1 – Read and keep these instructions.
2 – Heed all warnings and follow all instructions.
3 – WARNING: To prevent fire or electric shock, do not expose this equipment to rain or moisture. Do not use this apparatus near water.
4 – Clean only with a dry cloth.
5 – WARNING: To prevent excessive temperature rise, operate product only in free air with unrestricted ventilation. Do not install in confined spaces or near heat sources such as radiators, heat registers, stoves, or other apparatus that produce heat.
6 – Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a grounding prong. The wide blade or third prong are provided for your safety. If the provided plug does not fit your outlet, consult an electrician for the replacement of the obsolete outlet.
7 – Protect the power cord from being walked on or pinched, particularly plugs, convenience receptacles, and the point where they exit from the apparatus.
8 – Unplug the apparatus during lightning storms or when unused for long periods of time.
9 – The appliance coupler (or attachment plug) is the mains disconnect device and should remain readily accessible when amplifier is in use.
10 – Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
11 – This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.
12 – Changes or modifications made by the user that are not expressly approved by the manufacturer may void your authority to operate the amplifier.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE THE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL.
WARNING: To prevent fire or electric shock, do not expose this equipment to rain or moisture.
The AC power cord that comes with your Aviator CUB plugs into the AC inlet underneath the chassis (yellow arrow). The special AC cord has an extra friction lock to reduce the chance it will come unplugged during use, but any standard IEC cord will fit. Always ensure that the ground contact is intact on both the cord and the receptacle. Pro Tip: It is convenient to stow the plugged-in cord carefully in the bottom of the cabinet during transport and storage but take steps to prevent the AC cable from bouncing around and puncturing the speaker during in-flight turbulence.
Turning your amplifier on is easy! The Power switch is located above the AC inlet on the back of the amplifier. Reach over and flip it up for power. It normally takes several seconds for the supply to ramp up from a cold start. When the yellow “ON” indicator lights up, you are ready for takeoff!
The three inputs have independent 2 meg preamps that bring your pickups to life with extra-high impedance to preserve the delicate overtones of all magnetic pickups. Multiple instruments may be connected without crossloading, or a single instrument can be switched using an external input switcher. Try each one and hear how the sound of iconic amps evolved during the era when the electric guitar fi rst became a hit instrument.
Based on an actual late 50’s 12-inch tweed combo, this voicing delivers a fat honest tone from the days before elaborate EQ controls, with plenty of gain for gloriously rich overdrive.
Based on an actual early 1960s blonde this fi rst generation of the “tone stack” had a wider treble boost, delivering a clear bell-like tone and plenty of oomph for a big sound while staying cleaner than tweed amps.
Based on a 1965 black-tolex 12 inch combo, the fi nal “tone stack” alignment with its sweet silky highs and nice full bass is considered by many to be the pinnacle of clean American tone, even when pushed into overdrive.
Based on a late 70s head well known for driving punch and voicing that was organic for blues players while having enough gain on tap to inspire a generation of metal.
The venerable diamond shaped cloth was more than a "certain look" but a specifi c sound that characterized many players of fame including The Beatles and Queen's Roger May.
If you want rectifi er compression and the total valve sound from one of the most sought after amplifi ers of the UK heritage, plug right in here and crank it up. Top Boost adds airy sparkle while delivering that biting distinctive Top Boost tone.
Much like a throttle control, the Gain regulates how hard the amp “pushes”, ranging from clean easy "cruising", to mild breakup, all the way up to “full dive-bomber” overdrive. The Spkr Vol acts as an overall loudness control, so you can do your “stunt fl ying” at any level from whisper soft to full stage output.
Sometimes you want a “rev limiter” that keeps you from getting too deep into overdrive while you are focused on your playing. As you turn up the Limiter, it progressively brings down a “soft ceiling” that can keep overdrive to a “rolling boil” in low settings, or stay out of overdrive on higher settings without losing sustain. It’s almost like having “cruise control” for your drive level. Pro Tip: the Limiter will not a ect soft signals, it only kicks in above the threshold you set. It may help to have an assistant run the knob up and down while you are playing at fairly high gain, so you can hear what it does. And it can’t clean up external distortion from pedals, it only regulates the internal overdrive.
As noted above, you will generally use less Gain and more Spkr Vol for clean sound with dynamic headroom, and you will use more Gain and perhaps less Spkr Vol for overdrive sound at any desired loudness.
