Kustom guitar amplifiers

Kustom guitar amplifiers DEFAULT

Kustom Amplifiers and Effects

There are many electronic instruments used in modern music, from theelectric guitarand bass to keyboards and even orchestral strings such aselectric violinsand upright basses. Most of these instruments cannot produce sound acoustically - instead, they rely on amplifiers and speakers. Some acoustic instruments can also take advantage of amplifiers, ifpickupsare built-in or added-on. Amps, as they are often called for short, come in many varieties, all of which are based on one of two platforms: vacuum tubes or solid-state circuitry. Although tubes are older technology, they remain popular due to the warmth they impart to the sound. Solid-state amps, by contrast, produce very clear tone, which makes them well-suited to modeled instruments like keyboards and electronic drums, as well as high-powered setups like those used for the bass.

An amp may be packaged as an all-in-onecombo amplifierwhich contains the electronics and speakers, or as an assembly comprising anamplifier headand one or morespeaker cabinets. Typically, combo amps are used for smaller venues or for recording, while "amp stacks" made with heads and cabinets are employed for very large concerts. Most amp manufacturers make models of each type, including popular mainstream marques likeOrange,Fender,Marshalland 65amps as well as high-end boutique brands such asFriedman. In some cases, amp builders specialize in specific technologies. For instance, Hughes & Kettner is staunchly devoted to tube amps, whileLine 6is a pioneer in the field of modeling amplifiers: solid-state amps that emulate the tones of other amplifiers, usually hard-to-find vintage units.

Between the instrument and its amplifier, a musician may add effects units to further customize his or her sound. Effects generally come in the form ofpedals, and many are considered must-have equipment. For example,overdrive pedalslike the venerable Ibanez Tube Screamer are responsible for the signature distortion of rock music.Wah-wah pedals, such as theDunlop Cry Baby, allow dynamic pitch adjustments and were made famous by artists like Jimi Hendrix. Pedals from mainstream manufacturers such asBoss,Electro-Harmonixand Markbass may be used alongside boutique brands like Catalinbread and Fulltone, and collections of effects are often mounted together on pedalboards to simplify organization. A singlepedalboardmay include a wide variety of effects, fromtuner pedalsto compressors and limiters to reverb, chorus and echo pedals and more.

Sours: https://www.musicarts.com
In the late 1950’s Bud Ross was playing in a band. Mr. Ross was familiar with electronics and somewhat of an entrepreneur.

His first attempt at making an amplifier was to save money for his band. Due to word of mouth there was a demand for his amplifiers. He went on to make and sell more. Within five years he had established his own company which he named Kustom Amps.

This was the era when transistorized electronics was new. I can recall Dad bringing home this amazing small transistor radio.

All of Ross’s amplifiers used only transistors instead of tubes. In the mid 1960's we didn't care if the amp had tubes or transistors. We wanted big, clean and loud.

Fender came to the transistor market in the mid-1960’s and failed miserably, due to their amplifier line which seemed to have acquired a bad reputation for not being dependable. But in 1966 Bud Ross hit the jackpot. His amps and speaker cabs were incredibly well constructed and many of his early products are still in use today despite being forty to fifty years old and having little or no maintenance.

The Kustom amplifier chassis was made of steel. The cabinets used wooden frames. All were covered in a vinyl material known as naugahyde that was applied using a tuck and roll covering design. Naugahyde is a trademark of the Uniroyal company which was Kustom’s supplier. Beneath the vinyl was a poly-foam sheet. This was similar to what was being used in automobiles from that era.

These amplifiers/cabinets were works of art. The naugahyde came in red sparkle, blue sparkle, gold sparkle, teal (which was called cascade sparkle), grey (which was called charcoal sparkle), white (which was called silver sparkle), and flat black.

Not only did Ross build amplifiers, but he also built public address systems using the same design. Ross did all of this from a small factory in the small town of Chanute, Kansas.

There was nothing similar to a Kustom amplifier. It was unlike anything Fender or Gibson made. Although Vox and Marshall would be on the scene in a few years, Kustom was to be popular until the company folded, because they were different. They sounded great and that’s all we cared about. Besides that, these were huge impressive amplifiers.

