Kustom Double Cross Users Manual

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1

Table of Contents

Safety Information.............................................2

Front Control Panel........................................6

Rhythm Channel Controls..................................8

Lead Channel I Controls...............................10

Lead Channel II Controls.................................12

Mastering the Cross........................................14

Rear Control Panel..........................................16

Amp Specifications.........................................20

Signal Flow Diagram......................................21

© Kustom Amplification. All specifications are subject to change without prior notice.

Kustom Amplification

3015 Kustom Drive

Hebron, KY U.S.A. 41048

www.kustom.com

1.888.4KUSTOM

1.888.458.7866

2

FCC Statements

1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for

compliance could void the user’s authority to operate the equipment.

2. Note: This equipment has been tested and found to comply with the limits for a Class B digital de-

vice, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection

against harmful interference in a residential installation. This equipment generates, uses, and can radi-

ate radio frequency energy and, if not installed and used in accordance with the instructions, may cause

harmful interference to radio communications. However, there is no guarantee that interference will not

occur in a particular installation. If this equipment does cause harmful interference to radio or television

reception, which can be determined by turning the equipment off and on, the user is encouraged to try

to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is con-

nected.

• Consult the dealer or an experienced radio/TV technician for help.

3

Congratulations. You are now the owner of a world-class, all-tube,

3-channel guitar head. The Double Cross represents countless

hours of development in pursuit of tone and performance intended

to elevate the art of high-gain amplification to the next level. Learn

its controls and capabilities and be sure to experiment, as that’s the

best way to understand the amplifier and develop your own signa-

ture sounds. All of us at Kustom say “Thank You” for your purchase.

Welcome to the Kustom family!

4

Safety Information

5

Safety Information

6

Safety Information

7

Safety Information

8

1) NORMAL This 1/4-inch input provides full tonal response and

offers the same amount of gain as the Tight input.

2) TIGHT This 1/4-inch input “tightens” the attack response of

the entire amplifier to provide the chunkiest tone possible. It of-

fers the same amount of gain as the Normal input.

3) CHANNEL SELECTOR SWITCH This switch allows the user to

manually select the Rhythm, Lead I or Lead II channels. If the

Footswitch is plugged in, this front panel switch overrides the

Footswitch (Boost and Effects remain controllable by Footswitch).

When using the footswitch, set Channel Selector to “Footswitch”

position.

4) LEAD I These six controls plus the Cross and its four switches pro-

vide complete control over the tone, gain and attack characteristics

as well as the overall loudness of the Lead I channel.

5) RHYTHM These six controls and two switches control the tone,

gain and attack characteristics as well as the overall loudness of the

Rhythm Channel.

6) LEAD II These six controls plus the Cross and its four switches

provide complete control over the tone, gain and attack characteris-

tics as well as the overall loudness of the Lead II channel.

7) EFFECTS INDICATOR When lit, this indicates that the Effects Loop

is active.

Front Control Panel

12

13

611

910 78

9

8) BOOST INDICATOR When lit, this indicates that the Boost func-

tion is active.

9) BOOST CONTROL This adjusts the amount of footswitchable

boost and is particularly useful for solos. It provides up to 10dB

of “Master Volume” boost, regardless of which channel is active.

The boost is active if the footswitch is unplugged. The Boost oc-

curs after the effects loop, so no adjustment of your effects will be

neccessary.

10) MASTER This is a global master volume control which sets the

overall loudness of the entire amplifier. The Master is also after the

effects loop.

11) JEWELED PILOT LIGHT Indicates that the amplifier’s power

switch is in the “On” position.

12) STANDBY This allows the amplifier to be powered up, but with

the tubes in a non-operational mode. The Standby can be used in-

stead 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

left/off position until the tubes have had a few minutes to warm up,

although modern tubes are more tolerant of this.

13) POWER Provides AC power to the amplifier when in the “On”

position—switched to the right.

