REVV Generator 120 MK3 User manual

Generator 120 MK3
Owner’s Manual

We are a small company out of Winnipeg, Canada. Years ago, I set out to make an amplifier that
delivers the sound guitarists need that isn't in other amps, one that is extremely versatile in the tone
and application. Luckily, when other musicians played my early prototypes, they agreed! The tone was
fresh, unique and they all needed an amp for themselves! I quickly built a team of people as passionate
about guitar as I am, and Revv was born. To be honest, it grew bigger and faster than I had ever
hoped...
It has since been a long hard journey being a small business filled with long nights and people who
didn’t believe in us. After endless tweaking and customer feedback, I’m at a place where I know we are
building the best-sounding, durable, and most versatile amps that we can. It’s incredible hearing the
kind words of amazing guitar players using Revv around the world, and we are just getting started.
Thank you for believing in us and making this possible. Nothing makes this journey more fulfilling than
seeing musicians using what we’ve built to make music. That is what this is all about, making music.
Because we are still a small business, every little bit helps, and we would appreciate you sharing
pictures of your Revv gear on social media, using it to perform your music, or simply telling a friend
about it. Thank you for your support and for making music.
Dan Trudeau
President & Designer

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TABLE OF
CONTENTS
P4 Warranty
P5 Safety Instructions & Warnings
P6 Set up & Power up
FRONT PANEL LAYOUT P7/10
1Input
2Channel One (Clean)
3Channel Two (Crunch)
4Channel Three (Purple Gain)
5Channel Four (Red Gain)
6Master Volume Control
7Depth & Presence
Function Controls
8Reverb Switch
9Gate Switch
10 Store Switch
11 Pre-Post Switch
12 Headphone Jack
13 Headphone/XLR Level Control
14 Virtual Cabinet Switch
15 Bluetooth Window
16 Standby & Power Switches
BACK PANEL P11/13
17 Main Power Connection
18 Main & HT Fuses
19 Bias Test Points
20 Power Tube Fault Fuses
21 XLR Output and Ground Lift
21.1 XLR Output Connectors
22 USB Connector
23 Reverb Level Control
24 Gate Threshold Control
25 Wattage Switch
26 Internal Load Switch
27 FX Loop Send and Return Jacks
28 Cabinet Lighting
29 Foot Switch Connection
30 MIDI Connections
31 Impedance & Speaker Jack
TUBES AND BIAS P14/15
32 Power Tubes
33 Power Tube Sockets
34 Preamp Tubes
35 Power Tube Bias
36 Setting The Bias
37 Bias Chart
MIDI P16/18
38 Setup
39 OMNI Mode
40 MIDI Channel Setting
41 MIDI Program Change
42 MIDI Controllable Functions
43 Continuous Controller (CC)
TORPEDO REMOTE/LOAD P19
44 Bluetooth Connection
45 Troubleshooting
46 Internal Reactive Load
SETTINGS & SAVING CABINETS P20/21
47 Front Panel/Cab Lighting On/O
48 Saving Global/Masters
49 Saving A Digital Cab To A Bank
50 Saving A Digital Cab To A Channel
51 Disable/Enable Speaker Cab
52 Factory Reset
FOOT CONTROLLER P22/23
53 Hook up
54 Control Mode
55 Preset Mode
56 To Save A Preset To A Bank
57 Foot Controller Reset
58 Foot Controller Mute

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This Revv Amplification Inc. product is warranted against manufacturing defects in material and workmanship for
a period of five (5) years from the date of purchase to the original owner. Tubes and fuses will be warranted for
ninety (90) days from the date of purchase of the product to the original owner and all input jacks, connectors,
and control switches will be warrantied for one (1) year. The warranty starts on the date of purchase by the original
owner. This warranty is subject to the obligations and exclusions listed below.
OBLIGATIONS:
This warranty will be honored with original proof of purchase to the original owner only. Warranty work must be
authorized by Revv Amplification Inc. in advance. All freight and duty (If applicable) are to be prepaid to and from
Revv Amplification Inc. of all products that require and have been approved for warranty work. Revv Amplification
Inc. is not liable for any freight and or duty (if applicable) charges.
EXCLUSIONS:
A product that has been altered or is missing serial numbers will not be covered. Items that were damaged while
being shipped to or from Revv Amplification Inc. will not be covered by this warranty. This warranty shall not apply
to repair or replacements necessitated by any cause beyond the control of Revv Amplification Inc. including,
but not limited to, any malfunction, defects, or failure caused by or resulting from unauthorized service or parts,
damaged or broken tubes, improper maintenance, incorrect line voltages, liquid damages, modification or repair
by the user, misuse, abuse, accident, neglect, or fire. Revv Amplification Inc. does not authorize any party to
assume for it any other obligation or liability. In no event shall Revv Amplification Inc. be liable for any damages
arising from the use of this product, or for any delay in the performance of this warranty due to causes beyond
our control.
WARRANTY

