Valves rock the world! Well, vacuum tubes, to be more precise. Guitar players and hi-fi fanatics have known for years about the unique warmth that tubes bring to the table, but translating the analog world of tube technology into the digital realm has proven to be tricky business. Through years of trial and error, a handful of companies have managed to break through that analog/digital divide – products like Guitar Rig 3, Amplitube 2 and Digidesign’s Eleven (see page 170 for our review) have won over tech-inclined guitarists with authentic sounds and extreme versatility.
"...ReValver has managed to throw the entire industry a curveball by allowing users to access the inner workings of its amp models"
As you might expect, ReValver gives guitarists a variety of stompboxes, rack effects, amps, speaker cabinets and microphones with which to construct a virtual signal chain. That’s familiar enough, but ReValver has managed to throw the entire industry a curveball by allowing users to access the inner workings of its amp models. Users can now adjust an amp’s parameters at the circuit level – everything from power tubes, tone stacks and output transformer characteristics are open to tweaking, giving you unprecedented control over your sound.
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Perhaps the best part about ReValver is that it can teach you to use your ears instead of your eyes. While it’s easy to get hung up on buzzwords or numbers, tweaking the innards of an amp will teach you what actually works and what doesn’t. Truthfully, there is so much variation possible with this program that you can dial in some unusable tones, but once you learn the tech behind “good tone,” you’ll find it easier to dial in the sounds that you want.
Preset Rock
Granted, it can all be a bit overwhelming and some will not want to go that deep. Thankfully, the ReValver presets are excellent; there are 15 amp models to choose from, including many of Peavey’s own amps like the Classic 30, JSX (providing Satriani tone for days), ValveKing, 6505, Triple XXX and more. But it’s not just a Peavey love fest; it also features some of the most sought-after tone machines of all time, including models from Marshall, Vox, Fender, Mesa Boogie and Matchless. There are also a selection of amplifiers that don’t exist outside the program, such as Le Petite and the HomeBrew SE-1.
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All of the expected effects are on tap, and they sound quite good. Delays, flangers, choruses, distortions, compressors, noise gates, EQ, vibrato, octavers, reverbs and reverse effects are all available and solid. I particularly enjoyed the rich and creamy flanger and the Greener Distortion – perfect for when you need that classic Tube Screamer sound. You can even have two separate signal paths going at once for a great dual rig setup.
Another great feature is called the VST Module, which allows you to insert any VST plug-in as an effect into your rack, greatly expanding ReValver’s possibilties. Considering the plethora of VST plug-ins out there, this capability gives you yet another way to create the sound you’re looking for. Fortunately, this software works seamlessly with today’s powerful laptops and is both Mac and Windows compatible. I had mine running smoothly through a MacBook Pro with various MAudio audio interfaces.
The only disappointment here is that, unlike some other packages on the market, ReValver does not come with a dedicated foot controller. That said, there is extensive MIDI implementation built into the software,so you can use an aftermarket MIDI controller if you so desire, even though the process of assigning functions can be a bit tedious. If you’re planning on using ReValver in a live setting, you’ll definitely want to invest in a foot controller.
One final thing to mention: Peavey also offers ReValver HP, a “trimmed-down” version of the program. If you don’t need all of the bells and whistles, and want to save $200, you can find more info on the HP version at peavey.com/products/revalver.
The Final Mojo
Peavey’s ReValver gives you the unique chance to sound like the greats, from Brian May to Van Halen, or to do your own thing. The circuit-level control of amp models is a definite breakthrough in the industry; of course, the technology would be useless if the models didn’t sound good. Does it respond and “feel” like a real amp? Does it clean up nicely when you back off your volume knob on your guitar like a good tube amp should? The answer is a resounding yes. With this much great tone at your fingertips, the choice should be easy.
Buy if...
you want to dig into your favorite amps without the electrocution risk
Skip if...
you need a dedicated foot controller
Rating...
MSRP $299.99 (full version) $99.99 (ReValver HP) - Peavey - peavey.com |
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Phat Machine
The Phat Machine
The Phat Machine is designed to deliver the tone and responsiveness of a vintage germanium fuzz with improved temperature stability with no weird powering issues. Loaded with both a germanium and a silicon transistor, the Phat Machine offers the warmth and cleanup of a germanium fuzz but with the bite of a silicon pedal. It utilizes classic Volume and Fuzz control knobs, as well as a four-position Thickness control to dial-in any guitar and amp combo. Also included is a Bias trim pot and a Kill switch that allows battery lovers to shut off the battery without pulling the input cord.