4

1

2

3

5

10

Rhythm Channel

The Rhythm channel of the Double Cross is far more flexible than

you might expect. It is NOT simply a clean channel. It takes you from

sparkling Country tones to classic crunch in the blink of an eye. In

particular, experiment with settings of the Gain and Volume controls in

tandem with the Drive and Bright switches. Try the sample settings to

hear the wide range of the Rhythm channel.

1) PRESENCE This controls the upper treble frequencies and can be

used to accentuate “percussive” tones such as your picking attack.

Alternately, by lowering this control, it can help soften biting tones

when desired.

2) TREBLE 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 automatically increases and the Middle slides up

in frequency. This interaction is typical of vintage-style passive EQ,

and is responsible for the increased efficiency of such a simple sys-

tem.

3) MIDDLE This passive EQ adjusts the midrange equalization of the

amplifier. It interacts with the Bass and Treble as described in the

Treble EQ section. For a heavier, more distorted sound, set the Mid-

dle lower. For more of a vintage-style, cleaner sound, set the Middle

higher.

4) RHYTHM INDICATOR The word “RHYTHM” lights up when this chan-

nel is active.

5) BASS This passive EQ adjusts the low frequency equalization of

the amplifier. It interacts with the Middle and Treble as described in

the Treble EQ section. For a tighter low end, use the Bass EQ set in

its lower range. This is particularly helpful when using the amp at very

loud settings.

6) VOLUME The Volume control sets the overall level of the Rhythm

channel and can be used to balance the volume between it and the

Lead channels. The inclusion of individual Volume controls for each

channel means that the Rhythm channel of the Double Cross can be

1 2 3 54 6 7 8 9

11

Rhythm Channel Settings

used for moderately distorted

sounds, rather than strictly being

a clean channel.

7) DRIVE When more gain is

desired, activate this switch by

pressing it downward. This will

maximize the amount of crunch

and overdrive in this channel, but

it can also be used for a fatter

clean sound when the gain is set

lower.

8) BRIGHT Activating this switch

will increase the high frequencies

of the signal, while also reduc-

ing low frequencies for a chunkier,

tighter attack.

9) GAIN The Gain control adjusts

the gain at the input of the am-

plifier and is used in conjunction

with the Volume control to adjust

the amount of distortion and vol-

ume for this channel. For cleaner

sounds, the Gain control should be

set in its lower range and the Vol-

ume set higher. For some break-

up, the Gain and Volume controls

should be set in their middle

ranges. For more overdrive, set

the Gain higher and the Volume

lower.

American CleanClassic ChimeBlack Angus

12

Lead I Channel

Strap yourself down, because here’s where things get intense. The

Lead I channel of the Double Cross offers a breathtaking array of

crushing modern tones that can be sculpted with stunning precision.

The key to unlocking its secrets lies in its Cross, a deceptively simple

but ultimately sophisticated tool that blends additional 12AX7 tube

stages, letting players actually modify the Gain, EQ and attack pa-

rameters of their amplifier. Master the Cross and you will master a

firestorm of tonal power. (For more information, see the “Cross” sec-

tion of this manual.)

1) PRESENCE This controls the upper treble frequencies and can be

used to accentuate “percussive” tones such as your picking attack.

Alternately, by lowering this control, it can help soften biting tones

when desired.

2) TREBLE 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 automatically increases and the Middle slides up

in frequency.

3) MIDDLE This passive EQ adjusts the midrange equalization of the

amplifier. It interacts with the Bass and Treble as described in the

Treble EQ section. For a heavier, more distorted sound, set the Mid-

dle lower. For more of a vintage-style, cleaner sound, set the Middle

higher.

4) BASS This passive EQ adjusts the low frequency equalization of

the amplifier. It interacts with the Middle and Treble as described in

the Treble EQ section. For a tighter low end, use the Bass EQ set in

its lower range. This is particularly helpful when using the amp at very

loud settings.

5) LEAD I INDICATOR The word LEAD I lights up when the Lead I

channel is active.