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Please read, understand and follow all safety instructions in this manual, as well as those on the rear panel of the
amplifier. These instructions and warnings must be followed for your safety, and also to ensure that the amplifier will
serve you for many years. Please use common sense when operating, this is a professional instrument designed
for electric guitar amplification, and should only be used with electric guitar signals.
•Do not operate or store this amplifier in a damp or
wet environment.
•Do not keep items that contain liquid of any kind
near or on the amplifier.
•Allow for 4-6 inches of space around the unit
when operating. This unit produces heat and
should be kept away from flammable items/
objects.
•Never obstruct the top heat vent when the unit is
powered on.
•Do not expose the amplifier to high temperature.
Keep the amplifier away from radiators or any
other items or equipment that supplies or
produces heat.
•Be sure to connect to an AC power supply that
meets the power supply specifications listed on
the rear of the unit.
•Do not use an AC power cord that is damaged,
has been pinched or is missing prongs.
•This amplifier must be properly grounded to local
standards when being operated. Do not use 2
pole extension or power cords to supply power to
this amplifier.
•Remove the AC power cord from the amplifier
when changing tubes, fuses or when moving the
amplifier. Always replace fuses with the correct
type and rating. Always remove AC power cord
when removing chassis.
•The AC power cord should be removed from the
outlet when left unused for long periods or when
there is risk of electrical storms.
•No user serviceable parts inside, all service should
be done by qualified personnel only.
•Always make certain the proper load is connected
to the amplifier before operating. Always make
connections to the amplifier with the power o.
•Your amplifier is designed to produce high
volume/sound pressure levels. Long term
exposure to these levels can damage your
hearing. Please use hearing protection when
exposed to these levels for extended periods to
prevent loss of hearing or hearing damage.
•Keep away from children.
SAFETY &
WARNINGS

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SETUP &
POWER UP
It is very important to place the amplifier in a dry
location that provides 4-6” of space between the rear
of the amplifier and anything in the area that has been
designated for the amplifier. Tubes produce heat, and
anything flammable should be kept away. Verify that the
top heat vent is free from obstruction so that the heat
produced by the tubes can escape from the interior of
the amplifier. Now have a quick look at the tubes and
make sure they are all seated in their sockets. Look
good? We are ready to move on!
First, make sure that the power and standby switches
are in the o (down) positions. Connect the amplifier
to a speaker cabinet using a good quality speaker
cable and set the impedance switch to the required
impedance setting (See 3.5). Next, connect the AC
power cord to the amplifier Mains connector on the
rear of the amplifier and then to an AC outlet.
At this point, all other peripherals can be connected to
the amplifier as well:
Note: A good quality, shielded instrument cable is
recommended for guitar input as well as FX loop
connections to prevent unwanted noise. Cables can
color the sound of a guitar’s signal, and sometimes
trying dierent cable lengths, can provide the desired
sound.
Once all your connections are made, move the power
switch to the On position and give the tubes at least one
minute to warm up. Now is a great time to begin setting
all controls while we wait. We recommend setting the
master volume and gain controls to the lowest setting
or zero (fully counterclockwise) and all treble, mid, and
bass controls to the 12 o’clock positions to begin. Set
the standby switch to the ON (up) position and you are
ready to begin exploring!
Note: Upon power-up, you will have noticed that the
buttons and clip LED all illuminate solid Red. This is the
startup sequence of the amplifier. After a few seconds,
the amplifier will complete the startup sequence and
load up either Channel 1 (default) or your favorite saved
amp setting.
•FX Loop
•Guitar & Shielded
Cable
•MIDI
•XLR
•USB
•Revv Cabinet Lighting
•Headphones
•Revv Foot Controller

