Conference napalm::guitar

    
    I assume you already have seen the GP review?  If you haven't, let
    me know, I can dredge it up and mail you a copy. They really liked
    the amp but as you noted, it aint cheap.  

Do I didn't see the review..I don't get any guitar mags anymore..

if you could send a copy to me at ASO/6KG I'd be grateful

what a nice amp...

dbii still a few $$$ short of the purchase price...

    In case you didn't know, Paul Rivera was an amp designer for Fender
    in the early 80's.  I believe he is responsible for things like
    the Super Champ (which are pretty cool) and Concert amps.
    
    /rick

    dbii,
    
    Could you enter in more of the features of the Rivera amp and what
    impressed you about it? I'm intrigues because I have an S-D (as you
    know), and I know you are familiar with the S-D because the other
    guitar player in LA East had one. So what is it about the Rivera that
    makes it better than the S-D from your viewpoint? 
    
    P.S. - I'm not trying to start an argument over which amp is the best,
    I'm truly interested to know about the Rivera and why you prefer it.
    
    - Ram

Well after having at home for the weekend..and driving my entire family nuts
all day and all the night...

The amp has two preamps, footswitchable, but to contrast to the SD's both 
have tone controls (this being the major thing that turned me away from the
SD I tried). I guess I should start at the beginning...

There is a PCOMP knob, that is assignable to either preamp or both. This is 
really just an extra gain control that allows you to conpensate for weaker
pickups (like strats or teles). Next you get the the preamps. The clean preamp 
has a treble (pull for bright), a midrange that is semi-parametric, you get a 
5 position switch to change the notch on the mids, a bass control with "pull
for expand" (essentially a bass deepener, not really a booster) and a master
volume fo that preamp with "pull for boost". The "dirty" preamp is very similar
but in this case the 5 position switch is for the treble and not the mids, the 
mid has "pull for notch shift" which moves the center freq of the mid higher. 
The bass has "pull for contour" (I think, essentially a bass boost). The master
for this preamp is identical to the other (ie: pull for boost). The dirty 
channel overdrives easier than the other but a respectable amount of distortion
is available if needed. The dirty channel will scream like a boogie or a marshal
if set up properly.

The power amp section is stereo. Each power amp has two controls, presence and
focus. Presence is functionally identical to a presence control on say a marshal
or whatever, essentially a high boost. Focus to quote the rags onthe amp is "a 
control that allows you to get the clean hard sound of an american amp or the
softer english amp sound" It's really another type of presence control, 
operating in a different range as near as I can tell (who knows I run it on 9
:-)).

There is an effects loop (footswitchable, nice idea!) with a mono send and a
stereo return. The send is adjustable (front panel knob) and the returns are
both adjustable (front panel again). Reverb for each power amp is assignable 
(ie: one or both channels can have reverb) and individually adjustable. For a 
spring reverb it's pretty good, not boingy at all. 

 The back panel has two line level outputs for pa or recording use, each has a
level control, there is a triode/pentode switch for each power amp (cuts the 
output power in half), an impedance matcher for each amp (4-16 ohms) and the 
usual power polarity etc.

There is also another effects loop (I haven't used it yet) there are two outs,
patch 1 & 2 and one return (how one uses both is beyond me!)

The power amps are both 60W rms. All tub construction. Power amp tubes are EL34
and preamps are ECC83's. The head itself is very rugged, rackmount construction
and appears to be high quality all around (for the price it outta be). It is 
also fan cooled, the fan is very quiet and in all but the most touchy of
recording situations would be unnoticable...

I bought the Rivera 2-12" speaker cab, it's loaded with Celestions and wired for
either stereo or mono use. The cab is coverd with carpet and is amazingly light
(only 40lbs!).

There are two versions of the amp, the TBR-1 and the TBR-1M (I have the M) the M
is slightly more expensive and has a slightly more compressed soudn to it than
the other..

I found it to be easy to set up and get a good sound out of, and fun to play
with. I can get Santanna-like sustains at conversational volumes complete with
tons of feedback and at a roar it really screams!

I did try a SD prior to making my choice. The SD dealer was not very interested
in helping me demo the amp, he had fet preamps in both channels at one point and
gave me crap when I asked to have them changed...see ya later dude! The lack
of tone controls for both channels on the SD (60w, he had no 100w in stock) 
chased me away along with the dealer's attitude.

dbii

    dbII,
    
    	I think to compare a SD 60watt Convertible to the amp you just
    described would be like comparing a volkswagon to a rolls. I don't
    even think there 100 watt would have compared to what you describe
    and probably the closest amp would be a Dumble.
    	The most important question is did you feel you got what you
    wanted and was it worth the extra money? What do you think would
    have been a nice addition to the amp?
    	As far as the SD dealer who needed an attitude adjust :^) I
    wonder if SD would like to hear why you did not buy there product?
    	I've talked to them a couple of times and they have been very
    helpful...... 