Many came with three or four 12” Altec Lansing speakers. At the time Altec Lansing and JB Lansing or JBL were THE top of the line speakers providing distortion free sound.

The success of his amplifiers allowed Ross to diversify into manufacturing radar and car monitors that were used by law enforcement.

Many artists of the day used Kustoms since they created a beautiful looking back line.

John Forgarty of out of Creedence Clearwater Revival is still using a Kustom K200 A-4 (100 watt) amplifier. This 1968 model had the usual reverb and tremolo/vibrato and also harmonic clipper and boost controls. Kustom amps came with anywhere from 50 to 100 watts.

The oldest ones came with a black plexiglass front plate with the logo in the center and also a power/polarity three was toggle switch on the back and two arms to wrap the power cord around while transporting the amplifier. The control knobs were in two rows.

Other users included Motown bass player James Jameson, Sheryl Crow, Waylon Jennings, Leon Russell, Johnny Cash, Roy Clark, The Jackson 5, Carl Perkins, and The Carpenters. The original Kustom amplifiers will say Kustom by Ross.

Bud Ross with Kustom Kat

In an original promotion Kustom gave away "Kustom Kats" with the purchase of an amplifier. I had one of these and gave it away to my girlfriend.

Although I have never seen any amps other than guitar and bass amplifiers, I’ve read that Ross also made amps for classic guitar.

Before synthesizers became affordable and plentiful, we had combo organs. Kustom made two versions of organs.

Unfortunately Bud Ross was a compulsive gambler and gambled away his company in a poker game. The company was picked up by a conglomerate and changed hands a few times.

Kustom PA

The company was eventually sold to the Baldwin Piano Company of Cincinnati Ohio. At the time Baldwin was venturing into the guitar business by purchasing Burns Guitars and its inventory. Could Kustom amp schematics be the basis of Baldwins amplifiers? I don't know. Baldwin failed in the guitar market and sold off much of its stock.

At that time an employee named Bob Monday purchased the naming rights and inventory of Kustom. Bob would travel around to guitar shows and sell off inventory piece by piece.

In 1924 a musical instrument and supply manufacture known as Davitt and Hanserstarted up in the musical instrument business. They eventually moved to a warehouse in the Delhi Township in the western section of Cincinnati. By the late 1980’s they had purchased the Kustom name and began importing solid state amplifiers with the Kustom name.

1990 Kustom Amplifier
These amps looked nothing like the ones Bud Ross made. There was some interest in their products. In 2005 Davitt and Hanser got serious about Kustom amps and started experimenting with different models.

One of their most popular was a small 15 watt solid state practice amp with a sparkle tuck and roll covering.

Davitt and Hanser also came out with a large model tuck and roll model tube amp and P.A System. The amplifier looked and sounded great, but wasn’t a success, perhaps because it was made in China at a time that Chinese products were deemed inferior. Within just a few years, most major musical instrument manufacturers all sell Chinese manufactured products with their logo. In my opinion Kustom put this product out a few years too early.

Recently Kustom revamped their line-up of electric tube and solid state amps and acoustic amplifiers. The amps are excellent, especially the Coupe models that have somewhat of a design reminiscent of tuck and roll on the amps topside.

Altec Lansing no longer manufactures guitar speakers. These new version amplifiers use Eminence speaker which are made in Eminence Kentucky about 100 miles south of Cincinnati Ohio.

Let's get back to the Ross Kustom line.

In the 1970’s Kustom came out with a product line under the Kasino name that produced guitar/bass amplifiers and P.A. systems.

Shortly after losing the Kustom Company, Ross moved to Los Angeles and started Road Electronics which manufactured Road Amplifiers. These are fairly obscure, but they were definitely made by Bud Ross.

For a brief while Kustom produced a line of it’s own guitars that were also made in Chanute Kansas.

It is my understanding Semie Moseleyhad a hand in the Kustom guitar design. Moseley is credited in a Vintage guitar interview as having worked for or consulted several guitar manufacturers.

I have covered Wurlitzer guitars in a prior post. The Wurlitzer Company was also a Cincinnati based piano and organ company.

