ReVavler III

NOW $29.99!!!

http://www.musiciansfrien...oftware-plug-in?pfm=sp

strikinglyhandsome1
I think they mis-placed a number of boxes of Revalver and each time they find one, they sell it.

I believe that 4 is eminent...and they are offloading III...but what do I know...

Interesting the link now shows:
Sample Logic FANFARE Marching and Cinematic Brass Sample Library/Virtual Instrument/Boxed  

Grem

rtucker55
Interesting the link now shows:Sample Logic FANFARE Marching and Cinematic Brass Sample Library/Virtual Instrument/Boxed  

Yes it does. But look below the picture and see "Related Items" and you will see Revalver and other stuff on sale.

I picked it up for $29! Not a bad deal. Thanks Larry!!

With the gazillion choices in Amplitube 3, I wasn't sure if Revalver would get much attention..... 

Mesh

With the gazillion choices in Amplitube 3, I wasn't sure if Revalver would get much attention..... 

And I got AT3, TH2, GR5, Head Case, LePou's free stuff, Red Wirez, Recabinet, and lots if other stuff. I even have an amp sim from Nomad Factory.

I grew up playing in bands that our main equipment was PV. And what I really remember was a PV 4x10 Classic that had a clean sound out of this world!

The $29 was worth it just to see if the sim is anything like I remember.

Then I'll have most of all the major players. What more could I need? Right?

Double wow...SL Fanfare for $29 semolians!!

Done!

Thanks Larry!!!!

I've got the real deal on that PV Classic Grem; it's a 50w Classic 410. It sounds sweet in clean or OD when cracked up. Takes pedals really well and plays nice with the guitars volume knob. Revalver HD has a Classic 30 model, which is basically the C50 minus two power tubes. The Classic 30 amp sim in Revalver HD is pretty darned close to the real deal.

The only MAJOR advantage to getting this is the cheaper upgrade to IV when it come out...

cclarry
The only MAJOR advantage to getting this is the cheaper upgrade to IV when it come out...

Well I don't know Larry. I would also say that besides that real benefit you mention, I also look at it as I have a lot of software that I didn't pay full price for none of it!! And that's good!!

Bit the bullet if only to get a good upgrade path to ver 4, and there are some pro effects overshaddowing the treble blasting square wave assault. Good stuff from mump's link looking forward. The AIR manipulations promise potential. Noted that version 3 has a couple good and end point creative noise gates that are a bit hidden from the traditional front GUI view. Valuable as a tool dealing with compressed chains.. Well worth the 30 bucks. They still got boxes to send out as of 4/3/14 earth time.
 
John

Grem,
 
Saw your post. When they let me loose work mode would be glad to share some deep dark secrets about the glories of using upstream compression.
 
John

I have this one...it does ok...

http://www.guitarcenter.c...;kwid=productads-plaid^43607301884-sku^101822963@ADL4GC-adType^PLA-device^c-adid^27124301682

I'm quite happy with mine...and all of the reviews are pretty outstanding.
I think it's far better then they Dyna Comp...but that's just me...

It seems to do the job quite well IMO...I've had it for a while and use it every live gig...

The convertible knobs are a nice touch...but I don't give a **** about knobs...
it's the sound I care about...

 
Some more subjective compressor trivia...
 
The curse of compression is noise as the input signal fades. There are subtle differences in the type of noise you have to struggle against if a comp is used first or last in a chain. IMHO comp at the end lets more garbage from the chain through even if this is the modern default approach. Comp on the front end just has to deal with the pickup and whatever fields are being picked up in the background. If you can clean up and sustain the sound up front, the output will be a lot cleaner.
 
Here's where art, experimentation is needed. One can work out a good compromise in a stable studio environment, but live work in different hum/inductance environments makes it harder to get some magic formula. Playing live, turn at a different angle against the lights or speaker, move a few feet away and everything is a mess.
 
I've found if only for me, in a stable studio, placing a noise gate after the comp and before anything else downstream works about the best. There are free gates. One link to some of them:
 
http://bedroomproducersblog.com/2012/01/17/bpb-freeware-studio-best-free-noise-gate-vstau-plugins/
 
I mostly use Nomad's Liquid Gate if there is not an adequate gate in a suite (Amp 3, Guitar Rig, Headcase, etc)
 
http://www.nomadfactory.com/products/liquid_II/
 
The gates in the major commercial suites are good. The gates in Headcase and it seems Revalver can be played almost like an attack filter allowing some really good semblances of hi volume tube amp response. Revalver has sch-1b but it is "The Gatekeeper" that has the swell characteristic. Actually glad I went with the $29 special.
 
I've got these nice floor stomps but rarely use them even live. My live setup anymore is a bastardized mexican strat going into a Presonus USB 2 box and a laptop. My American strat is mothballed away downstairs somewhere because it don't compare with the mexi monster. Laptop goes into...(don't laugh...)... a right and left stack of two Fender 212r's on either side for 400 watts stereo.
 
Internal vst comp into a noise gate into whatever else in the rampage.
 
Choice is out there vst of doing a multi band comp or a single band comp. I found that using a single band comp followed by a parametric eq is far easier to handle and defines what gets fed into the fuzz box.
 
If the comp is pressed to max compression, there may still be a makeup issue, so IF this is a factor, a good clean preamp may be needed to up the comp signal enough to drive a distortion unit.
 
Means in the most complex scenario using only vst's...
 
Compressor or limiter > noise gate > parametric eq > transparent preamp if needed. Then into the overdrive or effect of choice.
 
Probably common knowledge that if an overdrive clipping unit of any kind is involved, the noise will be harder to tame versus getting the pre processed comp signal fed into a simple flanger or the like.
 
Got to get the beer out of the freezer before the bottles explode again but have a couple favorite units anyone interested can try. Also some new radical technology or maybe new application of old technology that may be a holy grail of noise reduction if it works as good as advertised.
 
Best,
John

Yeah, good point Mosvalve,
 
Can't code anything too complex here, so at the mercy of the programmer geeks in that realm, like 99.999% of us. If we can't get proficient as C++ gurus, can strive for hands on abilities to compensate for the receding island we have some control over.
 
Of the opinion that every guitar banger needs to have at least soldering and assembly skills together, and a vegetable level understanding of passive circuits, magnet field basics so you can fix or modify your axe. There kits are a good way to develop some of the tech skills.
 
This is a win over dumping a hundred dollars on a box someone else wired because we are forced to progress in our own technical skills and have a useful end product after a few burned fingers and overshoot pools of solder. We grow in Grace by struggling against the elements and are better off for it.
 
John