Early amp designers had to limit tone control range to get high overall gain. Today we benefi t from much stronger active EQ controls that greatly extend the possibilities of the three classic input voices. To hear the eff ect of each control, have an assistant run each knob through its full range while you are playing. Typically controls are set somewhere in the middle, but they are meant to be used if it helps get the sound you want.
The Bass control boosts or cuts frequencies below 500 Hz, with the strongest action below 200 Hz, primarily aff ecting the guitar’s bass strings. This regulates the fullness of the sound and can compensate for overly thin or heavy sounding pickups
The Mid control boosts or cuts frequencies between the Bass and Treb frequencies. Reducing midrange will “unclutter” or open up the sound, whereas more midrange promotes hotter overdrive.*
The Treb control boosts or cuts frequencies above 500Hz with the strongest action between 1K and 5K. This is the “chime” region, so more Treb will increase sparkle and penetration, while less Treb will tame clashing pickups and produce a mellow sound
The Aviator Cub’s Eff ects Loop joins classic tone with modern technology. When our beloved vintage amps were first designed, “pedals” had not been invented. As the years went by, early “fuzztones” and the ever popular wah-wah pedal evolved into today’s rich assortment of drive pedals, modulators, and time-based eff ects. The early amps were recorded in the studio with eff ects applied afterwards during mix-down, but if you played live, you had to put your pedals in front of the amp, which often resulted in their sound being buried under amp distortion. Eventually Effect Loops were added to bring the “studio to the stage”, but the final power output stage still went straight to the speaker, unable to be modulated by eff ects. Quilter amps develop all their “tone mojo” in the preamp, prior to the Eff ects Loop, so modulators and time-based eff ects can process the entire sound of the amp including its overdrive. This provides the “full studio sound” to any stage or jam session with maximum fi delity and convenience. The Effects Loop operates at 1V full scale which matches well with all popular modulators and time-based effects.
Effects Send takes the signal to the outboard devices, and Effects Return brings it back into the amp. Adjust the outboard devices so there is no signifi cant change in overall volume when engaged. Drive pedals are still typically used in front of the amp so their tone can be fully adjusted using the preamp controls.
Pro Tip: outboard tracks can be inserted into the signal chain by using the Effects Return jack as an input. The preamp’s output will be mixed 50/50. Adjust the outboard device’s volume to get a nice balance.
The Cub uses a self-contained digital reverb with analog voicing to make it sit comfortably in the mix. The Reverb control ranges from “dry” on the left, “normal” in the middle and “drenched” on the right – “Surf’s Up!” The Reverb control is in series with and post Effects Loop.
The Signal Outputs greatly add to the Cub’s versatility for recording and silent practice. The Line output allows the pilot to connect directly to a mixing console or DAW interface. The Head Ph output drives your “cans” for quiet practice. Both of these outputs have an internal cabinet simulator to warm up the tone for recording, house feed, or headphone practice. This direct sound will be “in the zone” but can still be used with outboard IR models or EQ tweaks for greater variety.
To truly recreate the classic vintage tones in the Aviator Cub took more than just a clever circuit design. It required a reimagining of the every component in the tone path from input to speaker. The Aviator Cub Red Label speaker is aimed squarely at the center of the three eras with enough warmth to deliver the rounded tone of a Tweed, enough brightness for the bright clarity of the Blonde, and enough thump to bring the powerful clarity of the Blackface era. Working closely with our engineering partners, we codeveloped a speaker that can do it all. The Aviator Cub is far more than computerized "tone modeling" intended to give an approximation of an amp. It is custom crafted front to back to recreate the very behaviors of these classic and very expensive amplifi ers.
The sound of a British accent is at once immediate and recognizable and so too is the sound of a crisp British speaker. Launching from the success of the Aviator Cub, we set out to deliver that distinct British amplifi er voicing and just like the Cub, we went after three of the most sought after tones. The Aviator Cub UK Green Label speaker is designed to bring out and enhance the harmonic content of the carefully designed circuits to truly deliver on the promise of the UK sound. From the classic tones of early British rock to the biting and powerful tones of later era UK amplifi ers, the speaker works in conjunction with circuitry to deliver UK tones in spades!
Clean the outer surfaces with a clean damp cloth, or vacuum with a soft brush. Never use abrasives, harsh chemical cleaners, or solvents. When storing or transporting your CUB, make sure any loose items stowed in the speaker compartment are secured, and protect the amp with the included nylon cover. The CUB is manufactured with high quality components, combining state of the art factory automation and hand craftsmanship to give you a product you can be proud of. Each CUB goes through an extensive testing process before it ever leaves the factory, ensuring that your amplifier will give you years of flawless service.