Wurlitzer subcontracted it’s line of guitars through a Kansas manufacturer named Holman-Woodell.

One of their designers was a shop-teacher/woodworker named Doyle Reading. Reading was a finger picking style guitar player.

In 1967 he was offered a job with Bud Ross and his company and left Holman-Woodell.

Reading went to work building a guitar which was a much different looking shape than the Wurlitzer.

It was a semi-hollow body instrument with a cats-eye sound hole on the upper bout and controls on the lower bout, which gave the appearance of a Rickenbacker style guitar.

The guitar came with dual single coil DeArmond pickups, a more or less Gretsch style adjustable bridge and a control panel on the guitars scratch plate that included individual volume and tone controls for each pickup a Gibson style toggle switch and a front mounted input jack and of course the Bigsby. The bolt-on neck was topped with a rosewood fretboard inlaid with four dots for each position marker below the 12th fret. The 12th fret had 3 position marker and subsequently there were 2 markers at the high G and high A fret, then one each at the B fret and C sharp fret. The neck was bound and had a steel nut.

The headstock shape is somewhat similar to the Moseley design, with it’s curved opposing sides.

The guitars came in several different coulors including natural, white, blue, wineburst aka watermelon burst, cherry-orange suburst, natural ash, black ash and white ash.

The guitars were also produced with or without the Bigsby. The non-Bigsby models bore a trapeze tailpiece.

Kustom is now currently owned by HHI Hanser Holdings Incorporated.

I must give the company credit. Hanser has been continuously innovative in maintaining Kustoms reputation and putting out excellent products.

Visit Kustom's web page
©UniqueGuitar Publications (text only)

Scotty Anderson uses this Kustom Amplifier on all of his gigs.$$$$

Sours: https://uniqueguitar.blogspot.com/2010/10/kustom-amplifiers-and-kustom-guitars.html
  1. Nelson sprinklers manual
  2. Walmart sunglasses
  3. Oliver 1755 parts
  4. Ups hours naples fl

Kustom PA4EX 4-Channel MIC / LINE Mixer

  • MONO output that gives you more channels with Volume, Bass and Treble EQ controls to make any system expand 
  • Works as a standalone mixer
  • Gives you the extra channels you need for a perfect mix

Kustom KXB1 Bass Combo Amplifier, 10-Watt, 1 x 6" Speaker

  • Kustom® KXB Series amplifiers are focused on producing great tone.
  • The KXB1 is a 10-watt bass combo amplifier with a 6-inch Kustom speaker and Bass, Mid and Treble controls.
  • It is designed to produce quality tones quickly and effectively.
  • Whether you need a small amp for practicing at home or on the road, the KXB1 will deliver the tone and reliability you need.

Kustom KG1 10W 1 x 6" Guitar Combo Amplifier

  • Although it may be small, the Kustom® KG1 guitar amplifier is designed to deliver rock-solid tones with rugged dependability and intuitive operation.
  • Its format is a combo amplifier with 10 watts of output power and a six-inch Kustom speaker.
  • The KG1 offers sweet, full-bodied clean tones.
  • And when the Gain switch is activated, you can dial in anything from Classic Rock tones to the heaviest, modern Metal sounds.

Kustom DEFENDER1x12 30 Watt 12" Speaker Cabinet

  • The Defender 1x12 is a solidly constructed guitar speaker cabinet with a single Kustom® 12-inch speaker.
  • It handles 30 watts RMS and is rated at 16 ohms.
  • The speaker itself is designed to produce rich, articulate clean tones and yet responds well to overdriven signals.
  • The cabinet utilizes a speaker baffle board made of plywood, which provides enhanced resonance.

Kustom Defender 5H Low Wattage All-Tube Amplifier Head, 5 Watt

  • A low-wattage all-tube amp head that provides authentic, cranked up tube tone at modest volume levels
  • The new Defender 5-watt Model 5H guitar head has one knob! (Volume)
  • The Defender 5H head is designed to match perfectly with the Defender 1x12 speaker cabinet.
Sours: https://www.guitarcollection.com.my/
Kustom Amplification Documentary

Kustom Amplification

Kustom 200 B-4 amplifier in black Naugahyde, purchased new in 1972.
Kustom 200 Bass Amplifier, 100 wattsRMS, two 15" speakers, cascade sparkle, 1971

Kustom Amplification or Kustom Electronics is a manufacturer of guitar and bass amplifiers and PA equipment and accessories. Since 1999, Kustom has been owned by the Hanser Music Group headquartered in Cincinnati, Ohio.


