Not surprisingly, Rivera heard from a guy named Paul Rivera. I think it's a little 'surprising that his name is Paul, but that's it. While I was on rumors about facts, I can not hate this car, and that is that going to the press. The voice on the street is that Paul Rivera worked for Marshall and Fender guitar amplifier for changing year for the rock stars who do so can be changed. If this is true, it explains a lot aboutRivera Knucklehead.
The Rivera Knucklehead is a 100 watts, all tube, 2 - amp channel. Each channel has an increased gain. Both the change of channel and increases the profits are controlled by the pedal. As with any head of 100 watts, this thing is cruel hard. It contains an effect loop control of input and output for the effects and so on. The Knucklehead uses 5 12AX7 tubes for the preamp and 4 EL 34 power tubes. Each channel has tone controls and a focus and aPresence control are global, ie, they contribute to both channels. It would have been nice to have a spring reverb on Rivera. That is the only element missing.
American Channel (clean channel)
First, I must say that the clean channel is not so much as a clean channel, absolutely. It 'more like a channel of Fender. I think if you have to crank the gain on the clean channel, you sound very distorted in such a way that distorts a Fender guitar.This sound is not what you want for the metal in most cases, although it can wrest a sort of Iron Maiden sound. Turn the Ninja Boost "and support of profit takes you back in the fender. It is not an exact clone of the Fender tone, absolutely. The pipes are not commonly used in Fender and even though he had the tube, which is very different from the Fender amp sound amplifier. You have enormous opportunitiesin your tone. I mean TREMENDOUS! You have the typical low, medium and high. Pulling the pot high, you push "brilliant" and drag the center when you take the "Mid Scoop". The tone controls are the most sensitive I've ever seen on a guitar amp. In fact, the tone controls can be too sensitive.
Connecting a start or tele sound gives you the real deal. Is practically a Fender amp. Connecting a PRS Les Paul is a different ballGame. The tones are absurd on this channel. You should be able to what you want from this side wings that are expected to have to do the professionals. The amplifier is very sensitive to different guitars and the tone will change dramatically more than other amplifiers.
Channel Distortion (Marshall-Channel)
Alright, I called on this side of the channel amplifier Marshall. The tone is not exactly a Marshall. I have a Marshall 1971 Super Lead. And 'the sound isdifferent from what you hear something in Rivera. I would not say that the tone is necessarily better or worse, just different. When you get to this caliber of guitar amplifiers are all good, it's just a matter of preference.
The channel has a distortion boost gain, low, medium and high. Again, these tone controls are so sensitive as you'll ever find guitar amps in one. It's stupid how much control you have over the tone. This amplifier is gain a lot if youI want to win too. With a Les Paul, I do not think I put the gain past 12 o'clock, always. You would not believe how different sounds this amp, if you take half of 10 to 0 and then there is a difference between day and night.
Through the promotion of off-profits feel the thing as a good low distortion amplifier gain. As I said before, choosing the right guitar sound settings can be time consuming, but what I want is a chance. Worth all yourGuitars with this amp there are some who seem obviously more than others. In this setting, not a problem pulling out sounds like AC / DC and 70 other sounds. I will probably go with my 1971 Superlead before this question, though, only because the difference in sound, but I was a guitarist in search of the sounds are very happy to do the same.
When you undertake the drive for profit, is this thing all the death. I'm talking about death death metal, if that is what you arehave. I believe that turning the gain up to a start-up of the stupid low and high, and the erosion of all MIDs is exaggerated. I would say it is unusable. The guy on the street, all the love, though. I think the great thing about this amp is. You can change the sound too thin or too fat .... too bright or too boring. It is for your game, guitar, and audio settings.
With the increased profits and the settings all to 7, this amplifier is aAdult Rockmachine tones in this amp are staggering. Here you will find a sound you want. It just takes time to find the perfect combination. This requires more than a Marshall. Sometimes the center of 5 is too much when the low of 6 However, the depth reduction of up to 5 may take a bit mean 'more, for example. I say that the audio controls are not dependent on each other.
Amplifier that live always play my first choice.This is a huge task to listen to when I want, and gives me 4 levels high with the pedals. Going too dirty clean mega-profits is only one step. When you walk from clean enough for the distortion at low gain is just a click away. I would say that is one of the best live-amps you can buy.
In the studio .... Well, the thing is used by almost all the projects I do. I have not found a project that is not working well. I recorded country, rock and death metal with this amp and eachwas very pleased.
Finally, I would not change anything about Rivera. It's worth every penny.
ไม่มีความคิดเห็น:
แสดงความคิดเห็น