    The "focus" adjustment on the power amp sounds similar to the
    damping switch found on the new Fender Dual Showman head.
    
    Mark
    

Well was it worth $1700 + tax? Time will tell. It's very flexable, more so than
I'm used to....

dampner?? well could be...

dbii

I played the amp at rehersal last night for the first time. My strat has
never cut through so well. This amp is crystal clear even when it's running
with mucho distortion. I (and my bandmates) were considerably impressed.
It sounds somewhat different in a band situation than it did in my basement
studio or the showroom floor, it sounds better.

A couple of things I noticed last night:

The compression that you get in the -M model is useful if you use digital
effects in the loop, it's pretty easy to set up the loop for a max signal 
with little or no peaking in the loop.

The reverb is heavier than I noticed at home, I had it set about 7-8 at home
but dropped it to 4 at rehersal.

It runs very cool, we cranked for a while and when we were done the chassis 
was cool to the touch, whatever heat is generated is being carried away by
the fan.

dbii

I got some more info on Rivera's newer amps last night.

There are two lines:
Rack mount:

TBR-1 60w per channel
TBR-2 120W per channel
TBR-3 Hammer 60w per channel
TBR-5 Hammer 160w per channel

The TBR-3, and 5 are just power amps, they feature input level, volume Focus and
presence controls.

Combo series:

S120 Stereo 60w  per
M100 100w mono
M60 60w mono

These come as heads with external speakers or as integrated units:
Speaker options are:
C210 :2 10"
C112 : 1 12"
C410: 4 10"

Integrated units :

M100-210 : 100w mono with 2 10" speakers
M100-112: 100w mono with 1 12" speaker
the same for the 60w version

Controls on the M series amps:

Volume bass mid treble master for each preamp channel
reverb
Slavemaster gain and level
chorus speed and depth

Slavemaster: Seperate slaving amplifier circuit. Can be thought of as a seperate
third channel. Simulates having a big amp powered full blast through load
resistors, producing output stage distortion and fuctioning as a voltage 
attenuator. Includes it's own effects loop.

Last night reading through the owner's manual I found one other thing that I
like: the output stages are protected against forgetting to hook up speakers
by load resistors that can take the full output forever (sort of, they recommend
heat sinking them externally if you're going to use the amp as a preamp for
extended periods of time).

The amp defaults to a mono system if you only hook up one side of the outputs.

MIDI and data interfaces are also available:

The TBM-1 midi interface is a rack mount device that allows the switching to be
controlled via midi

TBD-1 data interface allows external control of the TBR switching by devices 
like a GP-8 or TC-2290 (anybody know that this is??)

dbii

      The TC2290 is a kick-a** effects rack from Denmark that has a
    killer digital delay and a hefty price tag. The foot controller for
    it is one of the best on the market. If you got the literature and
    specs on this thing you'd be impressed. All in all it's a great
    addition to a rack if cost is no object. A trade up makes it a good
    consideration. 
      Sounds like the Rivera is a killer. I went the Kitty Hawk route.
    My 100 watt M1 head went for $1100. The tone controls are seperate for
    lead and rhythm channels but the other esoterics (focus) aren't
    there. I'm not replying to brag or cut down. Any amp over a grand
    should kick butt and take names. It's nice to hear someone not gloating
    that Marshall is the only amp. I have one and heartily disagree!
      It's interesting to note that Rivera and Kitty Hawk have common
    foundings. Paul Rivera hot-rodded amps for years in the U.S. before
    designing his own. Wolfram Roy (Roy Electric) did the same thing
    in Europe before building his own Kitty Hawks.

    I had an interesting case of customer followup last night. I had
    written a note to Rivera since I didn;t get a warantee card with the
    amp and I had some questions abou the MIDI interface that the
    literature didn't address...well a couple of months or so went by and I
    had given up. Then last night about 9:00 the phone rang and was for
    me, it was Paul Rivera himself checking to see if anyone had answered
    my questions. he answered all my questions, and gave me a couple of
    questions with answers that I hadn't thought of, recommended some
    guitar cords that he says aren't microphonic at all and at the end of
    the call encouraged me to call him direct if I had any trouble at all
    in the future or had any other questions. Seemed like a real
    knowlegable   and helful person.
    
    That's customer support!
    
    dbii

    
    OK, I'll bite, what guitar cords are non-microphonic?
    
    BTW I'm not surprised that Rivera called you personally, I've found
    that real small companies tend to give you more personalized service.
    It's pretty cool to call up for information and get to talk to the
    chief designer, eh?
    
