It was during the trade fairs of 1984 that Custom Sound recognised the potential for a range of practise combos offering substantial quality at an attractive price.

The Cub 7 (£69.95), Cub 15 (£79.05), Cub 30 Bass (£125) and Cub 30 Reverb (£134.75) were developed with a sound approach to marketing psychology. Although tomorrow's generation of guitar heroes are today's teengagers with a limited buying power, they still want to be able to get the sound that initially inspired them to begin playing. The Cub 7 provides good tonal range and more volume (either clean or in overdrive) than one would expect from such a small cabinet. Although there are obvious limitations with an amp this size, it adequately fulfils the role of 'trainer'.

For under £10 extra the Cub 15 is a lot meatier even though it is housed in the same size cabinet as its baby brother. A differently positioned baffle is partly responsible for the overall improvement in sound. Remembering that both these models are really aimed at first time buyers, the quality is good and the value is very good.

Leaping somewhat in price but considerably in substance, the Cub 30 Bass and the Cub 30 Reverb are not only established as satisfying the cross-over from home enthusiast to working musician, but have already proved to be real winners since the Cub range was launched last December.

The Bass model provides great tonal versatility, dishes up plenty of volume, and its general performance certainly puts it up there with the best for this size and price bracket. I found the 30 watt Reverb to be equally impressive. The quality was superb and the overdrive stage in particular excelled.

The Custom Cub range can only really be criticised if compared with much larger, more expensive models. My verdict — excellent value!

Cub 60 Lead Chorus

RRP: £229

The general enthusiasm and approval that has greeted the Cub combos encouraged Custom Sound to expand their range by launching three very fine 60 watt combos for lead, bass and keyboards in August of this year. The approach has been to use the same size enclosed cabinet and to alter the innards accordingly. All models use the same bi-polar amp with a maximum output of 65 watts RMS.

The lead combo has two inputs, one each for High or Low sensitivity. The controls comprise Gain and Master; Bass, Middle and Treble pots. Overdrive is achieved by setting the Gain at high or maximum and controlling the overall level from the Master. A three-band fixed eq section provides good control over the amp's tonal response. They also act as a very responsive set of 'colour' pots when in overdrive.

A 'back to back' Diode technique with the addition of filters creates an overdrive effect which is more transistor sounding than valve. Although it has plenty of warmth in the lows and mids, and really does sound tremendous using block chords, I found it did not reproduce the bite and sustain needed for the high-register soloing I normally experienced with my Gibson. I found no problem with a Strat which was its usual bright self, but I felt that some experimentation might be necessary (possibly with the baffle) in order to improve the response in the highs when overdriven.

The reverb is Japanese constructed but designed by Custom Sound. Having already used two other makes previously, a new approach to mounting the spring has achieved an admirable result. Reverb depth is controlled by the level pot and a reverb — on LED indicates the footswitch mode. If this is not illuminated there will be no reverb regardless of settings.

The chorus is an analogue type using a bucket brigade delay. I have so often found analogue delays to be synonymous with 'dirt', though in this case the frequency response of the chorus section is deliberately restricted after 4kHz to eliminate excess high frequency noise. By juggling with the Rate, Depth, Feedback and Level pots, I found a variety of good and interesting sounds.

The Rate varies the speed of modulation and the oscillator stops when set to zero. A green LED glows in relation to the setting on the Rate control. The Depth control sets the modulation depth and the Feedback pot controls the level of regeneration within the circuit. The Chorus level varies the overall effect and another green LED indicates the footswitch mode which does not illuminate unless engaged from the footswitch.

Although the reverb and chorus are both activated from the footswitch, I would prefer to be able to engage the overdrive than, say, the reverb from the footswitch. For gigs especially, it is a must to have a good, fast access to overdrive (in and out of solos etc.)

Another possible improvement would be to add a rotatable re-routing switch. To be able to juggle the reverb, Eq and chorus would capitalise on these very fine effects already housed in the combo and would obviously stretch its versatility even more. A footswitch socket and a red power-on LED complete the top panel features.

On the back of the cabinet are auxiliary outputs for headphones; slave — 14vRMS @ full rated output; and DI output 0-15v RMS @ full rated output.

Located immediately under the three pin mains input is a small drawer containing the fuse. This is inaccessible whilst the amp is plugged in and epitomises the intelligence that has been used in the design. Also on the back of the cabinet is a block diagram which makes interesting reading, although I would like to have seen the DI and Slave outputs illustrated.

The Cub 60 Lead/Chorus is a great sounding combo with some good features. It is when considering the price that real credit must be handed to the manufacturer for coming up with what I think is the best value combo I have seen for ages.

Cub 60 Bass/Chorus

RRP: £229

This model's robustness and general quality is consistent with the rest of the range. My immediate reaction was that it was an enlarged, improved version of the Cub 30 Bass. Using the same preamp design has been instrumental in maintaining much of the inherent tonal properties, although upscaling the cabinet size and speaker (a Fane 15" driver) was vital in relation to the greater output.

Like the Cub 60 Lead, it has three band fixed eq, which is versatile and responsive across the board, never failing to deliver a really good, punchy sound.

Other characteristics which are common with the Cub 60 Lead are its two inputs for high and low sensitivity and Gain control. The chorus section is virtually identical to the lead amp except that it is tuned for the best possible low frequency response. This is effective for Funky slapping, and nice chorus always sounds great with a fretless. There is a footswitch facility to activate the chorus and power-on LED. The back panel features are the same as on the Lead combo.

The Cub 60 Bass is a straightforward good-sounding combo that performs well and has the added bonus of a nice chorus.

The whole Cub range is covered in a distinctive, durable tweed and although my first concern was how much beer it would take to seep through to the electrics, the manufacturer assures me that it is latex backed and that a quick wipe of the cloth will remedy any problem. The material is certainly tougher and more attractive than the usual vinyl and as there are no sharp corners to mutilate the car upholstery, 'living-room credibility' can now take up its rightful place in the English vocabulary!

Conclusion

The idea of altering the function of each of the 60 watt combos by moving the baffle at first made me sceptical, but having heard each of them, I can only say that the decision borders on the inspired. The results are good whatever the comparison and when considered in context with the price, have to be described as a 'great deal'!

CUB 60 LEAD
FOR: Robust; good overdrive and reverb; value
AGAINST: Overdrive needs more sustain in high register; no re-routing switch for effects

CUB 60 BASS
FOR: Same as Lead
AGAINST: None

CUSTOM SOUND CUB RANGE — RRP: See Copy

Many thanks to Eric and the boys at ESE Music, Maidstone.