1 2 3

5

4

6

7 8

13

6) THE CROSS The Cross offers

these functions: (1) Bright:This

enhances high-end response and

tightens the low end. (2) Gain:

This boosts preamp gain. (3) Tight

Stage: Adds an extra 12AX7 stage

that provides a chunky, vintage-

style gain like a classic amp when

fully cranked. (4) Thick Stage:

Adds an additional 12AX7 stage

that generates rich, aggressive

tonal qualities with complex har-

monics. Each switch may be ac-

tivated by sliding it towards the

center of the Cross. (For more in-

formation, see the “Cross” section

of this manual.)

7) VOLUME The Volume control

sets the overall level of the Lead

I channel and can be used to bal-

ance the volume between it and

the other channels.

8) GAIN The Gain control adjusts

the gain at the input of the am-

plifier and is used in conjunction

with the Volume control to adjust

the amount of distortion and vol-

ume for this channel. For cleaner

sounds, the Gain control should be

set in its lower range and the Vol-

ume set higher. To increase distor-

tion, set the Gain higher and the

Volume lower.

Lead I Channel Settings

Cranked VintageThick ModernHeavy Dynamic

14

Lead II Channel

The Lead II channel is voiced differently from the Lead I channel, pro-

viding a classic high-gain “cranked amp” tone and a powerful contrast

to the Lead I channel. Although both Lead channels provide a dupli-

cate set of controls, you’ll notice they each have their own personality

and tonal characteristics. Experiment with both to nail the sounds in

your head.

1) PRESENCE This controls the upper treble frequencies and can be

used to accentuate “percussive” tones such as your picking attack.

Alternately, by lowering this control, it can help soften biting tones

when desired.

2) TREBLE 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 automatically increases and the Middle slides up

in frequency.

3) MIDDLE This passive EQ adjusts the midrange equalization of the

amplifier. It interacts with the Bass and Treble as described in the

Treble EQ section. For a heavier, more distorted sound, set the Mid-

dle lower. For more of a vintage-style, cleaner sound, set the Middle

higher.

4) BASS This passive EQ adjusts the low frequency equalization of

the amplifier. It interacts with the Middle and Treble as described in

the Treble EQ section. For a tighter low end, use the Bass EQ set in

its lower range. This is particularly helpful when using the amp at very

loud settings.

5) LEAD II INDICATOR The word LEAD II lights up when the Lead II

channel is active.

6) THE CROSS The Cross offers these functions: (1) Bright: This en-

hances high-end response and tightens the low end. (2) Gain: This

1 2 3

5

4

6

78

15

boosts preamp gain. (3) Tight

Stage: Adds an extra 12AX7

stage that provides a chunky,

vintage-style gain like a classic

amp when fully cranked. (4)

Thick Stage: Adds an addition-

al 12AX7 stage that generates

rich, aggressive tonal qualities

with complex harmonics. Each

stage may be activated by

sliding its switch towards the

center of the Cross. (For more

information, see the “Cross”

section of this manual.)

7) VOLUME The Volume con-

trol sets the overall level of

the Lead II channel and can

be used to balance the volume

between it and the other chan-

nels.

8) GAIN The Gain control ad-

justs the gain at the input of

the amplifier and is used in

conjunction with the Volume

control to adjust the amount of

distortion and volume for this

channel. For cleaner sounds,

the Gain control should be

set in its lower range and the

Volume set higher. To increase

distortion, set the Gain higher

and the Volume lower.

Lead II Channel Settings

Tight AggressionFluid Legato Unleashed Monster

16

Bright + Thick

Bright +

Thick + Tight

Bright + Gain +

Tight + Thick

Add GAIN back into your mix. This

setting blends the maximum

amount of … well, everything!

Yet another color for your

"Tone Palette."

Add TIGHT back into the mix.

This setting provides richness

for Rhythm playing, but keeps a

chunky, punchy tone to cut

through the mix. Notice how well

the amp responds to the

dynamics of your playing.

Turn off TIGHT and slide THICK switch

toward center of Cross. This activates an

additional tube stage, adding a deep, rich

quality to the tone, without sacrificing definition.

