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Introducꢀon
Congratulaꢀons on your purchase of ReValver® MK III ! ReValver MKIII is a revoluꢀonary 64-bit
amplifier modeling soſtware that captures the true characterisꢀcs 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 works
both as a standalone using miscellaneous sound card driver models, or as VST/AU plug-ins on vari-
ous hosts. The program is designed for minimal latency (input/output delay) which is only limited
by the plug-in host.
Technical requirements
Mac
OS: Mac OSX 10.4.X (PPC, Intel)
CPU: G4 or later. 1GHz minimum for saꢀsfactory usage (certain presets require more CPU capac-
ity).
The Live Host of ReValver MK III requires CoreAudio for playback, and MIDI for MIDI control. (MIDI
opꢀonal.)
AU plug-in requires AU host.
VST plug-in requires VST host.
PC
OS: Microsoſt Windows 2000/XP or later
CPU: Intel Penꢀum II, AMD Athlon or later. 1GHz minimum for saꢀsfactory usage (certain presets
require more CPU)
The Live Host of ReValver MK III require either ASIO, MME, WDM or DirectSound for playback,
and MIDI for MIDI control. (MIDI opꢀonal.)
VST plug-in require VST host.
Compaꢀbility issues
While every measure has been made to resolve any compaꢀbility issues with various VST/AU
hosts and sound cards, some issues may remain. If you believe you have found a new compaꢀbil-
updates and user forums.
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Loading the VST or AU plug-in into the DAW
On a Mac, a plug-in in the VST or AU format is automaꢀcally located by the host and no acꢀon
needs to be taken for the VST/AU host to find the ReValver® plug-in. It should be automaꢀcally
listed among the available plug-ins aſter a rescan.
In Windows, it is possible to install the VST plug-in at any locaꢀon. To make the VST host aware of
this locaꢀon it must manually be pointed to. During the installaꢀon of ReValver, you are given a
choice of locaꢀon to install the VST (separate from the stand-alone version). We recommended
that you install ReValver to a locaꢀon you have already used with the host. Most DAWs provide a
means to list available VST paths.
For example:
Reaper:
Menu: Opꢀons -> Preferences -> Plug-ins -> VST
Press “Add” to browse to the VST path where the ReValver VST is installed. You then press “Rescan
directory.”
When the host recognizes ReValver, you should insert the program on each track that you wish to
use it. This method varies between DAWs.
Recording the Guitar
Recording a Guitar is not as easy as it might seem, but it doesn’t have to be difficult. If your Guitar
is not powered by a baꢁery (and very few are), then it is generaꢀng an electrical signal which is
not compaꢀble with most sound cards.
There are common electrical standards between audio gear, and unfortunately the Guitar falls
completely outside those standards because it is passive. The electrical signal from the Guitar is
the result of the movement of metallic strings over a magneꢀc pickup, and this is rarely accept-
able as an electrical source when you connect it directly to a computer sound card.
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Connecꢀng the Guitar to the sound card
Here are three ways to connect your Guitar to the computer:
1) The simplest opꢀon is to hook it up to the sound card Line-In jack using a suitable connector,
usually a 1/4” to 1/8” adapter. The advantage is that you don’t have to buy any addiꢀonal 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 mismatch.
The sound card input is designed to accept input from electrical devices which have adequate
driving signal; a Guitar does not have enough signal. The input impedance of a sound card is in the
order of a few thousand ohms (kOhm), while ideally, you want it to be around a million ohms (1
meg ohm).
2) Another opꢀon is to use a Direct (D.I.) box or Preamp. DI stands for Direct Input or Direct
Interface. It is an electrically powered box that can be used to match the input impedance of the
sound card and the output impedance of the Guitar. The simplest DI box could cost around $20,
but there are boxes that could easily cost $200 if you want all the “extras,” too. A DI box has a Hi-Z
input, (“Z” is the unit of Impedance; High Impedance input, in other words). To record, you just
plug the DI box directly into the computer Line-In jack.
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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 ordinary stomp box, which in fact is a sort of DI box. It could be a pedal of any kind; a distorꢀon pedal,
chorus, echo, etc., as long as:
a) It is electrically powered, and you actually use the baꢁery 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 the
baꢁery, then it is a device that you do want to use as a DI box)
A Guitar pedal is obviously a device which is designed to be used with a Guitar. To record, just plug the pedal
directly into the sound card Line-In. Adjust the output levels on the pedal. A Guitar pedal is an example of a
device with a Hi-Z input. If you could find another device with Hi-Z inputs (“Instrument input“) you should try
that as well.
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4) The best opꢀon 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. Aſter 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 buꢁon will be
acꢀvated, and serve as a link to your device. Since there are so many available opꢀons on the
market, it is impossible for us to comment on the specifics of a parꢀcular product. Just keep in
mind that most ASIO-driven audio interfaces operate in a similar fashion, and the control panel
will enable you to make changes to the buffer size, changing the length of ꢀme the computer has
to make calculaꢀons, and resulꢀng in more or less latency. Generally, the smaller the buffer size,
the lower the latency. However, you will have to experiment with buffer sizes to find the opꢀ-
mum seꢂngs for your computer, based on your processor speed and amount of memory.
A word about latency
Latency is a technical term that basically means for the ꢀme lapse between playing a note and
hearing it. When using ReValver as a stand alone program, you need to set the latency to as low a
number as your computer will allow. If you are using your PC or Mac’s original factory sound
card, you are almost guaranteed to have latency issues. It really does make sense to get a high-
quality sound card, and there are many models available at various price levels.
ReValver by itself does not control how much latency you will experience with the program,
neither the stand-alone nor the plug-in. (In plug-in mode, the latency is controlled enꢀrely by the
DAW). To control the latency in stand-alone mode, you are advised to set the appropriate num-
bers in the sound card driver. ReValver provides a shortcut to the ASIO control panel of your card.
(In “Audio Devices” menu, select ASIO, your sound card, then press Control Panel).
The latency is directly proporꢀonal to the “sample chunk size.” Short latency equals small chunk
size. Recommended chunk size is 128-256 samples. If the sound is breaking up (choppy sound,
stuꢁering), increase the buffer size. (Try these standard values: 64, 128, 256, 512, 1024, 2048).
It is advisable to start with a smaller number and gradually increase unꢀl the sound is no longer
choppy.
