Close is not enough. All of the pretty GUI's and presets in the world aren't going to make your amp-modeling software sound like a real amp. It takes a lot more than ones and zeros to make your computer come alive with lifelike amp tone. It takes a real amplifier company.
ReValver MK III.V from Peavey is a revolutionary 64-bit amplifier modeling software that captures the true characteristics of vacuum tubes while giving players unprecedented control over their tone and gain structures. With 81 linkable sub modules that model legendary amps, stomp boxes and rack effects, plus in-depth tweaking on the circuit level, ReValver is the most advanced modeling software on the planet.
Peavey ReValver™ MK III.V models 20 of the world's most popular guitar amplifiers, including models of Peavey 6505®, Classic®, 3120™, Sensation™ 20, Masterpiece™ 50, ValveKing® and JSX® amps and Budda® SuperDrive and V-Series amps, through an exclusive algorithm that analyzes the interactions of the components on the circuit level, based on the amps' original schematics. By controlling these amplifier models from the component level, ReValver is able to model every nuance with amazing accuracy. ReValver MK III.V also features a robust stomp-box and effects section including various types of chorus, distortion, wah, tremolo, compression, limiter, delay, octaver and much more. An FFT-based convolution reverb allows for very complex and smooth reverbs, including sampled spring reverb.
ReValver™ HP™ includes six outstanding virtual models of some of Peavey's finest tube amplifiers and 30 incredible linkable submodules that model legendary stomp box and rack effects. Whether you are using ReValver HP as a stand-alone virtual amplifier, or with your favorite recording software, you can count on ReValver HP to deliver the best virtual amplifier tone on the planet.
Mac OS X Requirements:
Peavey ReValver Mk III.V models 20 of the world's most popular guitar amplifiers, including models of Peavey 6505®, Classic®, 3120™, Sensation™ 20, Masterpiece™ 50, ValveKing® and JSX® amps and Budda® SuperDrive and V-Series amps, through an exclusive algorithm that analyzes the interactions of the components on the circuit level based on the amps' original schematics. By controlling these amplifier models from the component level, ReValver is able to model every nuance with amazing accuracy.
ReValver also boasts 12 preamplifier models, 9 power amplifier models, 150 speaker simulations, and 20 microphone configurations, allowing the user to mix and match components to create a truly personalized custom tone.
Peavey Sensation™ 20
The Peavey Sensation is a boutique amp in every sense of the word. If your thing is tone, this is the amp for you. This single channel tone machine boasts three 12AX7 preamp tubes and two EL84 cathode-biased output tubes, along with pre-gain, treble, middle, bass, post controls and reverb. Drawing on over 45 years of Peavey amplifier know-how, the Sensation is a true player's amplifier.
Peavey Masterpiece™ 50
The flagship of the Peavey custom shop amps, the Masterpiece is a two channel dream with three 12AX7 preamp tubes and two fixed-bias 6L6GC output tubes. The Clean channel features volume, treble, middle and bass controls with a bright switch. The Overdrive channel uses the Clean channel and adds two stages of gain to achieve a very smooth, musical overdrive that ranges from slightly overdriven to thick overdrive tones. Gain trim, gain and gain level controls and an all-tube reverb add even more tone shaping.
Loud, mean and built for the road, the 6505 was named in celebration 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.
Peavey 6505® Plus
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-proven reliability.
Peavey Classic® 30
One of the most widely used and versatile amps in the music business, the Classic 30 has a dual-channel preamp, allowing quick variations of the tone from vintage blues to modern hard rock to grunge. The boost switch is particularly useful in obtaining the more traditional "cranked-amp" tones without the harshness generated by sending too much low end to the power amp.
The Ultimate tone machine. The 3120 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 three 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 utilize active controls.
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 tonestacks 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.
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!
