreates the classic look and tones of yesteryear.
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Reviewed by 1 customer
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Comments about Marshall Plexi 1959SLP and 1960TV Tube Guitar Half Stack:
A pcb 1959SLP and 1960TV cab have been my main rig for four or five years now. Don't feed this thing anything other than boutique or good quality equipment. If your going to use effects, I suggest getting a real vintage tape echo and feeding it through either the front end or use a slave setup where the effects are after the amp. This amp is very loud and unforgiving. I will explain my amps behavior as I run it with a strat loaded w/ lindy fralin vintage hots fed into the bright channel. Stock, once you turn it to around 3, it will be very loud, bright, and clean. The loud kind of clean that will take your head off so I tend to stand to the side of it. It has a bright cap installed which makes the amp very trebly and while many people are put off by this I believe it is done for a reason. If your going to play clean with a band in a loud environment, the highs are going to have to pop or it will be lost in the mix. Another reason for the brightness is to keep gibson les pauls from becoming muddy, so don't be put off by the high end of this amp. Its like that for a reason, and if your ears are overloading, stand to the side of the cabinet. At 5 or 6 it starts to compress slightly, bottom end blooms, and you get a slight grit. It is well balanced and reflects very accurately what you play and your signal chain's quality. At this volume, depending on where you stand, you can acheive an endless sustain once you find a note the tubes like. From 7 on up to 10, the amp becomes more compressed like what you'd expect from a higher gain amp. The bottom end becomes tremendous, the mids and highs slice right through the mix there is no doubt about that. But at that volume, there isn't much it wont slice through. There is a lot of opportunity for this amp to sound like your favorite records from hendrix, molley hatchet, etc. There is also a lot of opportunity for this amp to sound bad if its used wrong. Its not a very friendly amp unless your a very accurate and skilled musician, and also able to control such loudness. If your pickups, effects, cables, tubes, tuning/intonation etc are cheesy or overlooked, it will be reflected in the final sound. This amp is hard on your el34s depending on how hot you run it. I would advise having it looked over/serviced every 20-40 hours of use depending on how hard you drive it. If the tubes are not biased correctly or are nearing the end of their life, this amp will totally lay down on you. Keep it correctly maintained, and keep an ear out for when the low end drops out, or the highs get non-musical as this is an indication it has eaten another set of el34s. Everything has to be done right on this one, to get the most out of it. I use the top left input, and havn't had much luck jumpering channels, as this seems to degrade quality of sound, and does nothing that channel one cant do once turned up. Don't expect to get the amp turned up past 5-6 in a club unless you have some way of attenuating the volume levels. The cab is really good looking and sits noticably taller than most 4x12 cabinets. I've compared this cabinet to a few others including orange and marshall. I've always come back to this cab probably because it is what I am most accustomed to. It seems more open than most other cabinets and the 25 watt greenbacks seem to sound much more articulated in the high end than the celesion 30 watters. Build quality is done right. Tolex and hardware on both the cabinet and head are not a thing to worry about. Tolex is thick and slick and doesn't tear or cut easily. Handles, pots, controls, grille, etc have held up very nicely while transported in soft cases on the road for several years. If you are playing really heavy music or would like to acheive a distorted sound at lower volumes, you would be much better off with say a Mesa Boogie rectifier series. I like to push the front end with a vintage tube screamer and the heaviest sound I can squeeze out of it is like Whitensnake or black sabbath. If you buy an attenuator and try to attenuate too much volume, it will not sound good. You have to either play it loud or play something else, so make sure it is fitting for you and your venues. Overall, the cleans are great if used right but not as good as high end Fender of Boogie. Distortion is non existant. Over drive is approaching early Van Halen at full-tilt though it would probably require some tweakin' and certainly PAF humbuckers.