Silk Worm Deluxe Overdrive
The Silk Worm Deluxe -- along with its standard Volume/Gain/Tone controls -- has a Bottom trim pot to dial in "just the right amount of thud with no mud at all: it’s felt more than heard." It also offers a Studio/Stage diode switch that allows you to select three levels of compression.
Both pedals offer the following features:
- 9-volt operation via standard DC external supply or internal battery compartment
- True bypass switching with LED indicator
- Pedalboard-friendly top mount jacks
- Rugged, tour-ready construction and super durable powder coated finish
- Made in the USA
Static Effectors’ Street Series pedals carry a street price of $149 each. They are available at select retailers and can also be purchased directly from the Static Effectors online store at www.staticeffectors.com.
Galloup’s Plek tech Adam Winarski preps a Yamaha acoustic for the machine.
Presently, many certified guitar-repair specialists possess the expertise required to deliver an instrument that both sounds and plays wonderfully. The standards set by manufacturers and distributors have significantly risen, safeguarded by rigorous quality protocols to guarantee the best possible acoustic experience for customers. Additionally, lutherie training has raised the bar for critical processes, and one of the most tricky is fretwork.
Traditional fretwork once involved manual labor, with technicians utilizing sandbags or similar supports to steady the neck as they straightened it with a truss rod during the filing process. A notable advancement in this field came in the mid 1970s when Don Teeter, an author and repair expert, imposed a new method: fixing the guitar body to the bench and using blocks to maintain the neck in a playing position. This refinement was one of many in the continued quest to produce superior instruments by standardized methods.
An example of the Plek’s readings from an acoustic guitar.
Photo courtesy of Galloup Guitars
In the late 1970s, another pivotal innovation was introduced by Dan Erlewine. He created an advanced fret jig with a specialized body-holding system and neck supports, adding another layer of precision to the repair process. During my collaboration with Dan in 1985, we developed a rotating neck jig that counterbalanced the forces of gravity, keeping the instrument in its playing orientation while adjusting the neck supports. This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry. By 1986, our approach had evolved into a freestanding workstation coupled with a sophisticated hold-down mechanism and enhanced neck supports, culminating in increased accuracy, efficiency, and consistency. Over the decades, the Erlewine/Galloup rotating neck jig has become a benchmark in numerous shops, enhancing fretwork performance.
"This step represented a significant leap in establishing control and standardization of fretwork procedures in our industry."
By the 1990s, automated and computerized technologies permeated the guitar manufacturing and repair sectors. Initially applied by import companies in the mass production of guitars, the technology, although expediting processes, did not immediately achieve high execution standards. However, the tech dramatically improved over time, with computer-driven systems eventually transforming the industry. Contemporary automated production utilizing such advancements meets exceedingly high standards of precision. Some bespoke guitar manufacturers, such as Steve Andersen, were pioneers in adopting these methods, but it was companies like Taylor that established them in the modern era.
Inevitably, the progression of technology extended beyond the mere production of parts. Around 1995, German engineer Gerd Anke envisioned the integration of computer-assisted technology into enhancing instrument playability, giving rise to Plek technology, which uses computers to precisely measure and analyze the various components of a guitar, like neck relief, fret height, nut and bridge specs, and more. Nashville guitar-repair tech Joe Glaser was among the first to recognize the machine’s value, followed by San Francisco luthier Gary Brawer. When Heritage Guitar Inc. invested in a Plek machine, the guitar industry could no longer disregard the significance of this innovation.
“The machine’s scanning data confirmed that there was one nature of an ideal fret plane, done by hand or machine, and unsurprisingly, it conformed exactly to what physics predicts, not personal mojo.”
In the spring of 2022, Galloup Guitars obtained its first Plek machine. Promptly, our technician Adam Winarski paved the way for the Plek’s integration in our shop. Now, it’s a rarity for an instrument to leave our shop without having undergone Plek analysis and machining. Impressed by the results of our integration, we created “Intro to Plek” as a course for all students enrolled at the Galloup School of Lutherie, offering our students a practical introduction to this technology. We furthered this educational initiative with a comprehensive one-week intensive “Plek Certification Training Course” for both students and the public. This advanced Plek course serves those seeking to boost their knowledge base and employability in this high-precision field.
Plek is rapidly becoming an industry standard for major manufacturers and smaller shops alike. However, this does not mean that those without access to this technology cannot execute proficient fretwork. Personally, I continue to use my Erlewine/Galloup neck jig—not only out of nostalgia, but also because it remains an excellent method for delivering accurate and reliable guitars. Still, it’s undeniable that the process of fretting, fret dressing, and analytics of fretted instruments has undergone significant transformation, resulting in better sounding—and playing—guitars. And ultimately, that’s what it’s all about.