A rock masterpiece! The Budda SuperDrive is ready to go from punchy rhythm tones to creamy blues tones to full-on metal crunch. With three 12AX7 preamp tubes, one 5u4 rectifier and powered by 2 EL84 power tubes, the SuperDrive II runs the tonal gamut from rich and creamy to modern overdrive. The proprietary Budda Dual Class Hot Bias preamp circuit combines the best characteristics of class A and class AB to produce lively tones defined by massive dynamics and complex overtones in second and third harmonics, with plenty of separation to let your guitar sing.
The Budda SuperDrive V-20 offers the best in British Class AB guitar amplifier design. The V-20 delivers rich, harmonically complex tone that rewards your playing with exceptional sensitivity to variations in your pick attack and to subtle changes in playing style. With Budda's Dual Class Hot Bias preamp circuitry, three 12AX7 preamp tubes, 6V6GC power tubes and a special thick alternate voicing that boosts mid frequencies to give your tone added cut and presence in the mix, the SuperDrive V-20 is sure to please even the most picky guitarists.
The Demon is a 3 channel Teutonic terror with five 12AX7AC preamp tubes and a whopping six EL34/5881/6550/KT88 power tubes that can be intermingled. Channel one produces a sparkly, crystal clear clean sound. Channel two has two voicings which can be selected with a toggle switch. The (-) mode ranges from a vintage type clean sound to crunch. The (+) mode offers more gain. Channel three is the high gain channel for brutal distortion. The Demon has a selectable mid cut feature, assignable to all channels. The mid cut feature has a compensation control called "level." The Demon's master section features dual volume controls, and global presence and deep control knobs.
This Class A British amplifier sports two dual stage channels with completely separate signal paths, resulting in essentially two vintage amps in one. Channel One has a classic thick voice that screams when pushed. Channel Two has a tighter character with more upper mids and gain. Featuring four 12AX7 preamp tubes, four EL84 power tubes, and a GZ34 Rectifier, the Redhot is a classic rock standard.
This high-gain rectifier amplifier has 5 modes, Normal/Clean/Modern/Red/Vintage, each with individual frequency characteristics and gain.
With one channel for Guitar and one for bass, this "100 watt" amp has a lot of bottom and is favored for its 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.
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.
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 for gain. The amp has 2 channels, Clean/Dist.
The MatchBox is designed to provide clean to overdriven amplification with a minimum of clipping. It has as many as 4 gain stages with considerable attenuation between stages. It has a power amp in a push-pull configuration but no negative feedback (NFB). The sound is fitting for both Guitar and bass. This amp uses a very special tube configuration that gives you an extra bright sound. For additional distortion, please try any of the distortion stomp boxes in front of the amp.
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 distortion in the power amp.
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.
The HomeBrew PP-2 is a low-wattage, push-pull amp with two channels and a British-style tone stack.
Peavey 6505® preamp: The preamp from the 6505 amplifier. All the tonal control without the power amp section.
Peavey Classic 30® preamp: The preamp section of the Classic 30 without the power section.
Peavey JSX® preamp: All the functionality of the Peavey JSX without the power section.
Peavey ValveKing® preamp: The preamp section of the ValveKing amplifier.
Pre-HB: Simple preamp for clean and slightly overdriven sounds. The preamp goes easily into overdrive, but distorts gently and relatively cleanly.
Pre-02: 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.
'62 BluesMaker preamp: This preamp was taken directly from the BluesMaker '62 amp. It contains both the clean and tremolo channels, including the tremolo controls.
Basic 100 bass preamp: This is the bass channel preamp in the Basic 100. The tone section does not include a mid control, as the original does not have one. The Deep switch lowers the frequency of the bass control.
Basic 100 guitar channel preamp: This is the Guitar channel preamp from the Basic 100. It is rather clean due to its dual 2 triodes, neither of which typically saturates.
ACM 900 preamp: This is the preamp section from the ACM 900. The two gain knobs control the gain in two places in the chain.
Flathill Modern preamp: This is the Modern channel preamp from the Flathill. Very high gain and bright.
