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1 Table of contents Section P ag e Introduction/Technical requirements 2 Recording the Guitar 3 Working with ReValver® MK III 8 The Modules 10 Complete amplifiers 10 Pre-amplifiers 16 Power amplifiers 19 Stomp boxes/Pedals 22 Speakers/Cabinets 27 General Effects 28 Miscellaneous Utilities 32 Tweaking Modules 35 MIDI Control and automation 41 Plug in automation 41 Finding a
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2 In tr oduction Congratulations on your purchase of ReValver® MK III ! ReValver MKIII is a revolutionary 64-bit amplifier modeling software that captures the true characteristics of vacuum tubes while allow- ing users unprecedented control over their tonality and gain structures. ReValver includes 65 incredible linkable sub modules that model legendary amplifiers, stomp boxes and rack effects, making ReValver MKIII the most advanced virtual amplifier on the planet! This program wor
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3 Loading the V S T or A U plug-in in t o the D A W On a Mac, a plug-in in the VST or AU format is automatically located by the host and no action needs to be taken for the VST/AU host to find the ReValver® plug-in. It should be automatically listed among the available plug-ins after a rescan. In Windows, it is possible to install the VST plug-in at any location. To make the VST host aware of this location it must manually be pointed to. During the installation of ReValver, you are
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4 Connecting the Guit ar t o th e sound c ar d Here are three ways to connect your Guitar to the computer: 1) The simplest option is to hook it up to the sound card Line-In jack using a suitable connector, usu ally a 1/4” to 1/8” adapter. The advantage is that you don’t have to buy any additional gear (except maybe the cable adapter) but the sound is not ideal, probably not even good. The reason for the dull and boring sound is due to an impedance misma t ch. The sound card input is d
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5 3) The middle road, which probably won’t cost you anything, but could be almost as good as a DI box, is the use of an or dinar y s t omp bo x, which in fact is a sort of DI box. It could be a pedal of any kind; a distortion pedal, chorus, echo, etc., as long as: a) It is electrically powered, and you actually use the battery or power source b) You use it in bypassed mode, i.e “off” c) It is not a “true bypass” device, (In other words, in “off” mode, if the sound disappears when you remove
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6 4) The best option is, of course, to purchase a good quality Digital Audio Interface. There are sev- eral on the market made specifically for Guitar for under $100. Look for a device with ASIO (audio stream input/output) drivers, which is an industry standard and will work well with Re- Valver® MKIII. After you install the device, the Audio Devices menu under the File menu will allow you to choose that device for input and output, then the Control Panel button will be activated, an
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7 R ec or ding the Guit ar with or without e ff ects? Should you use hardware compressors, distortion or other effects before you record the signal? It is your personal preference. If you can’t live without “that special sound,“ then you should prob- ably record it that way. But when it comes to compression, EQ, reverb and other special effects that could be produced in software, then you should produce it in software and not in hardware. That way you can always change your mind afterwa
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8 W orking with R eV al v er® MK III The title module At the top of the graphical interface of the program is a module containing general setup functionality , including the Input v olume +-16dB adjus tmen t (with pre and post LED indicat ors), Output v olume -32dB adjus tmen t (with post LED indicator). The adjustment knobs can automati- cally adjust the input and output volume to 0dB by pressing the “Learn” buttons. Pressing the gearwheel icon brings up the Options window. The
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9 Quality modes By pressing the gearwheel icon on the title module you can select the St artup quality mode. The mix-down quality mode forces 64-bit processing at 4x oversampling. This mode fully exposes the qualities of the program, whereas the normal “real time” mode may be a little more noisy and is likely to contain some aliasing noise (especially in high gain amps). It is recommended to always use the “mix-down mode” when freezing/rendering or when mix ing a track. Please be aware tha
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10 The Modules Comple t e amp s The modules in this category are integrated preamps and power amps; thus, no module from the “preamp” or “power amp” categories is needed along with an “amp” in a ReValver® MK III preset. Module name = Peavey 6505® Description = Loud, mean and built for the road, the 6505 was named in celebra tion of Peavey’s first 40 years, 1965 to 2005. 6505 Series amps feature five 12AX7 preamp tubes and four 6L6GC power amp tubes, with presence and resonance controls and