"Kustom" was a brand and trademark of Ross, Inc., a company founded in 1964 by Charles A. "Bud" Ross in Chanute, Kansas. The main selling point of Kustom amplifiers was their unique appearance: Ross, Inc. was the first to mass-produce amplifiers covered in roll and pleat, popularly referred to as "Tuck-And-Roll" naugahyde, similar to hot-rod automobile upholstery popular at that time. The amplifiers featured solid-state circuitry instead of vacuum tube-based designs so common in the 1960s.

Ross, Inc. operated in a factory in Chanute, Kansas. The company produced several models of guitar amplifiers, bass amplifiers, organ amplifiers, Guitars, Basses, and keyboards and P.A. systems. There was also a line of guitars with DeArmond pickups in a variety of colors, including the infamous Pink to Green sunburst that fans have affectionately named "Watermelon Burst." In an original promotion Kustom gave away "Kustom Kats" with the purchase of an amplifier. The Kustom (The Nauga, or Naugie) Kats were from the same Uniroyal Naugahyde that Kustom used to cover their products. The original Kustom amps came in a variety of colors including Red Sparkle, Blue Sparkle, Gold Sparkle, Cascade Sparkle (teal), Charcoal Sparkle (grey), Silver Sparkle (white), and Flat Black (which contained no glitter). Eventually the company branched out to produce organs, drums, microphones, and guitars.

Charles "Bud" Ross produced the first Kustom amp which comprised two fifteen inch speakers mounted side-by-side in a horizontal white sparkle cabinet with and a non-Frankenstein head. The first amp was built for a member of the Nebraska Hall of Fame and is now a featured display in the collection of Rainbow Recording Studios in Omaha, Nebraska. The company was owned by Bud Ross from 1964 until June 1972, when Ross sold it to Baldwin Pianos. The sale was finalized just prior to the 1972 Summer NAMM show where the metal/slant face Kustom amps were introduced. Later Bud Ross established a fairly lucrative business which manufactured police handheld radars. During the following years the factory in Kansas and the associated trademarks would change ownership numerous times. The most notable merger happened with Gretsch, which at the time was owned by Baldwin.

Aside from the Kustom brand, Kustom Electronics also began to manufacture an amplifier line called Kasino. The brand was established in 1972. These were internally the same as Kustom amplifiers but were covered with traditional Tolex material as seen on Fender style amplifiers. Kasino amps were used mainly by country music performers who felt the regular Kustom Tuck-And-Roll Naugahyde models were too flashy. Another reason for establishing a parallel brand was simply to gain a greater share of the amplifier market. One distributor could sell the Kustom brand and one could sell Kasino without competing with each other. Waylon Jennings was an early supporter of the Kasino line. Kasino amps were discontinued in 1975 when Kustom Electronics once again changed ownership.

Other parallel brands of Kustom Electronics were Klassic and Camco. Klassic was a brief venture that reputedly fell into trademark disputes with Peavey Electronics who happened to own the "Classic" trademark. Camco was a brand used for drums.

Amplifier component, two channels

Some affiliated companies and trademarks were Woodson and Legend. Woodson Electronics, Inc. from Bolivar, Missouri was an independent business entity founded by Mike Woodson in the early 1970s (around the same time when Kustom was acquired by Gretsch). Mike was Bud's brother-in-law and all amps and P.A. systems were manufactured in Bolivar. Several Kustom employees moved to Bolivar to work for Woodson. Legend hybrid amplifiers of Legend Musical Instruments, Inc. from Syracuse, New York were also manufactured by the Kustom factory. Reputedly these were engineered by Richard Newman (an employee of Bonne Music Shop) and a former employee of Woodson Electronics.