Flathill Normal Red preamp: This is the Normal Red channel preamp from the Flathill. This high-gain preamp has a presence control, which usually sits in the power section, but gives extra control over the brightness.
Peavey 6505® power amp: The 4 x 6L6GC power amp section from the Peavey 6505 amplifier.
Peavey Classic 30® power amp: 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.
Peavey ValveKing® power amp: The ValveKing's power amp section features the classic 4 x 6L6 lineup. The ValveKing, however, adds the patented Peavey Resonance control, as well as a Presence control.
M-998: 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.
Standard Power Amp #2: This power amp has a standard push-pull end stage, but is not driven by the usual Long Tail Pair (LTP). It does have a "clean" switch for less drive and slightly different tonal character.
'62 BluesMaker power amp: This power amp is taken directly out of the '62 BluesMaker. It has a drive and presence control, and has a standard Negative Feedback Loop (NFB) to which the presence control is attached. The NFB shapes the distortion character of the power stage.
Basic power amp: This power amp is taken directly out of the Basic 100. Just like the original amp, the power section has only a master control. The Negative Feedback Loop (NFB) shapes the distortion character, and can be adjusted in the Tweak GUI.
ACM 900 power section: This power amp is taken directly out of the ACM 900.
Flathill power section: This power amp is taken directly out of the Flathill.
Peavey ReValver Mk III.V features a robust selection of 33 stomp boxes and effects including various types of chorus, distortion, wah, tremolo, compression, limiter, delay, octaver, and much more. A new FFT-based convolution reverb allows for very complex and smooth reverbs, including sampled spring reverb.
ReValver also boasts 8 Utility functions including tuners, analyzer, splitters, and more.
Budda® Budwah™: The Budwah is one of the most sought-after wah-wah pedals ever made, designed with tightly focused tone sweep and an outstanding vocal-like quality. At bass settings (heel rocked back), the Budwah tone is thick and honky without losing clarity of the note. When fully depressed, the highs roll off to a frequency that isn't piercing like many other wahs.
Gatekeeper: The Gatekeeper is a noise gate that relies on tubes for the actual gating, ensuring that the attack will be available at your slightest touch, even when closed. It has adjustable attenuation, threshold, speed and brilliance. For additional adjustment you can also use the "second learn mode" and strike a normal chord for automatic setup.
OverDriver: This stomp box is wired somewhat like a Guitar amp, in that it uses 3 stages of diode distortion. 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.
Chorus CS-1: This is a versatile stereo chorus with adjustable speed and modulation depth, stereo width, feedback, delay and 3 individually adjustable filter bands on the wet signal. A chorus can be used to enrich the sound.
ACS-CS1 compressor: This compressor is used to even out the volume so that the lower levels do not completely disappear, making the soft sounds louder and the loud sounds softer and adding a certain sustain.
ACS-LM3 Limiter: A limiter is a specially tailored dynamics compressor. This particular limiter compresses the sound by a factor of 50:1 over the given threshold. It will stop sounds or transients over this threshold, limiting the output volume.
Slow Grow SG-1: An auto swell effect tracks the notes you play and removes the transients to make the music sound like it's being played backwards.
Octapus Octaver: Behind every great tone is another tone waiting to come out. With Octapus you can release this sub octave, taken from and added to your melody. The Octapus is a tight and accurate octaver stomp box that works best when you play one note at a time. Be careful with chords or it will not sound as expected.
FL-Duo Flanger: This flanger effect mixes a varying, delayed signal with the original signal to produce a series of phase cancellations. 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.
Texas Treble Maker: The Texas Treble Maker is a treble booster whose purpose is to equalize the frequency spectrum of the Guitar to make the distortion smooth. The overtones of most sounds are progressively fainter the higher up the spectrum they are. This means that the distortion a sound generates in a distortion circuit mainly originates from the overtones of the lowest frequencies, placing the frequency range of the distortion components in a particular place of the spectrum. A treble booster is designed to reshape the clean sound so that the distortion components originate in equal amounts from each overtone. The result is a much smoother distortion, and of course more of it!