This is great for power chords.

Bright

Press switch down toward center of

Cross. Listen to the enhanced Highs

and tighter Bass response.

1

2

3

4

5

6

THE CROSS

USER-MODIFIED PREAMP STAGES

Try the following sequence to gain a

basic understanding of the Cross

functions. Keep in mind that all

switches may be added or omitted

in any combination -- there is no

"right way" to set them. Experi-

ment to find the sounds that work

for your specific application.

Keep in mind that your EQ

controls (Bass, Middle, Treble,

Presence) will play a powerful

role in determining your overall

tone, so be sure to adjust them

accordingly.

For the tightest response possible,

don't forget about the TIGHT input

– it maximizes the chunkiness of

your guitar tone.

Bright + Tight

Turn off GAIN and slide TIGHT switch toward center of

Cross to activate. This activates an additional tube

stage, providing maximum amount of "chunk" and "cut" on

the attack without compression, which is especially good

for palm muting and fast articulate playing.

Bright + Gain

Everything gets heavier with a good dose of

Gain. Slide GAIN switch toward the center

of the Cross to add distortion and more

compression, similar to a traditional gain

boost.

17

Bright + Thick

Bright +

Thick + Tight

Bright + Gain +

Tight + Thick

Add GAIN back into your mix. This

setting blends the maximum

amount of … well, everything!

Yet another color for your

"Tone Palette."

Add TIGHT back into the mix.

This setting provides richness

for Rhythm playing, but keeps a

chunky, punchy tone to cut

through the mix. Notice how well

the amp responds to the

dynamics of your playing.

Turn off TIGHT and slide THICK switch

toward center of Cross. This activates an

additional tube stage, adding a deep, rich

quality to the tone, without sacrificing definition.

This is great for power chords.

Bright

Press switch down toward center of

Cross. Listen to the enhanced Highs

and tighter Bass response.

1

2

3

4

5

6

THE CROSS

USER-MODIFIED PREAMP STAGES

Try the following sequence to gain a

basic understanding of the Cross

functions. Keep in mind that all

switches may be added or omitted

in any combination -- there is no

"right way" to set them. Experi-

ment to find the sounds that work

for your specific application.

Keep in mind that your EQ

controls (Bass, Middle, Treble,

Presence) will play a powerful

role in determining your overall

tone, so be sure to adjust them

accordingly.

For the tightest response possible,

don't forget about the TIGHT input

– it maximizes the chunkiness of

your guitar tone.

Bright + Tight

Turn off GAIN and slide TIGHT switch toward center of

Cross to activate. This activates an additional tube

stage, providing maximum amount of "chunk" and "cut" on

the attack without compression, which is especially good

for palm muting and fast articulate playing.

Bright + Gain

Everything gets heavier with a good dose of

Gain. Slide GAIN switch toward the center

of the Cross to add distortion and more

compression, similar to a traditional gain

boost.

18

1) IMPEDANCE SELECTOR This switch is used to select the appropri-

ate impedance and is important in achieving the desired results from

the Double Cross. The correct impedance should be selected using

the Impedance Selector switch as in the following impedance settings

chart. Note: Incorrectly “mismatching” the amp head to a speaker

cabinet should not damage the amplifier, but would result in lower

output power and could result in shorter output tube life. Also, the

Double Cross should never be operated without a speaker plugged

into a speaker jack, even when using the Direct Out.

2) SPEAKER OUTPUTS These paralleled 1/4-inch jacks are pro-

vided to connect the Double Cross head to external speaker

cabinets.

3) GROUND LIFT This switch is used to eliminate a “ground

loop” hum when using the Direct Out. A ground loop can ex-

ist when the Double Cross and the mixer it is plugged into are

connected to grounded outlets that are in physically different

locations and/or on different circuits, and should only be used

if there is an audible hum. Pressing the ground lift does not dis-

c o n n e c t t h e g r o u n d c o n n e c t i o n f r o m t h e a m p ’ s c h a s s i s .