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Recording the Guitar with or without effects?
Should you use hardware compressors, distorꢀon 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 soſtware, then you should produce it in soſtware and not in hardware.
That way you can always change your mind aſterward.
To truly access all of the incredible tone shaping that ReValver® allows, you should take advantage
of a process called “re-amping.” In a nutshell, re-amping simply means to record the Guitar dry
as and then use the ReValver plug-in to change the tones. In this way, you will have unlimited
access to all of the amazing tones ReValver can offer. Of course, as in the paragraph above, if you
can’t live without a certain distorꢀon tone, you can sꢀll use ReValver’s effects modules as a rack of
effects. The sky is the limit and it’s all at your fingerꢀps! There is one “effect” you generally
should use before sampling the signal, namely “limiꢀng.” It is a funcꢀon which keeps the signal
from clipping digitally in case you happen to use a too strong signal. Some audio interfaces have a
soſt limiter built in; however, when you are recording a dry Guitar the presence of distorꢀon
means you are sending too hot a signal to the computer. If you are recording a dry Guitar to
re-amp, there should be no distorꢀon whatsoever.
Using 16 bit or 24 bit sampling?
Many sound cards today offer 24-bit sampling at high sample rates. While the CD audio standard
is only 16-bit and sꢀll sounds quite good, it makes perfect sense to use as many bits as possible
during recording. In general, it is always good thinking to use more bits than you will need in the
very end.
16-bit audio gives you about 96 dB of dynamic range. 24 bits gives you an addiꢀonal 48 dB. A high
gain preset in ReValver MK III amplifies the signal a lot, probably 40 - 80 dB, and with those levels
you would start to hear the sound card “quanꢀzaꢀon noise” (bit noise). With more bits there is
less digital noise. You will sꢀll hear electrical noise, but that is usually significantly less.
Using 44.1/48kHz, 96kHz or higher?
The higher the beꢁer, normally, but in ReValver MK III, all vital parts are oversampled to the
double-sample rate to make sure there is a minimum of aliasing noise. Aliasing noise, simply put,
is an unpleasent background noise that can occur with any modeling soſtware or amplifier when
the CPU is asked to do more than it can do. You should also consider that most good Guitar
sounds are very bandwidth-limited and you probably don’t need the high frequency range that
even 44.1kHz sample rate offers.
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Working with ReValver® MK III
The ꢀtle module
At the top of the graphical interface of the program is a module containing general setup
funcꢀonality, including the Input volume +-16dB adjustment (with pre and post LED indicators),
Output volume -32dB adjustment (with post LED indicator). The adjustment knobs can automaꢀ-
cally adjust the input and output volume to 0dB by pressing the “Learn” buꢁons.
Pressing the gearwheel icon brings up the Opꢀons window.
The Title module also hosts the bank & preset management; see below.
Presets and banks
A preset of ReValver MK III is constructed from one or more sub-modules. The signal path moves
down the path of modules from top to boꢁom. If the “signal spliꢁer” has been inserted, the
chain is split into two parallel chains unꢀl they are merged in the “signal merge module.”
There is no restricꢀon on how to combine modules, as they can be “chained” in any combinaꢀon
(although some combinaꢀons are undesirable). The idea is to imitate the behavior and applica-
ꢀon of real-life amps and effect units.
Normally you would find combinaꢀons with this order: Stompbox (if any), Amp, Speaker and
Effect (if any). An amp consists of a preamp and a power amp, and you may replace a module in
the “Amp” category with a combinaꢀon of a “Preamp” and “Power Amp.”
Presets are organized in “banks.” To select a preset from a bank, that bank must first be selected
from the ꢀtle module at the top of the chain. A bank and preset can also be selected through MIDI
command.
To save a preset or bank in a new posiꢀon, press “New” beside the drop-down menu. You will be
asked to name it. When you have entered a name, press the “Done” buꢁon or the Enter key. To
cancel, press the Escape key.
Aſter you rename a preset or a bank, ReValver automaꢀcally saves it.
Pressing “Save” will save the current preset or bank into the currently selected posiꢀon, overwrit-
ing the old.
To import or export a preset or a whole bank, press the “Imp.” (import) or “Exp.” (export) but-
tons.
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Quality modes
By pressing the gearwheel icon on the ꢀtle module you can select the Startup quality mode.
The mix-down quality mode forces 64-bit processing at 4x oversampling. This mode fully exposes
the qualiꢀes of the program, whereas the normal “real ꢀme” mode may be a liꢁle 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 mixing
a track. Please be aware that the addiꢀonal requirements of mix-down mode could make the
mulꢀtracker stuꢁer or drop out if run at real ꢀme. The CPU requirements is more than 5 ꢀmes
that of the real-ꢀme mode. To switch the mode, you must restart the VST/AU host to allow all
instances of ReValver to fully reload. Every new instance of ReValver® will be started in the cur-
rent startup mode. In some cases, the sound of ReValver can be different when switching modes.
That is because not all features can be accurately expressed in real-ꢀme mode, but only in mix-
down mode.
Selecꢀng modules
To insert a module anywhere in the signal chain, right-click your mouse on “click for a new module
here.” The module selector allows you to select modules from their categories, and will display a
brief descripꢀon about each module.
Moving modules
One of the coolest features in ReValver MK III is how easy it is to move modules around, totally
reconfiguring the signal chain on the fly. To move a module, simply move the cursor to the right
of the module over the rack screw unꢀl your cursor turns into a 4-pointed cross, then hold the
mouse buꢁon down and move the module where you want it. Release the buꢁon and you’re
done! Be mindful, however, that not all rouꢀng will sound good. For example, puꢂng your amp
directly into a Chorus pedal is not very pleasing to the ear!
Toggling between mono and stereo
Each module can be set individually to process the signal in either mono or stereo. It either
merges the channels or expands them depending on how the previous module is set. Some
modules, such as REVERB, VOLUME EFFECTS and DELAY, are set to STEREO by DEFAULT.
If the host (VST, AU, DirectX) has patched ReValver MK III on a mono track, all processing will be
converted to stereo.
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The Modules
Complete amps
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®
Descripꢀon = Loud, mean and built for the road, the 6505 was named in celebraꢀon 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 three-band EQ for taming their
notorious tone.