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FRONT PANEL
INPUT 1
1⁄4” Instrument cable input.
CHANNEL ONE (CLEAN) 2
Selected by: 1. pushing the designated front panel
button, 2. footswitch button #1 or a footswitch preset
mode setting, 3. MIDI & CC commands.
• Passive treble, middle, & bass controls with a wide
range. Small turns equal large tonal change!
• Level control sets the FX loop signal intensity as
well as overall volume for the channel.
Clean Bright allows you to achieve a brighter or
warmer clean tone without compromising the full
range of your treble knob. This is also useful when
using gain pedals that are picky about which amp they
are boosting, so definitely experiment to taste.
The Wide function is activated by pressing the channel
button. When the wide function is active the red LED
will illuminate. In this mode, the sound the channel will
produce will be bolder as all frequencies are boosted.
CHANNEL TWO (CRUNCH) 3
Selected by: 1. pushing the designated front panel
button, 2. footswitch button #2 or a footswitch preset
mode setting, 3. MIDI & CC commands.
• Passive treble, middle, & bass controls with a wide
range. Small turns equal large tonal change!
Crunch Bright allows you to tailor the sound to your
preference by shifting the high end response of this
channel. It makes quite a large dierence, so don’t be
afraid to turn it on if you like a much more bitey tone!
Pairing this on/o position with dialing of the treble
knob can yield very powerful results.
Crunch Gain allows you to go from an almost totally
clean tone to quite a bit of gain! And in conjunction
with the drive mode setting, this channel can get quite
spicy!
Crunch Drive mode is cycled by pressing the channel
button. As you press the channel button you will see
the drive LED change from OFF to Blue to Red. Each
drive mode will alter the gain of the channel as well as
increase or decrease the intensity of certain frequencies.

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CHANNEL THREE (PURPLE GAIN) 4
Selected by: 1. pushing the designated front panel
button, 2. footswitch button #3 or a footswitch preset
mode setting, 3. MIDI & CC commands.
All else being equal, external of voicing switch
positions, this Purple channel is drier, tighter, & clearer
than Red Channel 4, with less gain on tap. As a result
most people use the fatter & more saturated Red
Channel 4 for lead & this Purple Channel 3 for rhythm
but please experiment to your own taste, especially if
you like a thick chunky rhythm distortion tone or a drier
lead tone. This is a 4 channel amp with 2 high-gain
channels so you can get the exact tones in your head
without compromise, however, you choose to set it up.
• Gain, treble, mid, bass & level (volume) control
knobs with a wide range of operation - small
adjustment equal large tonal change!
Aggression has 3 levels : least saturation (green), tight
saturation (blue), & highest/fattest saturation (red).
These aggression levels are highly interactive with
the gain knob & can result in everything from broken-
up rock tones to metal rhythm tones & lead tones.
These aggression levels can be cycled through both
by repeatedly pressing the designated channel push
button and by repeatedly pressing the Channel #3
footswitch.
Bright, Cut & Fat extend the highs, mids & lows
respectively. These boosts can be powerful when
looking for certain sounds as they interact so well
with the channels EQ. The Fat control will allow you
to either run a tight low end or dramatically loosen
it up depending on what you need. Cut boosts mid
frequencies and bright boosts treble to enhance your
overall presence live or in the studio!
CHANNEL FOUR (RED GAIN) 5
Selected by: 1. pushing the designated front panel
button, 2. footswitch button #4 or a footswitch preset
mode set-ting, 3. MIDI & CC commands.
Operates as above (Channel 3). As noted there, many
players prefer to use 4 for lead, but it is totally up to you
as each channel has its own character. Experimentation
is key!
MASTER VOLUME CONTROLS 6
The Generator is equipped with 2 MIDI & foot-
switchable/programmable master volume controls.
These controls come right after the eects loop & also
work as the FX loop return control. These controls can
be toggled from one to the other for complete volume
control & boosts.
The controls can be toggled via the footswitch button
#6 (or programmed bank) or a MIDI device.
The master volume control can also be toggled by
holding down the “Gate” button on the front of the
amp for 2 seconds. This method of toggling the master
volumes is primarily used when saving the setting to a
bank on the foot controller in “preset mode”.
DEPTH & PRESENCE 7
The Presence control has a great range of use! This
control can be very powerful when brightening up the
amp and adding amazing cut!
The Depth control is a bass control & will add some
incredible low end to the output. Using the control
sparingly is recommended to keep the bass response
tight, as higher settings will give you a loose low end.
Note: Lowering the bass control on the three channels
& increasing the depth control is also another means of
experimenting with the Generator’s voicing!
Note: Both of these are controls of the power amp
section of the amplifier & are global controls that aect
all channels. Because they work well with the EQ of
each channel, experimentation will provide a precise
tone suited to your needs.
REVERB SWITCH 8
The reverb on the amplifier is toggled on and o with
the reverb switch. When the LED is illuminated, reverb is
inserted into the guitar signal. The reverb level control
on the rear of the amplifier is then set according to the
amount of reverb desired.
Each channel on the amplifier can be set dierently
from each other to include reverb or not.