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11 Module name = Peavey ValveKing® Description = A true tone monster in its own right, The ValveKing delivers a tone ranging from bluesy clean to crunchy and classic rock. The amp has a built-in spring reverb and separate ton- estacks for the Clean and Lead channels. The amp’s preamp and power sections use 12AX7 and 6L6GC tubes, respectively. The ValveKing also features global resonance, presence and reverb controls. Module name = Peavey Classic® 30 Description = One of the most widely used
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12 Module name = Peavey JSX® Description = Loaded with three independent channels and comprehensive tonal control, the Joe Satriani signature JSX puts the full spectrum of Guitar tones at your fingertips, starting with a pristine clean channel, the perfect foundation for layering outboard effects, and including the exclusive FAT switch that adds extra heft to the Ultra and Crunch channels. The amp also has presence control and the patented resonance adjustment for the ultimate in tone! Mo
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13 Module name = Basic 100 Description = With one channel for Guitar and one for bass, this “100 watt” amp has a lot of bott om and is favored for it’s clean tones. The Guitar and bass channels have different gain and tone stacks. The bass channel even has a “Deep” switch that shifts the frequency response of the Bass knob. On the Guitar channel, the Bright switch gives you a brighter sound on lower gain. Module name = Le Petite Description = This amp contains 3 preamp chains in parallel, w
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14 Module name = Fox ACS-45 Description = This amp has three channels, all running at the same time; a Normal, Brilliant and Tremolo channel. The Tone controls (Bass & Treble) only work on the Brilliant channel. The Tone Cut control removes some high treble (on all channels), and works like a reversed presence control. Module name = HomeBrew SE-1 Description = The HomeBrew SE-1 is a low-wattage, single ended amp with two channels. For a low-wattage circuit it has as many as 3 triode stages f
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15 Module name = ‘62 BluesMaker Description = Loosely based on a 1962 classic, this amp has 2 channels, normal and tremolo. The original amp did not have a “Drive” control, but we put one here to modu late the distortion in the power amp. Module name = ACM 900 Description = This amp is modeled after a “Rock & Roll” amp built with both valve and solid state components. It has only 1 channel but the two gain knobs control the gain at two stages in the preamp. Module name = HomeBrew PP-2 Desc
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16 Pr eamplifier s A module from this category is preferably placed before a module from the “power amp” catego- ry. Module name = Peavey 6505® preamp Description = The preamp from the 6505 amplifier. All the tonal control without the power amp section. Module name = Peavey Classic 30® preamp Description = The preamp section of the Classic 30 without the power section. Module name = Peavey JSX® preamp Description = All the functionality of the Peavey JSX without the power section. Module name
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17 Module name = Pre-HB Description = Simple preamp for clean and slightly overdriven sounds. The preamp goes easily into overdrive, but distorts gently and relatively cleanly. Module name = Pre-02 Description = This preamp has 2 parallel channels: a triode tube path and a diode clipping path. The tube sound mixed with diode distortion makes an interesting and dynamic mix as the two components deliver two different overtone spectra. Module name = ‘62 BluesMaker preamp Description = This prea
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18 Module name = Basic 100 Guitar channel preamp Description = This is the Guitar channel preamp from the Basic 100. It is rather clean due to it’s dual 2 triodes, neither of which typically saturates. Module name = ACM 900 preamp Description = This is the preamp section from the ACM 900. The two gain knobs control the gain in two places in the chain. Module name = Flathill Modern preamp Description = This is the Modern channel preamp from the Flathill. Very high gain and bright. Module name =
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19 P o w er amplifier s A module from this category is preferably placed after a module from the preamp category. Module name = Peavey 6505® power amp Description = The 4 x 6L6GC power amp section from the Peavey 6505 amplifier. Module name = Peavey Classic 30® power amp Description = The Classic 30’s power amp section is pure EL84 heaven. By decreasing the drive on the preamp and increasing the level of the power amp, you can achieve great EL84 saturation. Module name = Peavey ValveKing® po