Module name = Peavey 6505+
Descripꢀon = Adding an extra preamp tube and even more gain to the 6505, the 6505+ represents
the pinnacle of metal tone. The 6505 Series amps are the undisputed go-to Guitar amps for
scores of rock, hardcore and metal bands due to their raw tone, relentless power and road-prov-
en reliability.
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Module name = Peavey ValveKing®
Descripꢀon = 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 secꢀons use 12AX7 and
6L6GC tubes, respecꢀvely. The ValveKing also features global resonance, presence and reverb
controls.
Module name = Peavey Classic® 30
Descripꢀon = One of the most widely used and versaꢀle amps in the music business, the Classic
30 has a dual-channel preamp, allowing quick variaꢀons of the tone from vintage blues to mod-
ern hard rock to grunge. The boost switch is parꢀcularly useful in obtaining the more tradiꢀonal
“cranked-amp” tones without the harshness generated by sending too much low end to the
power amp.
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Module name = Peavey JSX®
Descripꢀon = Loaded with three independent channels and comprehensive tonal control, the Joe
Satriani signature JSX puts the full spectrum of Guitar tones at your fingerꢀps, starꢀng with a
prisꢀne clean channel, the perfect foundaꢀon for layering outboard effects, and including the
exclusive FAT switch that adds extra heſt to the Ultra and Crunch channels. The amp also has
presence control and the patented resonance adjustment for the ulꢀmate in tone!
Module name = Peavey Triple XXX®
Descripꢀon = The ULTIMATE tone machine. As hot as the name implies, the Triple XXX rips, with
four 12AX7 preamp tubes and four 6L6GC power amp tubes. The amp is controlled by a master
volume pot and independent volume knobs for each of its 3 channels. The Ultra and Crunch
channels have gain controls to further assist in taming this beast. Tone contour is accomplished
through passive controls on the Clean channel, while the Ultra and Crunch channels uꢀlize acꢀve
Boꢁom, Body, and Hair (low, mid, high) controls.
Module name = Flathill
Descripꢀon = This high-gain recꢀfier amplifier has 5 modes, Normal/Clean/Modern/Red/Vintage,
each with individual frequency characterisꢀcs and gain.
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Module name = Basic 100
Descripꢀon = With one channel for Guitar and one for bass, this “100 waꢁ” amp has a lot of
boꢁom 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 shiſts 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 Peꢀte
Descripꢀon = This amp contains 3 preamp chains in parallel, which are fed into one power amp.
The 3 channels can be mixed individually with the “blend” knobs. The three types are Clean/
Diode/Triode. The second part of the amp consists of 1 triode tube and a push-pull pair of pen-
todes.
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Module name = Fox ACS-45
Descripꢀon = This amp has three channels, all running at the same ꢀme; 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
Descripꢀon = The HomeBrew SE-1 is a low-waꢁage, single ended amp with two channels. For a
low-waꢁage circuit it has as many as 3 triode stages for gain. The amp has 2 channels, Clean/Dist.
Module name = The MatchBox
Descripꢀon = The MatchBox is designed to provide clean to overdriven amplificaꢀon with a
minimum of clipping. It has as many as 4 gain stages with considerable aꢁenuaꢀon between
stages. It has a power amp in a push-pull configuraꢀon but no negaꢀve feedback (NFB). The
sound is fiꢂng for both Guitar and bass. This amp uses a very special tube configuraꢀon that gives
you an extra bright sound. For addiꢀonal distorꢀon, please try any of the distorꢀon stomp boxes
in front of the amp.
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Module name = ‘62 BluesMaker
Descripꢀon = 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 modulate the distorꢀon in the
power amp.
Module name = ACM 900
Descripꢀon = This amp is modeled aſter 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
Descripꢀon = The HomeBrew PP-2 is a low-waꢁage, push-pull amp with two channels and a
Briꢀsh-style tone stack.
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Preamplifiers
A module from this category is preferably placed before a module from the “power amp” catego-
ry.
Module name = Peavey 6505® preamp
Descripꢀon = The preamp from the 6505 amplifier. All the tonal control without the power amp
secꢀon.
Module name = Peavey Classic 30® preamp
Descripꢀon = The preamp secꢀon of the Classic 30 without the power secꢀon.
Module name = Peavey JSX® preamp
Descripꢀon = All the funcꢀonality of the Peavey JSX without the power secꢀon.
Module name = Peavey ValveKing® preamp
Descripꢀon = The preamp secꢀon of the ValveKing amplifier.
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Module name = Pre-HB
Descripꢀon = Simple preamp for clean and slightly overdriven sounds. The preamp goes easily
into overdrive, but distorts gently and relaꢀvely cleanly.
Module name = Pre-02
Descripꢀon = This preamp has 2 parallel channels: a triode tube path and a diode clipping path.
The tube sound mixed with diode distorꢀon makes an interesꢀng and dynamic mix as the two
components deliver two different overtone spectra.
Module name = ‘62 BluesMaker preamp
Descripꢀon = This preamp was taken directly from the BluesMaker ‘62 amp. It contains both the
clean and tremolo channels, including the tremolo controls.
Module name = Basic 100 bass preamp
Descripꢀon = This is the bass channel preamp in the Basic 100. The tone secꢀon does not include
a mid control, as the original does not have one. The Deep switch lowers the frequency of the
bass control.
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Module name = Basic 100 Guitar channel preamp
Descripꢀon = 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
Descripꢀon = This is the preamp secꢀon from the ACM 900. The two gain knobs control the gain in
two places in the chain.
Module name = Flathill Modern preamp
Descripꢀon = This is the Modern channel preamp from the Flathill. Very high gain and bright.
Module name = Flathill Normal Red preamp
Descripꢀon = This is the Normal Red channel preamp from Flathill. This high-gain preamp has a
presence control, which usually sits in the power secꢀon, but gives extra control over the bright-
ness.
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Power amplifiers
A module from this category is preferably placed aſter a module from the preamp category.
Module name = Peavey 6505® power amp
Descripꢀon = The 4 x 6L6GC power amp secꢀon from the Peavey 6505 amplifier.
Module name = Peavey Classic 30® power amp
Descripꢀon = The Classic 30’s power amp secꢀon is pure EL84 heaven. By decreasing the drive on
the preamp and increasing the level of the power amp, you can achieve great EL84 saturaꢀon.