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Note: The reverb switch is also used to toggle the FX
Loop in and out of the signal path when held down for 2
seconds. This method is used to save the FX Loop state
to the “preset mode” of a bank on the foot controller, or
quick toggle from the front of the amp front panel.
GATE SWITCH 9
This amplifier is equipped with a high quality noise gate.
The gate threshold control knob is located on the rear
of the amplifier. When the gate button is pressed and
the LED is illuminated, the noise gate is then activated
on the current channel. The threshold level is then set
to taste using the threshold control on the rear of the amp.
Each channel can be set dierently from each other to
have the noise gate active or not.
When the GATE LED is flashing, the gate is open and
will allow the signal to pass through. You will find that
when the threshold setting is set to your taste and you
begin playing, the LED will flash. When the GATE LED
is solid and not flashing, the gate is closed and will
prevent unwanted noise.
If the threshold setting is turned fully down (completely
counterclockwise) the gate LED will flash even when
not playing. This is because the threshold is set to its
lowest setting or OFF.
Note: The noise gate switch is also used to toggle
between master volume 1 and master volume 2 when
held for 2 seconds. This function is used to save the
desired master volume control to a bank on the foot
controller when in “preset mode” or quickly toggle from
the amp front panel.
STORE SWITCH 10
The store switch on the amplifier is important and
serves many purposes from MIDI settings to save
channel settings. This is all covered in dierent parts
of the manual depending on what you are looking to
accomplish.
PRE-POST SWITCH 11
Because the Two Notes Technology inside can also
provide digital power amp tone, you now have the
ability to choose dierent tube types like EL34s or
6L6s as your “virtual” power amp sound. To take
advantage of this ability, we added the Pre/Post switch.
This momentary push button will give the Two Notes
Technology inside either an input signal from the Pre-
amp or the power amp. If the input signal comes from
the Pre-amp, then the real tube power amp won’t color
the sound and the digital tube types can be used from
the Two Notes tech in all their tone glory. If the power
amp (post) is used as the input signal to the Two Noted
Technology,, then the real power amp will color the
tone. So this gives you more options to find incredible
tones from your amplifier!
When the switch is illuminated, the “pre” mode is
engaged and the real power amp is taken out of the
signal. The master volume controls on the amplifier will
set the volume and signal intensity in this mode.
If the button is not illuminated, then the “post” mode
is active and the real power amp is part of your sound.
The master volume controls on the amplifier will set the
volume and signal intensity in this mode.
Each channel can be set dierently from the other and
in conjunction with the saved digital cabs can provide
incredible versatility in sounds.
Note: When the “pre” mode is active, the volume level
between pre and post will be dierent. In most cases,
depending on master volume settings, the “post” mode
will always be louder than the “pre” mode. This is by
design as the Two Notes Technology inside has its
volume control from the digital power amp. To set your
level, turn on the digital power amp from your two notes
remote control panel and adjust the volume to taste.
We recommend you save the cab bank this way and
have it recalled when in “pre” mode to match volume
levels with the real power amp.
HEADPHONE JACK 12
The headphone jack on the amplifier comes right from
the Two Notes Technology output! This allows you
to use the amplifier with any of the selected speaker
cabinet I.R. settings through your headphones and
enjoy an amazing stereo tone! By utilizing the built-in
reactive load, you can play the amp with no speaker
using only the headphone jack as the output for quiet
playing while still getting great tone.

