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8) Lead Volume/Pull Bright—The Lead Volume control adjusts the gain
at the input of the amplifier when the Lead channel is active. It is used in
conjunction with the Lead Master to adjust the amount of distortion and
volume for the channel. For cleaner sounds, this control would be set to
lower settings and the Master set higher...for slight breakup, the controls
would be set in their middle ranges...for heavier distortion, set the Lead
Volume higher and the Master lower. Pulling the Pull Bright will increase
the high frequencies of the signal, while also reducing low frequencies
for a chunkier, tighter attack. This function is very useful for fine-tuning
the amp’s tone and feel for different guitars.
9) Lead Master—The Lead Master sets the overall volume of the Lead
channel, and can be used to balance the volumes between it and the
Rhythm channel. The interactions between Volume and Master are
described in detail in the previous section entitled 8) Lead Volume/Pull
Bright.
10) Bass EQ—This passive EQ adjusts the low frequency equalization of
the amplifier. It interacts with the Middle and Treble as described in the
12) Treble EQ section. For a tighter low end, use the Bass EQ set to lower
settings. This is particularly helpful when using the amp at very loud set-
tings. This EQ works for both Rhythm and Lead channels.
11) Middle EQ—This passive EQ adjusts the midrange equalization of
the amplifier. It interacts with the Bass and Treble EQ as described in the
12) Treble EQ section. For a heavier, more distorted sound, set the Middle
lower. For more of a vintage-style, cleaner sound, set the Middle higher.
This EQ works for both Rhythm and Lead channels.
12) Treble EQ—This passive EQ adjusts the high frequency equaliza-
tion of the amplifier, but also interacts with the Bass and Middle controls
as follows: As the Treble is increased, the Bass automatically decreases
and the Middle slides down in frequency. Conversely, if the Treble is
decreased, the Bass automatically increases and the Middle slides up in
frequency. This interaction is typical of vintage-style passive EQ, and is
responsible for the increased effectivity of such a simple system.
13) Reverb Intensity—The Reverb Intensity controls the amount of re-
verberation effect in the amplifier. This effect is created by an authentic
Accutronics spring reverb pan, and sounds essentially like playing the
amp in a large room. The Reverb can be defeated with the footswitch, or
by turning the Intensity control fully counter-clockwise.
14) Reverb Tone—A traditional Kustom feature, the Reverb Tone allows
the user to fine-tune the sound of the reverb effect. Turning this Tone fully
clockwise yields a very bright reverb effect with emphasized “spring.” By
turning the Reverb Tone down, a warmer, less-springy sounding reverb
effect results. The warmer reverb tone allows for more reverb intensity
without dominating the sound.
15) Jeweled Pilot Light—Indicates that the amplifier’s power switch is
in the On position.
16) On/Off Power—Provides AC power to the amplifier when in the
“On” position—switched to the left.
17) Standby—This allows the amplifier to be powered up, but with the
tubes in a non-operational mode. The Standby can be used instead of the
power switch between performance sets, since it allows the amp to “shut
down” while keeping the tubes warm and ready to go. It’s also best to
power the amp up with this switch set to the right/off position until the
tubes have had a few minutes to warm up, although modern tubes are
more tolerant of this.
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‘ 3 6 C o u p e C o n t r o l P a n e l s