Module name = Peavey ValveKing® power amp
Descripꢀon = The ValveKing ‘s power amp secꢀon features the classic 4 x 6L6 lineup. The ValveK-
ing, however, adds the patented Peavey Resonance control, as well as a Presence control.
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Module name = M-998
Descripꢀon = This simple power amp, uses 2 triodes in series for extra gain, and also uses a pair of
tonal character filters, that can be tweaked in the Tweak GUI.
Module name = Standard Power Amp #2
Descripꢀon = This power amp has a standard push-pull end stage, but not driven by the usual
Long Tail Pair (LTP). It does have a “clean” switch for less drive and slightly different tonal char-
acter.
Module name = ‘62 BluesMaker power amp
Descripꢀon = This power amp is taken directly out of the ‘62 BluesMaker. It has a drive and pres-
ence control, and has a standard Negaꢀve Feedback Loop (NFB) to which the presence control is
aꢁached. The NFB shapes the distorꢀon character of the power stage.
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Module name = Basic power amp
Descripꢀon = This power amp is taken directly out of the Basic 100. Just like the original amp, the
power secꢀon has only a master control. The Negaꢀve Feedback Loop (NFB) shapes the distorꢀon
character, and can be adjusted in the Tweak GUI. For an explanaꢀon of the Tweak GUI, see page
35.
Module name = ACM 900 power secꢀon
Descripꢀon = This power amp is taken directly out of the ACM 900.
Module name = Flathill power secꢀon
Descripꢀon = This power amp is taken directly out of Flathill.
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Stomp boxes / pedals
A module from this category is usually placed before an amp module. They are designed to shape
the sound before it is colored by the amp.
Module name = OverDriver
Descripꢀon = This stomp box is wired somewhat like a Guitar amp, in that it uses 3 stages of diode
distorꢀon. The “Turbo” acts like a “Master,” adding some extra gain before the last stage. This
stomp box could be used to drive a speaker by itself.
Module name = Chorus CS-1
Descripꢀon = This is a versaꢀle stereo chorus with adjustable speed and modulaꢀon depth, stereo
width, feedback, delay and 3 individually adjustable filter bands on the wet signal. A chorus can
be used to enrich the sound.
Module name = ACS-CS1 compressor
Descripꢀon = This compressor is used to even out the volume so that the lower levels do not
completely disappear, making the soſt sounds louder and the loud sounds soſter and adding a
certain sustain.
Module name = ACS-LM3 limiter
Descripꢀon = A limiter is a specially tailored dynamics compressor. This parꢀcular limiter com-
presses the sound a factor 50:1 over the given threshold. It will stop sounds or transients over this
threshold, limiꢀng the output volume.
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Module name = Slow Grow SG-1
Descripꢀon = An auto swell effect tracks the notes you play and removes the transients to make
the music sound like it’s being played backwards.
Module name = Octapus Octaver
Descripꢀon = Behind every great tone is another tone waiꢀng to come out. With Octapus you can
release this sub octave, taken from and added to your melody. The Octapus is a ꢀght and accu-
rate octaver stomp box that works best when you play one note at a ꢀme. Be careful with chords
or it will not sound as expected.
Module name = FL-Duo flanger
Descripꢀon = This flanger effect mixes a varying, delayed signal with the original signal to produce
a series of phase cancellaꢀons. These “notches” make up the sound of the flanger. The FL-Duo is
actually two flangers. Except for the mixing controls, they share the same knobs.
Module name = Texas Treble Maker
Descripꢀon = The Texas Treble Maker is a treble booster whose purpose is to equalize the fre-
quency spectrum of the Guitar to make the distorꢀon smooth. The overtones of most sounds are
progressively fainter the higher up the spectrum they are. This means that the distorꢀon a sound
generates in a distorꢀon circuit mainly originates from the overtones of the lowest frequencies,
placing the frequency range of the distorꢀon components in a parꢀcular place of the spectrum.
A treble booster is designed to reshape the clean sound so that the distorꢀon components
originate in equal amounts from each overtone. The result is a much smoother distorꢀon, and of
course more of it!
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Module name = The Sher’ff
Descripꢀon = The Sher’ff stomp pedal is a tough but versaꢀle distorꢀon effect. Loosely modeled
aſter a 1980s-era cousin it’s perfect for blues and rock either by itself or with a clean amp channel.
Module name = Re-Lay 2 delay
Descripꢀon = The Re-Lay 2 is a double delay with a lot of opꢀons. You can set the volume of each
tap, plus 2 individual filters per tap.
Module name = Re-Lay 4 delay
Descripꢀon = The Re-Lay 4 is a quadruple delay with a lot of opꢀons. You can set the volume of
each tap, plus 2 individual filters (in the Tweak GUI) per tap. See page 35 for an explanaꢀon of
the Tweak GUI.
Module name = Greener
Descripꢀon = A classic, yet so simple. This late ‘70s solid state stomp box uꢀlizes a diode clipping
circuit, shaped by pre and post filtering for opꢀmal smooth overdrive/distorꢀon.
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Module name = Driver
Descripꢀon = This is a very versaꢀle stomp box that delivers anything from smooth overdrive
(with “Blues” turned up) to a heavily distorted and overloaded sound (“Gain” and “Muffler”
turned up high). The module uses a modified amp tone stack that allows for heavy mid scooping,
great for blues and rock & roll.
Module name = MagnaVibe
Descripꢀon = Not to be confused with Tremolo, a vibrato is a frequency modulator that produces
an effect similar to the sound you hear when you bend the string up and down, changing its pitch.
This vibrato allows you to select a rate between 0 and 10 Hz, as well as a general depth. A knob for
“delay” allows the vibrato to kick in aſter you pluck the string, making it more transparent when
you play fast. Two modes are available, a “standard digital”, and an emulaꢀon of a certain “mag-
neꢀc” stereo amp.
Module name = Tremolo
Descripꢀon = A tremolo is an amplitude modulator. This effect “rotates” the volume at the range
of 0-10 Hz. Two variants are included: the classic “digital” tremolo (mulꢀplying the signal with a
sine) and the even more classic “tube bias” tremolo (adding a sine to the bias of a tube, partly
saturaꢀng the signal). The tube bias variant adds a natural overtone and clarity. The digital
variant can adjust the up/down slope of the transiꢀon from soſt to pulsing.