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HEADPHONE/XLR LEVEL CONTROL 13
This control, located under the headphone jack, sets
the output level of the headphone as well as the stereo
XLR outputs located on the rear of the amp.
Note: The power delivered by the headphones output is
high enough to remain ecient even when using high-
impedance headphones. Therefore, it is possible to
get very high audio levels with that output. We strongly
advise against the use of headphones with high audio
levels. The improper use of headphones can lead to
irreversible damage to your hearing.
VIRTUAL CABINET SWITCH 14
This 6 position selector switch will switch through the
first 6 presets of the Two Notes virtual cabinet library
saved to your Amplifier. You can change the virtual
cabinets and all their options saved to each position by
using the Two notes Remote software.
BLUETOOTH WINDOW 15
Your amplifier utilizes Bluetooth technology to access
the two notes technology for on the fly changes via the
app.
STANDBY & POWER SWITCH 16
The power & standby switches give the amp power
from the mains, as well as a high voltage through the
circuit. First, turn on the power switch and wait a minute
to allow the tubes to warm up. Turn on the standby
switch to the ON position once you are ready to play.

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BACK PANEL
MAIN POWER CONNECTION 17
When plugging the amplifier into the mains A/C wall
receptacle, always make sure the amplifier power &
standby switches are in the o position. The Required
voltage & fuse ratings are marked on the amplifier,
verify that they are correct before plugging in.
MAIN & HT FUSES 18
The mains fuse & HT fuse are in place to protect you
& your amplifier from overload conditions. It is vitally
important that fuses with the same type and rating are
used when replacing. Fuse requirements are marked
on the rear panel of the amplifier. Always be sure to
unplug the amplifier from the mains before replacing
the fuses.
BIAS TEST POINTS 19
This amplifier is designed to allow the user to set the
bias of the power tubes without removing the chassis
from the headshell. Each pair of power tubes needs to
be set according to the tubes being used.
POWER TUBE FAULT FUSES 20
The power tubes are fused in pairs. Should a power
tube fail, the fuse will blow & take the pair of power
tubes out of service. This has the benefit of protecting
the amplifier, & also allows for continued playability, to
allow the user to finish the gig on the remaining pair.
The volume & tone will change but the show will go on.
Note: Should the amp be run with 2 power tubes
removed from service (bad or blown fuse), in order to
achieve a tone more consistent with normal 4 tube
operation the amp should be run with an impedance
setting of half the speaker cabinet rating. For example,
if the speaker cabinet is 8 ohms, use a 4 ohm speaker
jack on the amplifier, & if the speaker cabinet is 16 ohms,
use an 8 ohm speaker jack.
XLR OUTPUT & GROUND LIFT 21
The balanced output XLR jacks are a direct output from
Two notes Torpedo Embedded. By connecting these
outputs to front of house or an audio interface you can
capture your amplifier’s tone with no need for a cabinet
or microphone!