4) DIRECT OUT The XLR Direct Out is designed to connect the

Double Cross to a recording or live mixer. The output is speaker-

emulated to generate the tone of a Celestion Vintage 30-loaded

Straight-front or Slant-front 4x12 speaker cabinet. Either tonal-

ity may be activated using the DI Cabinet Select switch. Make

sure that a speaker is connected to the amp even when using

the Direct Out.

Rear Control Panel

1

2

6

34

5

19

5) DI CABINET SELECT When pressed IN, this switch provides a

signal to the Direct Out that emulates the tonality of a Celestion

Vintage 30-loaded Straight-front 4x12 speaker cabinet. When

the switch is OUT, it emulates the same speakers in a Slant-

front 412 cabinet. Kustom went to great lengths to make sure

that this signal sounded like the actual amp head and speaker

cabinet combinations. This was accomplished in a studio envi-

ronment using condenser microphones to analyze the tonality

of the Double Cross when heard at “head level” versus “close

mic’d” directly in front of the speaker. The result is a signal that

reflects the true characteristics of these cabinets as heard by

a player. If you haven’t tried the Double Cross’ Direct Out yet,

we urge you to experiment with it for both live and studio ap-

plications.

6) DIRECT VOLUME This control sets the level of the speaker-

emulated Direct Out, and should be set as high as possible for

the best signal-to-noise ratio.

7 8 9 10

14

11

13

12

7) SEND LEVEL This control adjusts the amount of signal that

will be sent out the Effects Send jack, nominally ranging from

-10dBV(0.3VRMS) to about 0dBV(1VRMS). This control should

be adjusted as high as possible to minimize the amount of noise

caused by the inserted effect, but not so high as to distort the

effect used. Since the Effects Loop is a series connected loop,

this control will adjust the overall volume any time the Effects

Loop is active. The Send jack can also be used to send a signal

to a tuner or an auxiliary amplifier when footswitched. For ex-

ample, to A/B between this amp and a second amp (or tuner),

simply insert a shorted 1/4” plug into the Return jack. Then the

Send can switch over to another amp while disengaging this

amp’s output.

3084354

20

8) SEND JACK This 1/4-inch jack delivers a tube-driven preamp signal to external effects

devices. It can also be used to send the signal to another amplifier to run multiple amps.

Connecting a 1/4-inch plug does NOT break the flow of the amplifier signal.

9) RETURN JACK When the effects loop is active, this 1/4-inch jack breaks the flow of ampli-

fier signal to allow an external effects device to “return” to the amp. The Return jack can

also be used for a power amp input when using an external preamp. This all-tube effects

loop is known as a “series” loop, since it breaks the path of the amplifier and “inserts” the

effect in series.

10) RETURN LEVEL This control adjusts the gain after the Effects Return jack, to adjust for an

Effects Loop level nominally ranging from 0dBV(1VRMS) to -10dBV(0.3VRMS). This control

should be set to the lowest level that provides unity gain when using your effects, when com-

pared to the level if the Effects Loop is disabled via the footswitch. However, using the Send

and Return Levels, you can easily get up to 10dB boost when using effects. This can be very

helpful when using effects like delay or tremolo where the level appears to be lower due to

the nature of the effect. Because the Effects Loop is a series connected loop, this control will

adjust the overall volume any time the Effects Loop is active.

11) FOOTSWITCH Before powering up the amplifier, connect the provided 5-button footswitch here using a 1/4” TRS stereo cable. The Channel

Selector knob on the front panel should be set to Footswitch when the Footswitch is being used. If it is not, the footswitch will blink when channel se-

lecting, but the channels won’t change. The footswitch selects between Rhythm, Lead I and Lead II channels; enables the power amp Boost; enables

the Effects Loop. To select the appropriate channel, simply press the switch you want to activate. After doing so, the footswitch remembers the last

channel, so you can toggle back by hitting this same switch again. This allows the user to jump to and from a channel quickly without having to look

down at the footswitch. Any changes on the footswitch will be mirrored on the front panel of the amplifier.