There are no user serviceable parts inside the amplifier. Any repairs should be performed by a trained service professional. Always use the amplifier in a well ventilated environment and protect from external heat sources such as furnaces or direct sunlight.
Prolonged high-volume playing can cause heat buildup in the speaker which reduces its working lifetime. If you find it necessary to consistently use the amplifier at full volume, we recommend using a PA system and the Line Out function to supplement the sound level.
| INPUT | ¼” Mono, 2 meg impedance, 1.5-5Vpk (depending on EQ) |
| FX LOOP | ¼” mono, 1V full scale, 1K out, 47K inp (with FX Send lifted) |
| SIG OUT (LINE) | ¼” TRS, balanced line, 40 ohms each leg, 2V full scale |
| HEADPHONE | ¼” TRS, 40 ohms each channel, 0-3V peak (depending on SIG VOL) |
| SPEAKER OUT | 0-50W (depending on SPKR VOL setting) |
| AC POWER | 100-240Vac, 50-60Hz, 100W maximum |
| LOUDSPEAKER | Quilter Red/Green Label Special Design, by Eminence - 8 ohms, 50W |
| H x W x D | Height: 16.5” (41.9 cm) Width: 16.5” (41.9cm) Depth: 10.8” (27.3cm) |
| WEIGHT | 21.55 lbs (9.8kg) |
| H x W x D (Shipping) | Height: 19.5” (49.5cm) Width: 20.0” (50.8cm) Depth: 14” (35.6cm) |
| WEIGHT (Shipping) | 26.5 lbs (12.2kg) |
| PROTECTIVE COVER | Ballistic Nylon with pouch on rear |
| LED on top not turning on. | • Confirm that amplifier power switch is on, and AC cord is plugged in under the chassis. •Be sure to FULLY SEAT the AC cord to prevent it from falling out. • Check the AC strip or wall outlet with a different device. |
| Amplifier Light is on, but no sound. | • Confirm that SPKR VOL and guitar is turned up. • Unplug guitar and turn the amp Gain up. • If you hear a background hiss, the amp is working. • Turn the amp off and on. You should hear a small thump if the amp is working. • If there is no sound AT ALL, confirm that the speaker cable is still connected to the speaker terminals; re-seat if necessary. If a meter is available, slide one speaker connector off and measure the resistance between the speaker terminals. A good speaker should measure about 7 ohms. If the speaker is open, contact Quilter Labs for service. |
| Amplifier sounds garbled at all volume levels. | • Reduce SPKR VOL and try the HEAD PH output at moderate SIG VOL. If the headphone is clear, the speaker may be bad. • An alternate speaker can be tried by detaching the speaker connectors and clipping them to an external speaker cable. The speaker voltage is safe to touch. Use moderate SPKR VOL until sound level is confirmed. |
| Amplifier has hum. | • Unplug the guitar cable from the amp. All hum should go away, with only residual hiss at high Gain. If hum continues, confirm that the amp is plugged into a grounded AC outlet. If there is still hum, the amp may require service. • Restore the guitar cable, and turn down the guitar. If hum persists, the guitar cable is bad, especially if flexing affects the hum. • A good guitar cable should be quiet with guitar turned down. If hum returns when the guitar volume is raised, it is being picked up in the guitar. There is often some “fizzy buzz” until you hold the strings, which grounds your body. Single coil guitar pickups typically pick up hum from external AC fields; usually there is a position or location that reduces the external interference. |
| Amplifier has hiss. | • Some hiss is normal at high Gain settings. When you want maximum volume, your guitar should be fully up so you don’t have to use excessive Gain to get overdrive. • Pedals can also contribute hiss. Check each one in turn. |
| Amplifier makes “chattering” noises. | • Adjacent cellphones, and some LED lighting products, can generate interference that sounds like “chuffing” or clicking. Keep cellphones at a distance and try alternate outlets for LED lights. |
| Sudden changes in volume. | • The number one cause for sudden volume drops is a cable that is going bad. • Check your cables by playing a chord and with your free hand gently twist the rubber ends of the cable where they enter the metal sleeve. Listen for drops in the signal level. Do this in front of every pedal in your chain one by one. • Also, be sure to check switches, jacks, and grounds on your instrument. |
For warranty and service information, visit our support website at support.quilterlabs.com
Note: This equipment has been tested and found to comply with the limits for a Class B digital device, 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 radiate 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 product into an outlet on a circuit different from that to which the
receiver is connected.
• Consult the dealer or an experienced radio/TV technician for help.