    							Brian
    

    On a side note, when I've called ADA with MP-1 Q's, they've put that
    Eric L* (?) dude (who designed the thing) on the phone with me a couple
    of times!  Also, the one time I called Metaltronix, I talked with Lee
    Jackson himself.  Maybe these guys who start off as a personalized
    service still try and keep a hand in the customer relations dept.?? 

      in regards to .12 and .14:
    
      I recall when I called Mesa-Boogie around seven years ago,
    I got Randall Smith on the line. I asked if it was B.S., he 
    said he likes answering the phone, that it gives him a feel for
    what the market is looking for, etc. He answered all my questions
    with no problem. 
      I managed to get through to the B.C. Rich custom shop when there
    was a question as to what I wanted on my guitar. I talked to John
    out there and got everything straightened out.
    
      Has anyone talked to Leo Fender?

    							-john r.
    

RE:>      < Note 1368.13 by AQUA::ROST "Chickens don't take the day off" >
   >                     -< Inquiring Minds Want to Know >-
   >
   > 
   > OK, I'll bite, what guitar cords are non-microphonic?
   
    Sampson Stage II series wireless units...Also, NADY...
    Agagagagaga... Sorry.  ;^)
    
    jc 

    Well he recommends the new line from Monstercord, they use Neutrik (SP)
    jacks which he claims are so far superior to anythign else you can buy
    (personally I never had any trouble with switchcraft but won't touch
    Rat shack unless it's completely unavoidable), as a second take he
    recommends Mogami W-2524 audio signal cable with Neutrik ends ( you
    have to 1. find mogami cable and 2. find neutrik jacks and 3. make 'em
    yerself), and if all else fails he said that belden makes several
    cables that are marginally acceptable...(I seem to agree the cords I
    get lately are belden cable but it's bad bad bad....) He also mentioned
    that the TBR-1M (what I have) with the gains all boosted to wow might
    as well be an FM receiver it has so much gain, I agree, you can hear
    the sound of a finger dragged along the pickguard.
    
    I haven't found a cord yet that can withstand me using it for very long
    without becoming microphonic, I twist them all up (I must always turn
    around in the same direction) and pretty soon they go scrape everytime I
    move...lately brand new cords are bad right out of the box (I dunno the
    brand my local geek sells but I'm not too impressed)
    
    Wireless might be a nice answer but my previous experience with both
    Samson and Nady leaves me avoiding the affordable systems as unreliable
    and nearly useless. I blew all my money on the amp, none left for a pro
    wireles system, and the Samson diversity system my bass player was
    using didn't thrill me either, one set per battery is a bit too costly
    in the long run.
    
    In light of how many others have had similar experiences with other
    smaller companies, I guess my experiences with Roland have left me
    sceptical of customer support, they (Roland) don't have a clue.
    
    dbii

      Some info- 
      
      You've probably followed some of the scenario in topic 1103 on Kitty
    Hawk gear and their distributor problems. Reb Beach was without
    a doubt their biggest endorser. With all the things going on other
    companies started tapping on Beach to use their amps. There weren't
    going to be any more free amps for endorsees from KH, not to mention
    exposure in ads (which are good for the artist as well). The front
    runners for the job were Rivera and Laney. The word's out that
    Rivera is Wingers new amp. Sorry Laney!
      BTW - Reb Beach also jumped on the Ibanez bandwagon ( but I don't
    think he'd dump the Pensa-Suhr).
							john r.

    The guy on Arsenio Hall's show uses a Rivera.  Mr. Rivera was given a
    nice free camera shot of his amp last night.
    
    Mike

After several months of using mine I have to say that I'm even more pleased
by the choice I made...the amp is a fine machine, it sounds good from a whisper 
to volume levels I haven't heard this side of an Aircraft carrier flight deck.

and this is only the 60w per channel model...

dbii

    I'm a bit amused this but:
    
    If anyone is seriously interested in a very feature laden all tube amp,
    contact me directly, the rivera is possibly on the selling block.
    
    dbii

    db_II taken over by KH storm...film at 11!
    ;^)

    Its a little late, but did dbii get rid of the rivera??  and Why?
    I was looking at one of the 100w 2/12 amps yesterday, and thought I'd
    check here for info before making a purchase.
    
    Later
    
    rj

    If I remember correctly, Dave still owns the Rivera, but he would
    like to sell it. The reason he wants to sell it is because it is
    very heavy and hard to transport. I think he prefers the tone
    from his <rack-from-hell> better.
    
    I remember when Dave originally bought the Rivera amp. He paid
    nearly $2000 for it. I think the amp broke his back, his bank book, 
    and his marriage.
    
    Mark

    
     Then he got a cheap KH preamp and I think a SP-1000 and used it
    instead of the Rivera. His was the heavy TBR-1 (or 2) model.
    
     Don't scare me with homewrecker amps right when I'm thinking about
    something new (Buck knows, since he saw my book and we chatted).
    I noticed the newer Rivera's are much more retro, just like much of
    the industry.

    You can contact dbii at:
    
    DECPA::"[email protected]"
    
    

    thanks,
    
    rj

    Pleasure.  Tell 'im we all said hellloooooo...