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Module name = Wow-Wah!
Descripꢀon = A Wah pedal is a low-, high-, or band-pass filter with adjustable frequency. At the
point of cut off, there is a peak with adjustable resonance, making the Guitar sound “waaaoooow-
wwoooaaa”. The resonance has similariꢀes with the human mouth, hence the name. The fre-
quency can be controlled either by a MIDI pedal (or the main knob) or by automaꢀc rotaꢀon. The
resonance can range between any 2 frequencies of your choice. An extra knob adds overtones
that enhance tonal clarity.
Module name = BassBox
Descripꢀon = This is a distorꢀon pedal with a harmonic spectrum tailored for bass Guitar. The
even harmonics are stronger than the odd, making the distorꢀon very smooth and borderline
“clean.” A second gain knob allow ordinary diode clipping (somewhat asymmetrical). This module
can be used to add small amounts of color and spice to the bass sound.
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Speakers / cabinets
A module from this category is usually placed aſter any amp module.
Module name = Convoluꢀon speaker simulaꢀon
Descripꢀon = This module uses real-ꢀme convoluꢀon to mimic actual speaker and cabinet
setups. Convoluꢀon can be very CPU-intensive so there are 2 opꢀmizaꢀon opꢀons, “Resample”
and “Hi-Res.” Forcing downsampling of the signal reduces the CPU uꢀlizaꢀon to an amazing 25%,
while sꢀll retaining virtually the same tonal quality. (This is possible because Guitar speakers
generally do not have a frequency range of more than 5-6 kHz.) The available speakers and cabi-
nets were sampled with several microphones placed at varying angles. One sampling (an “Im-
pulse Response”) is a fixed moment in ꢀme and cannot be adjusted. The Load buꢁon allows you
to import your own Impulse Responses in .wav format.
Module name = Speaker Construcꢀon Set (SCS)
Descripꢀon = Select from any of the predefined speaker models and put them in a cabinet with a
physical size of your choice. This simulated speaker cabinet is then miked by any of the 20 micro-
phone configuraꢀons. (This technique is considerably less CPU-intensive than the RIR convoluꢀon
module.) Remember, ReValver MKIII is capable of building virtual speaker cabinets that really
cannot exist in the physical world, and depending on which components and seꢂngs you’re
change, you could end up with some very “unique” sounds.
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General effects
Module name = 8Q
Descripꢀon = An eight band parametric filter with adjustable frequency, gain and Q in seven
types: high shelf, low shelf, high pass, low pass, band pass, notch and peak. Each band can be
either a first order or second order IR filter. (Please note that first-order filters cannot represent
EQ, band pass or notch curves.)
Module name = 3Q
Descripꢀon = Triple parametric filters with adjustable frequency, gain and Q in seven types: high
shelf, low shelf, high pass, low pass, band pass, notch and peak. (Please note that first-order filters
cannot represent EQ, band pass or notch curves.)
Module name = ACS R1 Stereo Reverb
Descripꢀon = Stereo reverb designed to be placed last in the chain to give ambience or width to
the result, with adjustable echo, pre-delay and room size. Three filters can be programmed to
shape the character of the wet signal.
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Module name = ACS R2 Stereo Reverb
Descripꢀon = Stereo reverb designed to be placed last in the chain to give ambience or width to
the sound, with adjustable pre-delay and room size. Three filters can be programmed to shape
the character of the wet signal. This reverb is thicker than the Reverb R1; it also has different
default filter parameters.
Module name = Ph2 Phaser
Descripꢀon = Phasing works by mixing the original signal with one that is phase shiſted. This
phaser features a feedback and width control for stereo effects.
Module name = SCH-1B Noise gate
Descripꢀon = A noise gate is a simple way to get rid of noise in the signal. The tradiꢀonal way this
effect works is by lowering the volume of the signal when the signal itself becomes very weak.
The SCH-1B is different in two ways. First, this noise gate does not operate on a closed-only or
open-only basis, but is variable. Second, SCH-1B does not affect the actual “volume” but conꢀnu-
ously changes the filter parameters of an intelligent filter circuit. You may noꢀce that the noise
gate is half-closed when playing soſtly. Compared to tradiꢀonal noise gates this has the effect of
being perfectly responsive. The noise gate has four separate bands, and the fourth has an adjust-
able frequency.
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Module name = Stereo widening effect
Descripꢀon = This module with combines ambience, stereo widening and exciter/enhancer
effects to give your tone a wider, fuller sound with more presence. The enhancer operatesby the
delaying the lower frequencies to allow the high frequencies to come first, giving the sound a
touch of presence and clarity. Because of the delay, the enhancer may appear to add “distance” to
the sound. You can blend the enhancement with the mix control. The widening effects applies a
rotaꢀng phase distorꢀon to each channel, and in combinaꢀon with the ambience component you
can place your audio in a rich virtual room.
Module name = Channel Delay
Descripꢀon = This module can delay the leſt and right channels 0-100 ms independently (each
channel can be adjusted +-16dB). With the Ambiance opꢀon engaged, the module acts as if the
ꢀme delay represents a distance in a room. The farther away from the source a channel is, the
fewer high frequencies and less volume it has.
Module name = VST host module
Descripꢀon = This module does not provide any effect or signal processing by itself, but simply
allows you to load a third-party VST plug-in and run it as a regular ReValver® MK III module. This
allows you to use your favorite plug-in inside of the ReValver MK III system. VST Plug-In Tech-
nology by Steinberg.
Note: While Peavey makes every effort to ensure compaꢀbility with a wide range of VST plug-ins,
occasionally combining certain VSTs will require more CPU power than some computers are
capable of providing and may result in unstable performance. Always save your preset before
loading a third-party VST plugin into the VST host module.
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Module name = CS3 Tube Compressor
Descripꢀon = A compressor is used to even the volume so that the lower levels do not completely
disappear. Many music professionals believe that a tube compressor sounds “warmer” than a
solid-state variant due to the slight saturaꢀon of the tubes and because the transformer adds a
subtle touch of “crunch.”
Module name = CS2 Compressor
Descripꢀon = A compressor is used to even the loudness so that the lower levels do not com-
pletely disappear. It will make any distorꢀon module distort for longer.