Sheryl Crow (right) with Kustom amps

Kustom abandoned the tuck-n-roll upholstery in the late 1970s. Around the same time the company also changed its logo to a bigger letter "K." Mesa Boogie "Mark" series amplifiers appeared in the late 1970s generating a huge impact. Everyone wanted to clone the popular design, including Kustom Electronics. Kustom's answer to the Mark series was a hybrid amplifier series called "K-Studio." The K-Studio was among the last traditional Kustom products, as subsequent Kustom trademark owners no longer had any affiliation with the old Kansas-based company.

Rockabilly and Motown musicians originally used Kustom amplifiers. Other artists known for using the Kustom brand for live performances are Creedence Clearwater Revival, Hoyt Axton, The Altamonts, Dusty Murphy, 3 and Sheryl Crow. Some of the most famous Kustom P.A. users include Creedence Clearwater Revival, Leon Russell, Johnny Cash, Roy Clark, The Jackson 5, Carl Perkins and The Carpenters. CCR toured from mid-1969 - 1972 using their own massive Kustom 400 PA system due to a lack of quality backline PA systems in venues at that time. As a result, CCR concerts were superior in sound quality, but the cost of transporting the equipment made touring a money losing deal for the band.

Hanser Re-issues

Hanser Holdings, Inc. from Cincinnati, Ohio bought the bankrupted Kustom in the late 1980s. In 1994, Hanser produced some small solid-state amplifiers featuring tuck-n-roll covering under the Kustom brand. These amps were manufactured in China.

From 1999 to 2001 Hanser continued producing Kustom brand tuck-n-roll amplifiers including a full tube guitar amplifier, 100W and a 50W solid state reverb amps called TRT100 and TRT50, a 400W hybrid bass amplifier TRB400H, as well as 2x12", 4x12" and 2x15" speaker cabinets in original tuck-n-roll style. List prices were in 2000: $999.95 (TRT100), $899.95 (TRT50), $899.95 (TRB400H) $399.95 (2x12"), $599.95 (4x12"), $749.95 (2x15").

Krossroad Since selling Ross, Inc. Bud Ross has had numerous ventures in MI industry (including Road Electronics and Ross Systems). His only venture resembling traditional Kustom amplifiers was a brief venture with his son Andy Ross. The duo founded Krossroad Music Corporation in the early 1990s and for a brief period the company manufactured a series of solid-state bass amplifiers featuring traditional Kustom-style tuck-n-roll cosmetics. The amplifiers were even marketed with the Kustom Kat mascot. The venture proved unsuccessful, however, and within a few years the company had ceased to exist.


As noted above, Kustom also produced a line of guitars in the 1967-1969 designed by Doyle Reading who also designed guitars for Wurlitzer. Model numbers were similar to the amplifiers of the time, with the K-200 being a semi-hollow body instrument with a cats-eye sound hole giving it a somewhat Rickenbacker-style look. It was equipped with two single coil DeArmond pickups, a bound neck, a steel nut, and a rosewood fretboard with multiple dot inlays beginning with four for each position marker below the 12th fret. The guitars came in different colors including natural, white, blue, wineburst aka watermelon burst, cherry-orange sunburst, natural ash, black ash and white ash, and were produced with or without a Bigsby tailpiece.


External links[edit]

Sours: https://en.wikipedia.org/wiki/Kustom_Amplification

Amplifiers kustom guitar

Classic Gear: 1970 Kustom Electronics K200B

Solid-state guitar amps were touted as “the way forward” when they debuted in the 1960s, but the fad soon fizzled. Still, a few brands earned praise and lasting respect on the basis of either their sounds, appealing looks or both. 

Kustom Electronics is one of the few companies that sat firmly in the “both” category, and its products rocked the backlines of many noteworthy stars in the late ’60s and early ’70s. 

Today, most guitarists know Kustom’s early creations as the Tuck ’n’ Roll amps, due to the striking upholstery technique borrowed from the automotive industry that was used to apply their padded Naugahyde coverings.

Kustom offered those vinyl wraps in a range of colorful metallic-sparkle options, including the Charcoal Sparkle shown on this 1970 Kustom K200B amp. However, several serious players of the day knew Kustom had something to offer on the inside, too.

