Revv Amplification's limited-edition G-Series V2 pedals offer three fresh flavors of boutique Canadian tone, with V2 circuit revisions.
Celebrating 10 years of Revv & 5 years since the release of the G2, Revv is debuting V2 circuit revisions of the G2, G3, & G4, implementing new designs for more tone in 3 little pedals, in a limited edition colorway.
The Revv Amplification 5th Anniversary G-Series V2 Lineup features:
- 3 Fresh Flavors of Boutique Canadian Tone - G-Series pedals are sonic recreations of 3 of Revv’s boutique amp channels used by Nashville session stars & metal touring artists alike.
- The Standard, Redefined - V2 circuit revisions are based on the Generator 120 MK3 Rev. B & incorporate new design elements for the most tube-like response & tone ever.
- Limited Edition - Exclusive new colorway featuring a black enclosure w/ custom graphics, embossed Revv badge, & color-coded knobs.
- Find Your Sound - The G2 is a powerful & versatile overdrive capable of everything from touch-sensitive boost to organic vintage stack tones, taken from Revv’s Green Channel.
- High Gain Clarity - The G3 utilizes Revv’s legendary Purple Channel, a tight & responsive high gain tone perfect for drop tuning & cutting through any mix.
- Fat Solo Tones - The G4 is based on Revv’s thick & saturated Red Channel, the ideal sound for chewy crunch, modern rock wall of sound, & liquid sustaining solos.
- Made in Canada - 100% analog circuit w/ top jacks, true bypass, & 2 year warranty.
Revv’s G-Series pedals have a street price of $229 & can be ordered immediately through many fine dealers worldwide.
For more information, please visit revvamplification.com.
Revv G3 Purple Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
G3 Purple Ch Preamp/Hi-Gain Pedal - AnniversaryThe Texan rocker tells us how the Lonestar State shaped his guitar sounds and how he managed to hit it big in Music City.
Huge shocker incoming: Zach Broyles made a Tube Screamer. The Mythos Envy Pro Overdrive is Zach’s take on the green apple of his eye, with some special tweaks including increased output, more drive sounds, and a low-end boost option. Does this mean he can clear out his collection of TS-9s? Of course not.
This time on Dipped in Tone, Rhett and Zach welcome Tyler Bryant, the Texas-bred and Nashville-based rocker who has made waves with his band the Shakedown, who Rhett credits as one of his favorite groups. Bryant, it turns out, is a TS-head himself, having learned to love the pedal thanks to its being found everywhere in Texas guitar circles.Bryant shares how he scraped together a band after dropping out of high school and moving to Nashville, including the rigors of 15-hour drives for 30-minute sets in a trusty Ford Expedition. He’s lived the dream (or nightmare, depending on the day) and has the wisdom to show it.
Throughout the chat, the gang covers modeling amps and why modern rock bands still need amps on stage; the ins and outs of recording-gear rabbit holes and getting great sounds; and the differences between American and European audiences. Tune in to hear it all.
Get 10% off your order at stewmac.com/dippedintone
Paul Reed Smith believes “that it’s not about the country that an instrument is made in. It’s always been about the skill level of the guitar makers.” Here’s why.
For us, import guitars started when Carlos Santana asked, “Paul, can we make a PRS that’s much more affordable for all the students that talk to me about owning one of my guitars?” I said, “Sure. I’ll get you a prototype for your approval.” When we brought him the prototype, he was impressed, and his comment was, “This was made in America, right?” And I said, “No. This was made overseas.” The contract for his approval was on the table, and he leaned over and signed it as fast as he could. It was a good moment for him and my company because our integrities were on the line, and we had a product we thought was a real instrument.
I’ve always believed that it’s not about the country that an instrument is made in. It’s always been about the skill level of the guitar makers. When we first started traveling to overseas guitar-manufacturing facilities, we found that almost all their training over the decades had been to go fast, while our teaching about how to make instruments was about how to go well. Once they knew how to go well, they didn’t know how to slow down. And the guitars they produce are of the same caliber as what we make here.
Years ago, I visited Fujigen Gakki, which was one of the original manufacturers for Ibanez and overseas-built Fender instruments. They also made George Benson’s archtops. I was impressed. When I was a child, Japanese manufacturing was known for making cheap transistor radios. Now, instruments made in Japan have real cache. Not because the country they were made in changed, but because the guitar-making skill level has gotten so much higher. Fujigen at the time when I visited was an extraordinary guitar-making facility. PRS models could easily have been made there, and I knew it when I visited.
What I’ve been deeply concerned about is that we teach our overseas partners how we want instruments to be, using our techniques. So, as a definitive statement, the country a guitar is made in does not matter much. The skill and care of the instrument makers does matter. Let me give you a few historical examples. Stradivari, Guadagnini, and Guarneri violins are the most-valued, and were made in Italy. Some of the early overseas-built Stratocasters were made in the mountains in Japan near the Seiko watch factory, and they are now highly desirable. A huge percentage of high-end classical and flamenco guitars were made in Spain.
“Believe me, if I got fired and moved to Mexico, within eight months, I’d be making high-end guitars there.”
Jack Higginbotham, who is one of my partners at PRS, is teaching our Indonesian guitar-making partner, Cor-Tek Musical Instrument Company, how to make guitars our way, every day. I’ve never seen anything quite like it, and I trust it. Over and over again, we’ve been told by Cor-Tek that our constant request is that we want them to do it right in terms of instrument making, while most of the other manufacturers’ requests are centered around how they can get finished instruments for less money. That just doesn’t make sense to me. These foreign instrument-makers take great pride in their work and their products, and, in my experience, want to do a great job. We were the first company to put our overseas manufacturer’s name on the back of our headstocks. We did it so the company would take pride in its work. Believe me, if I got fired and moved to Mexico, within eight months, I’d be making high-end guitars there.
So, if you’re looking for an instrument, you should evaluate it the same way, regardless of country of manufacture: How does it look, how does it feel in your hands, how does it sound acoustically, how does it sound electrically, and, most important, will it do the job you want it to do? A guitar is a tool to make music and should be evaluated as such no matter its country of origin. Very often, a country will have a reputation for being better at making some kinds of products than others, but that changes over time. As an example, the Swiss are better at making watches than the U.S. has ever been, but not grandfather clocks.
I hope this was helpful. By the way, I’ve seen some unplayable instruments made in this country. We call such products, regardless of origin, “guitar-shaped objects.” I’ve also played some real gems not made in the U.S. I guess this will start a few threads.