Module name = Gr8 Graphical equalizer
Descripꢀon = This simple 8 band graphic equalizer has frequency bands placed strategically for
bass and Guitar. The bands can be adjusted manually by pressing the “T” buꢁon. Pressing “R” will
reset the band.
Module name = Convoluꢀon Reverb
Descripꢀon = A convoluꢀon type reverb which uses pre-sampled impulses as source templates.
The sound and reacꢀon of the original sampled reverb is what you hear in C-Verb. You can load
your own *.wav samples with the “load” buꢁon, or select a factory sample from the list.
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Miscellaneous uꢀliꢀes
Module name = Signal spliꢁer
Descripꢀon = The signal spliꢁer divides the signal into 2 streams. Each runs in parallel using it’s
own set of modules. In the “signal merge” module, these two streams are mixed into one signal
again. You can only use signal spliꢁer once per preset.
Module name = Frequency analyzer
Descripꢀon = The frequency analyzer can scan the audio in real ꢀme and present the frequency
content on a live display. The update speed can be switched between 50 ms and 500 ms. The
analyzer can create up to three snapshots and overlay them over each other. By hovering your
mouse over the graph you can get an accurate readout of that posiꢀon. The anꢀ-aliased display
yields a very accurate picture.
Module name = Leveler
Descripꢀon = A uꢀlity module that can be inserted wherever you wish to monitor or change the
volume levels. The module monitors both the leſt & right channels. This module has a volume
adjust and a “Learn” buꢁon to automaꢀcally adjust level to 0dB.
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Module name = Stereo Levels adjust
Descripꢀon = Same as “Leveler” module, but with a control knob for each channel. This uꢀlity
module can be inserted wherever you wish to monitor or change the volume levels. The module
monitors both the leſt & right channels. This module has a volume adjust and a “Learn” buꢁon to
automaꢀcally adjust level to 0 dB.
Module name = Tuner
Descripꢀon = Guitar tuner with two simultaneous displays, needle and strobe. With anꢀ-aliased
graphics, this tuner displays your tuning with incredible accuracy. The “A” is adjustable between
425 Hz and 455 Hz. Never go out of tune again!
Module name = Simul-Tune
Descripꢀon = This is not one but six independent strobe tuners running at the same ꢀme, one
assigned to each of a Guitar’s six strings. The tuning is presented in strobe form and you can
adjust each string’s tuning chromaꢀcally. The brightness of the strobe indicates the confidence
level of a frequency in that parꢀcular range, (i.e. dark display = not even close).
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Module name = Single tonestack
Descripꢀon = This module only contains one tone stack with Bass, Mid and Treble knobs to adjust
the filter aspects of any of the included tone stacks of ReValver® MK III. (The Foxy tonestack does
not use the Mid knob.)
Module name = Single triode
Descripꢀon = This module contains a single triode tube with no filters, with a level adjustment
before and aſter the tube. Using a couple of these in a series is like building your own amp!
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Tweaking modules
One of the most powerful features of ReValver® MK III is the ability to tweak each parameter of a module
other than the usual knobs and buꢁons on the front of the module. In an effort to explain the Tweak
mode in ReValver, we’ve wriꢁen some short explanaꢀons of each tweak in the tube tweak GUI.
TheTweak mode in ReValver was wriꢁen on an engineering level using real schemaꢀcs by a real tube
amplifier company, and it takes years to learn tube amplifier engineering, so the awesome “tweakability”
of ReValver MKIII will keep even the most experienced valve amplifier engineer busy for hours. Users who
don’t have any experience with tube amps will have fun, and you’ll learn a lot about how tube amplifiers
work.
Press the “+” buꢁon on the module, or select “Tweak Module” on the module menu to bring up the
general Tweak GUI. The Tweak GUI is a general GUI that holds specialized tweakable components that
differ from module to module. Some features include Frequency Analyzer, Oscilloscope, Total Harmonic
Distorꢀon analysis and save Impulse Response.
The Frequency Analyzer runs a frequency response test of the module in quesꢀon. It does so by
inserꢀng a short “pulse” and performing a FFT (Fast Fourier Transform) frequency analysis of the
output. Please note that such techniques may not yield expected results in non-linear modules
such as distorꢀon modules. The Frequency Analyzer also accurately displays the phase response
of the module. The analyzer window is displayed in logarithmic mode with the lower frequency
shown in high resoluꢀon. This emphasis can be adjusted via the slider at the boꢁom of the win-
dow.
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The Total Harmonic Distorꢀon (THD) analyzer displays the relaꢀonship between the input sound
and the distorted output sound.
The Oscilloscope view illustrates how a module alters the sine wave. It is available for each
module as a whole, and for any tube component thereof.
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You can save the Impulse Response (IR) of a module to a .wav file in 44.1 kHz stereo. The impulse
response is pracꢀcally the same view as the frequency analyzer, but this tool allows you to save
the response to disk. This IR can be used in the convoluꢀon speaker module (or any other IR
plug-in by third party manufacturers) and can be very useful capturing a “filter” or a “sound” of
any module in ReValver MK III, or any VST plug-in in the VST module. You can even capture the
sound of a third party speaker simulator from another VST plug-in and run it inside of the speaker
convoluꢀon module!
All modules offer some ediꢀng features and may include: tubes (and tube con-
figuraꢀon), tone stack (filter collecꢀon), filter coloring, recꢀfier properꢀes, trans-
former properꢀes, negaꢀve feedback, speaker cabinet, microphone and loud-
speaker.
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The Tube Tweak GUI
One of the most powerful features of ReValver® MK III is the detail and number of parameters
that can be used to fine tune any tube circuit in a module. In the module’s Tweak GUI, click on a
tube icon to bring up the tube Tweak GUI.
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On the tube Tweak GUI, the editable parameters are divided into two groups, the Physical and the
Non-Physical (which has no meaning in reality but can be used to enhance the sonic properꢀes,
anyway).
Depending on which tube you wish to tweak, you can choose between triodes or pentodes. A
power pentode is a tube type oſten used to drive the speakers; therefore you will usually find
them as the last tube(s) in the chain of any amplifier. Triodes are voltage (V) amplifiers, whereas
power pentodes (combined with a transformer) in ReValver® MK III are treated as current (I)
generators. You can replace any tube in the module with another tube of the same general type,
from a stock of templates. The internal parameters of a tube consist of features like amplificaꢀon,
linearity and driving strength. These parameters cannot be changed and are not displayed on the
GUI. If you check the opꢀon Only Load Internals, only these parameters will be loaded, otherwise
the enꢀre GUI will be reset. The Character parameter can be used to shape the frequencies of the
distorted component. (On low input, the Character has minimal impact on the sound.)