0 dBV (1v) Rack Eects Optimal

-10 dBV (0.3v) Pedal Eects Optimal

21

12) MIDI IN This jack is used to receive MIDI data from other MIDI enabled

products, such as MIDI Preset Footswitches or Effects Processors. MIDI

is a great way to allow different products to communicate together. Many

guitarists have found that the ability to hit one switch and have multiple

devices instantly respond can help create a more seamless on-stage perfor-

mance. While using this MIDI In system, you can still use the amp’s regular

footswitch to channel select, boost or bypass the effects loop.

13) SAVE This switch is used to program the MIDI preset as follows: First,

send the desired MIDI preset to the Double Cross. Then, footswitch the

Double Cross to whichever channel you want, and set the Boost and Effects

appropriately. Lastly, press and hold the Save button until the LEDs on the

amp and footswitch begin blinking (in about 2-3 seconds). When they stop

blinking, the preset is stored. From now on the amp will “footswitch” to this

setting whenever that MIDI preset number is received.

MIDI “Channel”: Note that the amp responds to MIDI channel 1 by de-

fault. To change the MIDI channel that is globally recognized, simply send

a preset change to the Double Cross on whichever MIDI channel you want

to use, set the amp’s footswitch appropriately, and press and hold the Save

button to set the amp’s MIDI channel to that number (1 through 16).

14) POWER CORD RECEPTACLE/FUSE HOLDER Insert the AC cord (provid-

ed) firmly into the AC connector. Replace the AC power cord if protective

jacket is damaged or ground pin is damaged or removed. The fuse is locat-

ed in a housing just below the receptacle. To remove the fuse, remove AC

cord and pull out on the tab above the fuse symbol, located on the fuse

carriage. Place the new fuse in the carriage clip and re-insert. Replace

only with the same type and size. NOTE: To prevent an electrical hazard,

DO NOT replace fuse without using the fuse carriage. Replace the fuse

carriage if lost or damaged before re-inserting the AC power cord.

Eects Loop Syncing

This hidden feature allows the user to synchronize the Effects

Loop with any or all channels and/or the Boost function, so that

it will always be activated when a particular channel or the Boost

is selected.(The Effects Loop can always be turned off, even

when synced with a channel, simply by pressing the switch.)

1) To enable this feature, you first must enter into Effects Loop

Sync Program Mode by turning on the amp while first pressing

and holding down the Save button on the back of the amp.

2) When the amp comes on, the Effects Loop LEDs on the amp

and footswitch will begin blinking, indicating that you are in Ef-

fects Loop Sync Program Mode.

3) Press the channel(s) and/or Boost buttons one at a time that

you want effects with.

4) Note that the channels you select will begin blinking along with

the Effects Loop LED. When you select a channel that has the

effects loop Sync’d to it, the Effects Loop LED will blink.

5) When finished selecting your channel(s) and/or boost status,

press and hold the Save button on the amp; after a few seconds

it will blink faster indicating that it’s storing your choices. Effects

syncing can be changed at any later time by going into Effects

Loop Sync Program Mode and turning off the channels that you

DON’T want effects synced with. If you turn all three channels

AND the Boost off, then the Effects Loop will no longer track or

be synced.

When operating in Effects Sync Mode, “Effects” will blink. Solid

illumination indicates manual override. (Manually selected ef-

fects will remain on until deselected.)

Note: MIDI programming is separately handled so it isn’t affected by

programming the Effects Loop Sync. Effects Loop Sync only works with

the amp’s normal footswitch.