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The ground lift switch will defeat the ground on the
amp should you encounter ground noise from other
equipment you have connected.
XLR OUTPUT CONNECTORS 21.1
In the rear of the amplifier is a direct output from the
embedded Two notes Torpedo and not direct from
the tube amplifier output itself. The purpose of these
outputs is to be used with audio interfaces to exclude
the use of an actual speaker cabinet, using virtual
cabinets instead.
Note: The reverb or other eects that the Two notes
Torpedo provides will only be available through the
output at the headphone or XLR jacks and not a
real cabinet. The speaker output will always behave
normally. As an added bonus, some users will find this
useful for “wet/dry” setups in which they send a signal
that utilizes reverb to FOH (front of house), while playing
through a dry cabinet.
These two XLR connections will allow you the ability to
run your output signal in mono or stereo! By utilizing the
twin tracking option in the two notes remote software,
you have the power to run stereo from these outputs to
add some crazy versatility!
One side of your signal could be wet while the other
dry to create a virtual guitar player right from your rig
and add massive tone!
The Ground Lift switch should be set to ground (pushed
in) for best results. However, if this produces a buzz or
hum because of ground loops between the amplifier
and the audio interface, press the ground lift switch to
eliminate noise.
Note: The level control under the headphone jack
controls your output level/volume to the XLR outputs.
The clip LED will illuminate if the signal is set too high.
USB CONNECTOR 22
The USB connector will connect your computer to your
amplifier with the provided USB data cable to use the
Two notes Remote software. Use the USB connection
to edit presets, create new presets, or load your third-
party Impulse Responses! No audio signal is passed
through the USB out.
REVERB LEVEL CONTROL 23
The reverb level control increases the intensity of the
reverb eect in your sound when the reverb switch on
the front panel is activated. Turn the knob clockwise to
increase reverb and counterclockwise to decrease the
eect.
GATE THRESHOLD CONTROL 24
The gate threshold control will set the guitar signal
level required for the noise gate to open and close. As
you turn the knob clockwise, you increase the amount
of signal required to open the noise gate and allow the
signal to pass.
WATTAGE SWITCH 25
This latching push switch sets the overall power output
of the amplifier between 10 watts and 120 watts.
INTERNAL LOAD SWITCH 26
This latching push switch engages the internal load
or allows a real speaker cab to be used when set
accordingly. If there are no speaker cabs connected to
the speaker jacks on the amplifier, the internal load will
be engaged automatically.
FX LOOP SEND & RETURN JACKS 27
Your amplifier features a high-quality buered FX loop,
the send and return jacks connect to any pedals or
eect units you may want to use with the amplifier.
Let’s go through it step by step, just in case you have
never used an eects loop and don’t know how to
hook it up.
The send jack will need to be connected to the input
jack on your eects unit. The output jack on the eects
unit (or last pedal in your chain, if you are connecting
multiple eects in series in the loop) will then connect
back to the return jack on the amp.
Your eect is now part of the signal chain, verify that your
levels are set accordingly to the eect so you have a
strong signal being sent to the amplifier, then adjust the
volume control on the amplifier to your requirements.

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Note: The reverb switch is also used to toggle the FX
Loop in and out of the signal path when held down for 2
seconds. This method is used to save the FX Loop state
to the “preset mode” of a bank on the foot controller, or
quick toggle from the front of the amp front panel.
CABINET LIGHTING 28
The cabinet lighting jack on the rear of the amplifier
is used to connect the amp to Revv speaker cabinets.
Because the Revv badge on our cabinets lights up, you
can illuminate the cab badge with this jack.
Simply use the 4 pin Din cable provided with all Revv
cabinets and connect the amplifier to the cab lighting
connector on the cabinet.
FOOT SWITCH CONNECTION 29
This connection both powers your footswitch & allows
it to control your Revv. Should the provided footswitch
cable fail, any 5 PIN DIN cable can be used.
Note: This cable sends important data between the
amplifier and the footswitch. If a lesser quality 5 PIN
DIN cable is used, incorrect or erratic behavior could
occur. A high quality cable is recommended, which can
be provided by Revv should you need a replacement.
MIDI CONNECTIONS 30
The MIDI IN connection is for external equipment
connections when your rig necessitates control of your
Revv with third-party gear.
The MIDI through jack allows for the connection of
additional MIDI devices in your signal chain in addition
to your Revv.
See MIDI Section of this manual for more details.
IMPEDANCE & SPEAKER JACKS 31
The amplifier must always be connected to a speaker
cabinet or load when it is powered up and set to
have the internal load disengaged. This amplifier can
be used with cabinets that provide a load of 4, 8 &
16 ohms. Because the amplifier provides a number
of speaker jacks with dierent impedance options, it
can also power 2 cabinets directly from the amplifier.
The speaker jacks must be used correctly for the
impedance to be matched between your amp and the
cabinets being connected.
Most setups are simple, one cabinet plugged into
the amp, select the impedance to that marked on
the cabinet & you’re ready to go! However, when it
comes to adding more cabinets to the rig, more care
must be taken to prevent damage. Most rigs will not
utilize more than 2 cabinets so we won’t go beyond 2
cabinets here.
Some examples:
•2 - 8 ohm cabinets would be plugged into the the
two 4 ohm speaker jacks (one per 8 ohm cab)
located on the back of the amplifier.
•2 - 16 ohm cabinets would be plugged into the the
two 8 ohm speaker jacks (one per 16 ohm cab)
located on the back of the amplifier.
•2 - 4 ohm cabinets cannot be run in parallel with
this amplifier. This will cause damage.
Note: No damage will result when running the amplifier
set at a lower impedance (Ex: 4 ohms) into a cabinet
rated at a higher impedance (Ex: 8 Ohms). However the
opposite will cause damage to the output transformer
or other components & it is suggested that the amplifier
never be run into a lower load.
Note: Depending on the power tubes used, this amplifier
can supply 180 watts+ of power to the speakers at high
volumes, so it is important to be sure your cabinet can
handle that kind of power, especially when running
KT88/6550 type tubes.