The Sher'ff: The Sher'ff stomp pedal is a tough but versatile distortion effect. Loosely modeled after a 1980s-era cousin, it's perfect for blues and rock either by itself or with a clean amp channel.
Re-Lay 2 Delay: The Re-Lay 2 is a double delay with a lot of options. You can set the volume of each tap, plus 2 individual filters per tap.
Re-Lay 4 Delay: The Re-Lay 4 is a quadruple delay with a lot of options. You can set the volume of each tap, plus 2 individual filters (in the Tweak GUI) per tap.
Greener: A classic, yet so simple. This late '70s solid state stomp box utilizes a diode clipping circuit, shaped by pre and post filtering for optimal smooth overdrive/distortion.
Driver: This is a very versatile 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.
MagnaVibe: 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 after you pluck the string, making it more transparent when you play fast. Two modes are available, a "standard digital," and an emulation of a certain "magnetic" stereo amp.
Tremolo: 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 (multiplying the signal with a sine) and the even more classic "tube bias" tremolo (adding a sine to the bias of a tube, partly saturating the signal). The tube bias variant adds a natural overtone and clarity. The digital variant can adjust the up/down slope of the transition from soft to pulsing.
Wow-Wah!: 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 "waaaoooowwwoooaaa." The resonance has similarities with the human mouth, hence the name. The frequency can be controlled either by a MIDI pedal (or the main knob) or by automatic rotation. The resonance can range between any 2 frequencies of your choice. An extra knob adds overtones that enhance tonal clarity.
BassBox: This is a distortion pedal with a harmonic spectrum tailored for bass Guitar. The even harmonics are stronger than the odd, making the distortion very smooth and borderline "clean." A second gain knob allows ordinary diode clipping (somewhat asymmetrical). This module can be used to add small amounts of color and spice to the bass sound.
Peavey VC/L-2: The Peavey VC/L-2 is an all-tube, dual channel Valve Compressor/Limiter, featuring the exclusive OptoDynamics system. With OptoDynamics, compression and limiting is much more natural and transparent than with solid-state designs, as there are no solid-state opto-isolators, opto-couplers, or opto-diodes. The "heart" of this design features an EL84 tube and two 12AX7s (four stages) for each channel. The output stage of each channel is a "power amp" design that uses a two-stage 12AT7 tube, which results in a +20 dBm output capability. Whether you need to produce smooth vocals, fix a lifeless snare drum, erase muddy lows from a bass, or add "punch" to an acoustic guitar performance, the VC/L-2 OptoDynamics system provides complete management over your audio dynamics.
8Q: 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.)
3Q: 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.)
ACS R1 Stereo Reverb: 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.
ACS R2 Stereo Reverb: 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.
Ph2 Phaser: Phasing works by mixing the original signal with one that is phase shifted. This phaser features a feedback and width control for stereo effects.
SCH-1B Noise Gate: A noise gate is a simple way to get rid of noise in the signal. The traditional 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 continuously changes the filter parameters of an intelligent filter circuit. You may notice that the noise gate is half-closed when playing softly. Compared to traditional noise gates this has the effect of being perfectly responsive. The noise gate has four separate bands, and the fourth has an adjustable frequency.
Stereo widening effect: This module combines ambience, stereo widening and exciter/enhancer effects to give your tone a wider, fuller sound with more presence. The enhancer operates by 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 effect applies a rotating phase distortion to each channel, and in combination with the ambience component you can place your audio in a rich virtual room.
Channel Delay: This module can delay the left and right channels 0-100 ms independently (each channel can be adjusted +-16dB). With the Ambiance option engaged, the module acts as if the time 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.
VST host module: 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.V module. This allows you to use your favorite plug-in inside of the ReValver MK III.V system. VST Plug-In Technology by Steinberg.
CS3 Tube Compressor: 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 saturation of the tubes and because the transformer adds a subtle touch of "crunch."
