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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 pre-
vious section entitled 4) 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 settings. This EQ works
for both Rhythm and Lead channels.
11) Middle EQ—This passive EQ adjusts the midrange equalization of the am-
plifier. 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 equalization 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 automati-
cally 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 reverbera-
tion 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 con-
trol 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 clock-
wise 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) Tremolo
—This control sets the intensity of the Tremolo effect. Tremolo
is also called Amplitude Modulation, since it is an effect that changes the am-
plitude of the dry signal using a low frequency oscillator, or LFO. This vintage
Kustom circuit uses the Speed control to set the speed of the oscillation, and can
be set from very slow to a very high speed.
16) Speed/Pull Active
—This control sets the speed of the Vibrato and Trem-
olo effects, which are synchronized. If the switch is pushed in, the Vibrato/
Tremolo circuit is not in the signal path. When the footswitch is engaged, it will
override the Pull Active switch if the Footswitch Assignment Switch is in the
Out position.
17) Vibrato
—This vintage Kustom circuit creates a pitch shift, otherwise known
as Frequency Modulation, since it affects the apparent frequency of the dry sig-
nal using the LFO. It uses the Speed control to set the speed of oscillation, and
when combined with the Tremolo control, can simulate many different effects,
from simple Tremolo, to phase shifter sounds, to rotary speaker simulations.
18) Jeweled Pilot Light
—Indicates that the amplifier’s power switch is in
the “On” position.
19) On/Off Power
—Provides AC power to the amplifier when in the “On”
position—switched to the left.
20) 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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‘ 7 2 C o u p e C o n t r o l P a n e l s