22

Amp Specifications

t

All Tube 3 channel guitar amp head

6-6L6GC or EL34 power tubes using AUTOKRUISE TM biasing scheme

5-12AX7 preamp tubes & 1-12AT7 buffer tube for power amp

16, 8, or 4 Ohms @ 5% THD using 6L6s, 110W w/EL34s

Inputs

Rhythm Channel Nominal gain, Normal Input, Gain @ 5

Rhythm Channel Maximum gain, Normal Input, Gain @ 10

Rhythm Channel extra gain when Drive is activated

Gain increase at 1 kHz when Bright is activated

Lead I or II Channels Maximum gain, Normal Input, Gain @ 10

Lead I or II Channels Nominal gain, Normal Input, Gain @ 5

Broadband gain increase with only Lead Gain switch activated

Gain increase with only either Tight or Thick stage activated

Gain increase with all switches engaged

Rhythm Channel, with Volume half and Master Maximum, Boost on 10

Levels w/Boost, Send & Master @ 10 to reach full power output

Levels w/Boost & Master @ 10, but with Send @ 0 to reach full power

Tube driven, Nominal load >10k ohms

Tube driven, >100K ohm input impedance

Adjustable from 0 to +10 dB boost AFTER the Effects Loop

After power amp w/speaker emulation of 412 Straight & Slant cabs

Adjustable from 0 to +6 dBV, nominal -3 dBV

cts Rhythm, Lead I or Lead II Channel, Boost, and Effects Loop On/Off

hielded cable, and should be plugged in before turning on amp

120VAC/60Hz, 450W nominal

230VAC/50Hz, 450W nominal

240VAC/50Hz, 450W nominal

100VAC/50-60Hz, 450W nominal

304 mm (Height) x 686 mm(Width) x 276 mm(Depth), 21.3kg

12" (Height) x 27" (Width) x 10.875" (Depth), 47 lbs

t

c

Model Double Cross

Tubes Power Amp Tubes

Preamp Tubes

Output Power 100 W RMS

Input Impedance 1M ohms Normal or Tigh

S

y

stem Gain 50 dB

All measurements taken with 1 KHz

input signal, Tone controls flat, Gain

Halfway and Volume Maximum, Boost

@ 10, Effects OFF, overall Master @

10. All Bright, Drive & cross switches

off. Measured at speaker jack at 16

ohms unless noted.

64 dB

10 dB

+3 dB

90 dB

75 dB

8 dB

5 dB

10 dB

Nominal Si

g

nal to Noise 64 dB

Effects Loop

0.15 VRMS (-16 dBV)

0.45 VRMS (-6 dBV)

Effects Send

Effects Return

Footswitchable Boos

t

Master Volume Boost

XLR Direct Output Output level

Footswitch Supplied Footswitch sele

Uses a standard stereo s

Power Requirements

USA/Canada

Europe/UK

Australia

Japan

Dimensions/Weight mm/kg

Inches/Pounds

23

POWER AMP

6L6 6L6 6L6

6L6 6L6 6L6

6L6

EL34

XLR

PHASE

INVERTER

MASTER

VOLUME

BOOST

16

8

4

OUTPUT

TRANSFORMER

SELECTOR

NORMAL

SPEAKERS

SPEAKER

EMULATED

DIRECT OUT

SLANT

STRAIGHT

SEND

L EAD I GAIN

TIGHTL EAD I I GAIN

RHYTHM

GAIN STAGES

THICK STAGE

TIGHT STAGE

BASS MID TREBLE PRESENCE VOLUME

BASS MID TREBLE PRESENCE VOLUME

BASS MID TREBLE PRESENCE VOLUME

RHYTHM

LEAD I

LEAD I I

RETURN

RETURN

BUFFER

LEVEL

SEND

LEVEL

EFFECTS

EFFECTS

BUFFER

EFFECTS

BYPASS

TRUE

FOOTSWI TCH

FOOTSWI TCH AND MIDI

SYSTEM

1/4" STEREO FOOTSWITCH

MIDI IN

MIDI

BRIGHT

BRIGHT

BRIGHT

GAIN (PER CHANNEL)

THICK (PER LEAD CHANNEL)

TIGHT(PER L EAD CHANNEL )

STORE

GROUND L IFT

SPEAKER

EMULATION

BIAS

IMPEDANCE

CHANNEL

CHANNEL

12AT712AX7

12AX7

12AX7

12AX7

12AX7

12AX7

12AX712AX7

Signal Flow Diagram

24