The amps didn’t deliver the massive crunch and screaming lead tones that led so many other guitarists of the time to Marshall and Hiwatt amps, but they sounded bold and punchy, and packed a haunting tremolo effect.

Back in the day, Conway Twitty, Johnny Cash, Creedence Clearwater Revival’s John Fogerty, Leon Russell, the Grateful Dead, most of the Jackson 5 and many others embraced the Kustom look and sound, while Sheryl Crow and Mike Campbell took to these distinctive amps in later years.

This K200B was billed as a 200-watt model, although a 100-watt RMS rating might have been more realistic; many solid-state amps of the day were advertised using their peak power rather than RMS power.

The two-channel head has one Normal channel with controls for volume, bass and treble and a bright switch, and a Bright channel with additional speed and intensity controls for its tremolo, as well as reverb.

It stands on a matching ported 2x15 cab, although some were sold with mammoth 3x15 cabs. Inside the chassis is old-school solid-state construction. It looks less like the innards of your defunct VCR - the way many modern-day solid-state amps do - and more like the circuit layout of a tube amp from the era, minus the tubes.

Construction was relatively robust, and these things tended to do pretty well on the road, although they were certainly manufactured with an eye on the bottom line. With no master-volume controls at all, Kustom amps were intended for loud, clean playing. Crank them up, though, and they’ll exude some beefy, blocky crunch, too.

Kustom was a brand name of Ross Inc, a company founded by Charles A. “Bud” Ross in Chanute, Kansas, in 1964. Ross himself was the consummate “ideas man,” an entrepreneurial spirit who didn’t let a lack of know-how slow him down. 

“He had no background in electronics,” his grandson Cameron tells us. “He played bass, and he didn’t like a lot of the amps that were available at the time, and that’s how he started it. 

”He worked for a company selling garage doors, and the guy who owned that company said he would help him make an amp, because he had this idea and wanted to move to solid-state.” 

With no master-volume controls at all, Kustom amps were intended for loud, clean playing. Crank them up, though, and they’ll exude some beefy, blocky crunch, too

At the time, the state’s Small Business Association was offering loans to encourage people to start businesses in Chanute. Quitting his day job, Bud and his wife moved from Kansas City to Chanute, roughly 120 miles south, to take advantage of the opportunity.

“It could have been any town in southeast Kansas,” Cameron says, “but they picked Chanute because of a Mexican restaurant they liked. They rented a small grocery store and started making the amps there, and they lived in the apartment above it.”

The distinctive look of Kustom amplifiers came about via another Bud Ross brainstorm.

“He met a guy who had experience with upholstery work on automobiles, and liked that look,” Cameron explains. “He thought, This is very eye-catching, I think there’s something here. So again, that just goes to his eye as an entrepreneur and an innovator in the industry. He saw things differently from others.”

Essential Ingredients

• Two-channels, all solid-state circuitry

• Volume, bass, treble, tremolo speed and intensity, reverb and bright switch

• Charcoal Sparkle Naugahyde “Tuck ’n’ Roll” covering

• 100 watts RMS, 200 watts “peak music power”

• Matching ported 2x15 speaker cabinet

In 1972, Ross sold the Kustom brand to Baldwin Pianos in Cincinnati, Ohio, and formed Ross Musical Products to develop and manufacture a line of effects pedals.

One of these would be the legendary grey Ross Compressor, the rich- and juicy-sounding comp made famous in the late ’90s by Phish’s Trey Anastasio and later cloned and copied by virtually every boutique pedal maker.

Following that venture, Ross invented a handheld police radar gun that would go into wide distribution. Since then, Kustom amps have been manufactured by many other holders of the brand, including its current owner, Hanser Music Group, in Cincinnati, Ohio.

Bud Ross died in March 2018. Shortly after his passing, Cameron Ross and his business partner Ben Brazil formed Ross Audibles and reissued the Ross Compressor and Ross Distortion pedals. Of his grandfather’s work and impact on the music industry, Cameron concludes simply, “He loved what he did.”

Sours: https://www.guitarplayer.com/gear/classic-gear-1970-kustom-electronics-k200b
Kustom KG100FX 212 Combo Amplifier - Review - Tom Quayle


Similar news:


295 296 297 298 299