If you are ediꢀng a pentode you have the opꢀon of configuring it as a single-ended (Class A)
amplifier or as a push-pull (Class B) amp. One push-pull tube is actually an even-number 2 or 4,
but as the parameters are idenꢀcal for all, only one tube icon is displayed on the Tweak GUI. A
triode can only be configured as a plate follower (a cathode-biased voltage gain stage).
VPP is the power supply voltage delivered to the tube stage from the power supply. Usually, the
VPP is slightly lower if the stage is located early in the signal chain. In case the power supply is
“sagging” (usually due to heavy load and high volumes), the VPP becomes temporarily lower, but
the amount depends on internal values in each ReValver MK III amp module.
Plate load (triode) and transformer impedance (pentode) and the parameters over which the
signal is generated. The value of the load affects the signal output strength. Also, the transfer
characterisꢀcs of the load changes the voltage on, and current through, the tube itself.
Aꢁenuaꢀon is not directly a part of the tube stage but can be thought of as a generic way of
decreasing (aꢁenuaꢀng) the signal aſter amplificaꢀon.
Cathode resistor (where applicable) is a resistor which is used to bias the tube, or in other words
balance the symmetry of the waveform. It is commonly set near 1.5 kOhms for triodes, but the
actual seꢂng depends on the desired sound. The seꢂng will also affect the overall gain in an
“unbypassed” stage. (See definiꢀon of “unbypassed” below.)
Cathode capacitor (where applicable) is connected in parallel with the cathode resistor. It has two
main effects on sound: 1) The capacitor enables the stage to amplify the signal more; and 2) It
will act as a low-shelf filter, effecꢀvely cuꢂng out some low bass. The cutoff frequency is equal to
1/(6.28*RC), with C as the capacitor value and R as the value of the cathode resistor. This in turn
affects the distorꢀon spectrum. With a cathode capacitor, the stage is called bypassed, and
without, unbypassed.
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The coupling capacitor removes the high voltage DC offset from the output signal of the tube
stage. This high-pass frequency is usually between 5-10 Hz, but if it is set higher then a user can
change the tonal and dynamic properꢀes of the stage.
The grid resistor value is an all-in-one resistor used to calculate the effects of the stage’s bandpass
limitaꢀon. Inside each tube there is an internal capacitance called “Miller capacitance.” The
greater the resistor, the lower the bandwidth. The bandwidth can be calculated at 1/(6.28*RC)
where R is the “grid resistor” and C is the Miller capacitance (usually around 150pF). In a normal
triode stage with a 12AX7 tube, the bandwidth is around 15 kHz if the grid resistor is 68 kOhm.
The slider for Class A/B is used for pentodes in push-pull configuraꢀon only. (The Bias voltage
slider can be used as an alternaꢀve.) This sets the bias of the tube stage such that it corresponds
more to a Class A or B stage.
Some of the non-physical tweaks:
Normally, a tube’s output swing is determined by the VPP, along with the various loads in the
circuit. Seꢂng Clip Limit to something higher than 1.0 gives the circuit a greater dynamic range.
The output gets higher and the distorꢀon on one side decreases. Clip soſtness is used to smooth
out the sharp dynamic edge and gives the distorꢀon a smooth sound.
The default value of the Dynamic Bias offset amount is 1.0, and scaling this value changes the
dynamics of the signal. The signal is usually not enꢀrely free to move through the tube, and strong
transients and high volumes affect the bias of the tube, moving up and down, as a funcꢀon of
volume.
Cathode biased treble boost (where applicable) changes the “filter effect” that the cathode
resistor & capacitor has on the frequency response.
The Bias adjust slider simply adds or subtracts a certain voltage to or from the tube’s bias. Other-
wise, this bias is defined by the tube and its surrounding components.
Extra input headroom gives the stage more dynamic headroom, making the tube distort later if
given a greater headroom. For a triode this means the signal is “aꢁenuated” before the input and
“amplified” aſter the output, thus restoring the signal strength to the following tube.
The tube Tweak GUI features the following graphical displays: A “bode plot” (frequency& phase
response) an oscilloscope (with input and output signal display overlaid) and “transfer funcꢀon”
(a snapshot of the staꢀc input-to-output relaꢀonship).
The whole tube component can be disabled via the Disable circuit checkbox.
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MIDI control and automaꢀon
In the stand-alone version, all knobs, faders and buꢁons can be controlled by MIDI. The VST and
AU plug-in can be controlled using naꢀve automaꢀon, but not all parameters can be automated.
MIDI
To setup MIDI control in the standalone version, please select your MIDI interface from the menu
(File -\> MIDI devices...). If you have added a new MIDI interface aſter starꢀng the program,
please restart to allow the program to find it. To assign a MIDI event to a GUI control, please
right-click on the control (buꢁon/knob/fader) and select “MIDI learn” from the menu. You will
then be asked to acꢀvate the controller on the external MIDI controller. It is recommended that
you assign a MIDI buꢁon to a GUI buꢁon, and a MIDI fader/knob to a similar GUI element. To
remove the specific mapping from the GUI element, right-click and select “MIDI clear.” It is not
possible to map the “Load module preset,” “Save module preset,” “Mono / stereo” or “Tweak”
buꢁons to MIDI, but you can map the “Enable/disable” module.
If you have assigned a GUI element in a module, you are free to move around the module any-
where in the preset, but if you delete the module the mapping will be cleared. MIDI mapping is
stored inside the preset and will be restored when you reload the preset.
Plug-in automaꢀon
ReValver has an automaꢀon feature that allows you to make changes when you are mixing a song.
This can be parꢀculary important when recording a virtual wah-wah track, for example, where
you need to be able to make those changes just like you would with the pedal. However, due to
the modular structure of ReValver MK III it is not possible to map all GUI elements to plug-in
automaꢀon events. For example, if you have two distorꢀon pedals in the chain, only the first in
the chain will receive the events, even if they were recorded from the second. To use automaꢀon,
your VST/AU host must be capable of reading and wriꢀng automaꢀon events from plug-ins.