CS2 compressor: A compressor is used to even the loudness so that the lower levels do not completely disappear. It will make any distortion module distort for longer.
Gr8 Graphical Equalizer: 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" button. Pressing "R" will reset the band.
Convolution Reverb: A convolution type reverb which uses pre-sampled impulses as source templates. The sound and reaction of the original sampled reverb is what you hear in C-Verb. You can load your own *.wav samples with the "load" button, or select a factory sample from the list.
Signal splitter: The signal splitter divides the signal into 2 streams. Each runs in parallel using its own set of modules. In the "signal merge" module, these two streams are mixed into one signal again. You can only use the signal splitter once per preset.
Frequency Analyzer: The frequency analyzer can scan the audio in real time 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 position. The anti-aliased display yields a very accurate picture.
Leveler: A utility module that can be inserted wherever you wish to monitor or change the volume levels. The module monitors both the left & right channels. This module has a volume adjust and a "Learn" button to automatically adjust level to 0dB.
Stereo Levels Adjust: Same as "Leveler" module, but with a control knob for each channel. This utility module can be inserted wherever you wish to monitor or change the volume levels. The module monitors both the left & right channels. This module has a volume adjust and a "Learn" button to automatically adjust level to 0 dB.
Tuner: Guitar tuner with two simultaneous displays, needle and strobe. With anti-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!
Simul-Tune: This is not one but six independent strobe tuners running at the same time, 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 chromatically. The brightness of the strobe indicates the confidence level of a frequency in that particular range (i.e. dark display = not even close).
Single Tonestack: 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.V. (The Foxy tonestack does not use the Mid knob.)
Single Triode: This module contains a single triode tube with no filters, with a level adjustment before and after the tube. Using a couple of these in a series is like building your own amp!
One of the most powerful features of ReValver™ MK III.V is the ability to tweak each parameter of a module other than the usual knobs and buttons on the front of the module. By right-clicking on an amp model, users can "go inside" and adjust the amp's tones and components on the Tweak Module GUI. Every tube in every amplifier can be tweaked or replaced with any one of 17 included tube types. ReValver even lets you modify power amp rectifiers, output transformers and tone stacks.
Mac OS X
Download ReValver MK III.V demo for Mac OS X (116.4 Mb) - 03/26/2012
Download the ReValver MK III.V user guide (2.36 Mb)
Mac OS X
Download ReValver HP demo for Mac OS X (70.1 Mb) - 03/26/2012
Mac OS X
Download ReValver MK III Free Update for Mac OS X (85.2 Mb) - 03/26/2012
Mac OS X
Download ReValver HPse Free Update for Mac OS X (48 Mb) - 03/26/2012
Audio Clip: Richie Castellano of Blue Öyster Cult
"The most complete and customizable amp modeler we've used, blowing the software-exclusive manufacturers out of the water."
-Performing Songwriter Magazine
Click here to download the full review. (311kB PDF)
"If Peavey wanted to make a big impression with their entry into the world of guitar amp modeling, they've succeeded."
Click here to download the full review. (230kB PDF)
"Peavey ReValver amps sounded and felt more like real amplifiers than any other software to date."
-Guitar Player Magazine
Click here to download the full review. (3.78MB PDF)
"I will stack ReValver against any other software, and more than a few boutique amps."
Click here to download the full review. (193kB PDF)
"Peavey's ReValver lets you play through a catalogue of classic guitar amps in virtual form - and if that's not enough, you can design your own from scratch!"
-Sound on Sound
Click here to download the full review. (1.19Mb PDF)
Click here to download the full review from the July 2008 issue of Músico Pro Magazine. (667kB PDF)
Click here to download the full review from the Nov 2008 issue of Computer Music. (519kB PDF)
Buy ReValver MK III.V* $199.99
ReValver MK III.V Upgrade* $79.99 - $129.99
Buy ReValver HP* $79.99
ReValver HP Upgrade* $29.99