Please refer to your DAW’s manual for more informaꢀon on its parꢀcular use of automaꢀon.
Table 1: Plug-in automation parameters
VST name
Ped Gain
Ped Gai2
Ped Out
AU name
Distpedal Gain
Description
Primary gain knob on a dist effect
Secondary gain knob on a dist effect
Distpedal Output volume
Distpedal Gain2
Distpedal Output volume
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Table 1: Plug-in automation parameters
VST name
Ped Bass
Ped Mid
Ped Treb
Ped Tone
Ped Mix
Pre Gain
Pre 1
AU name
Distpedal Bass
Description
Distpedal Bass control
Distpedal Mid control
Distpedal Treble control
Distpedal Tone control
Distpedal wet/dry mix
Preamp Gain
Distpedal Mid
Distpedal Treble
Distpedal Tone
Distpedal Mix
Preamp Gain
Gain type 1
Preamp Gain 1
Pre 2
Gain type 2
Preamp Gain 2
Pre 3
Gain type 3
Preamp Gain 3
AmpBass
AmpMid
AmpTreb
AmpPres
CleanDrt
Drive
Amp Bass (tone control)
Amp Mid (tone control)
Amp Treble (tone control)
Amp Presence
Clean
Ampmodule tonestack, bass control
Ampmodule tonestack, mid control
Ampmodule tonestack, treble control
Ampmodule, presence control
Clean / dirty switch
Power amp master / drive
Output level
Power amp drive
Output level
Out Vol
TremDpt
TremSpd
TypeA
Tremolo depth
Tremolo speed
TypeA
Tremolo depth
Tremolo speed
TypeA
Type B
Type B
Type B
Type C
Type C
Type C
Type D
Type D
Type D
Type E
Type E
Type E
RevrbMix
RevrbLen
Wah Pos
Wah Mix
Reverb amount
Reverb length
Wow-WahAmount/Position
Wow-Wah Mix
Reverb amount
Reverb length
Wow-WahAmount/Position
Wow-Wah wet / dry mix
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Table 1: Plug-in automation parameters
VST name
Amp Out
AU name
Description
Power amp Output level
Output adjust knob on amp or poweramp-
module
Pre Out
Preamp Output level
Output adjust knob on preamp module
Finding a great sound: FAQ
Q. What can I do to improve the frequency response of a preset?
A. Use an EQ or change the tonestack of an amp, but most of all, experiment with the speakers. A
surprisingly large part of the sound comes from the speakers.
Most amps have bass, mid and treble controls to adjust the tonestack’s filter parameters. You
should assume the default values are actually the best for most users, for that amp. However, the
power of Revalver is the ability to experiment with all aspects of an amp’s design.
Remember one important thing: every EQ you use before an amp will affect the frequency range
of the distorꢀon harmonics. If you only wish to fine-tune the sound of a preset, primarily use the
EQ the farthest down the chain as possible.
Q. How much does the sound of the Guitar maꢁer?
A. It maꢁers a lot! One must never think that the final sound is the same if you switch to another
Guitar. The sound of a single -coiled pickup is very different from that of a humbucker pickup.
Everybody has their favorite, and the sound and feeling differs as much as any two amps.
Q. Do the tonestacks in ReValver MK III actually sound like the “originals”?
A. Yes. The soſtware version of the tonestacks are very similar to those on the original amps. All
capacitors, resistors and pots have been accurately modeled.
Q. What about the presence controls?
A. The presence controls are usually not a part of the tonestack but are part of the power amp.
Most amps use “negaꢀve feedback” to control distorꢀon and output linearity of the power stage.
By applying a filter in the feedback path, and controlling this filter with a knob, a very nice mid/
high-mid presence can be achieved.
Q. Are the amps in ReValver® MK III modeled aſter real amps?
A. Most of them are. The program is able to model about 90-95% of the electronic components
in any given real amp, including the tubes, diodes, filters, transformers, power supply and more.
When modeling a real amp in ReValver MK III, the original or reissue schemaꢀcs have been used.
Someꢀmes a blend of schemaꢀcs were used, and some amps have components that were
tweaked by ear aſterward and do not totally match the original.
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44
Q. I have some very cool Impulse Response (IR) files. Can I use them with ReValver MK III?
A. Yes. The speaker convoluꢀon modeler (RIR) can load files in .wav format, provided they are
reasonably short. RIR is using a real-ꢀme engine that requires no parꢀcular sample chunk size, so
it can operate less efficiently with larger files. All input is therefore shortened considerably if
needed. No reverb, echo or delay type of IRs can be used.
Q. In ReValver MK III you can switch between push-pull and single-ended stages. What about
the phase inverter?
The phase spliꢁer, “Long Tail Pair Phase Inverter“ has two outputs, each being essenꢀally the
same signal but with one being inverted 180 degrees. This is a common circuit to drive a push-pull
stage that in fact requires two signals, one being 180 degrees apart.
If you wish to drive a single ended stage you need only one signal, and there is liꢁle advantage in
driving it with a phase inverter.
In a module that in fact has a phase inverter, you can sꢀll switch the push-pull stage to a single-
ended stage. What happens is simple: the inverted signal is ignored. Only the top half of the
inverter signal is used.
Licensing and copy protecꢀon
ReValver® MK III uꢀlizes a copy protecꢀon system that is enꢀrely soſtware based. There is no need
to buy or purchase a driver to make the program work.
A license for the program, or a sub feature of the program, is handled through license files in text
format. These license files are locked to a parꢀcular hardware component on the computer in
quesꢀon. The actual component can be chosen from a number of types (but at the ꢀme of writ-
ing, only the “system drive” can be chosen). You may upgrade your hardware any number of
ꢀmes, requiring a new license file (which can be downloaded through the Peavey web site, or the
accompanying Acꢀvaꢀon Tool).
Credits and copyrights
Copyrights
ReValver MK III relies in part on the following technologies:
PortAudio, copyright Ross Bencina and Phil Burk. PortMIDI, copyright Ross Bencina, Phil Burk and
Roger B. Dannenberg. FFTReal, copyright Laurent de Soras. ASIO, VST PlugIn Interface Technology
by Steinberg Media Technologies GmbH. Some speaker IR samples, copyright Chris Hurley, Dimi-
icons/silk/)
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