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TUBES &
BIASING
POWER TUBES 32
Our high wattage amplifiers are designed around 6L6
tubes - but will accept the following tubes & gladly
display their tonal characteristics for you in your Revv.
KT88
This tube is punchy with a strong low end and great
clarity. The extra power out of this tube adds extra
headroom & is very tight & focused. Overall can be
described as “more” of the same sound, with a focused
attack.
EL34
The EL34 tubes are more aggressive than the KT88,
they add more harmonic content & have a bit more
sizzle on the highs. Can impart a slightly “British”
classic flavor.
6L6GC
Our standard, the 6L6GC tube is big, open & articulate.
Note: The tubes listed above are guaranteed to bias
correctly & sound good in the amplifier, but if you
are an experienced technician other tubes can be
experimented with as well. 6550, KT77, KT66, 5881 can
be equipped, with care.
POWER TUBE SOCKETS 33
This amp has been designed to allow mixing of power
tubes as each pair has its own bias adjustment. Tube
positions 1 & 3 are set up as one pair & are biased with
the bias adjustment trimmer in between them. Tube 1
and 3 are the pair of power tubes closer to the middle
of the amplifier. Tubes 2 & 4 are the second set that are
biased with the adjustment trimmer in between them.
This pair of power tubes are found closer to the rear
of the amplifier. This allows you to mix dierent power
tubes in the amp if you wish to experiment with new
sounds. i.e. a set of KT88 tubes can be used with a set
of EL34 tubes.
Note: While we designed the amplifier to be easy
to maintain, we advise that all tubes be set up by a
qualified service technician to prevent damage to the
amp from improper bias settings.
PREAMP TUBES 34
This amplifier uses 12AX7 (ECC83) preamp tubes in the
preamp of your amplifier. Preamp tubes do not need
to be biased & usually have a long life unlike power
tubes, but a preamp tube can become faulty at any
stage of its rated lifespan.
POWER TUBE BIAS 35
You will need a voltmeter or digital multimeter set to
the lowest DC voltage range. (Make sure you refer to
the meter’s user manual).
Note: Use tubes that are matched! If 2 dierent tube
types are being used, make sure they are matched. If all
4 are the same type, make sure they are matched pairs
(don’t mix them) although a matched quad is better.
To prepare:
1. Remove the rear bae cover from the rear of the
amplifier. If you are replacing tubes, do so now with
the power o & the amplifier unplugged from the
main power receptacle. Place the new tubes in the
correct socket positions.
2. Turn the trimmers down by turning the trim pot
with a small screwdriver in the counterclockwise
direction. You can access the trim pots through the
small holes in between the power tube pairs. If any
fuses had blown, make sure to replace them as well.

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3. Now plug the amplifier into the main power
receptacle, unplug any guitar cables from the
inputs & turn on the main power. Let the tubes
warm up for one minute
4. Turn down the master volume controls to zero &
turn on standby to the ON position.
5. Verify that none of the tube fault LEDs are on. If
they are, power down the amplifier, remove the
plug from the main power receptacle & replace the
faulty fuse & return to step 3. If everything checks
out, move on to the next steps of setting the bias.
If it is still blowing fuses, a tube is at fault. Try a
dierent pair.
SETTING THE BIAS 36
1. Place the black lead from your meter into the black bias
test point on the amplifier & the red lead into the red
bias test point (The red test point on the left is for V1 & V3
tubes, red test point on the right is for V2 & V4 tubes).
2. Refer to the chart below for bias set points for the
tubes being used & slowly turn the trimmer in the
clockwise direction until the value is reached.
3. Next, place the red lead into the other red bias test
point & repeat step 2 for the other set of tubes. If 2
dierent pairs of tubes are being used, refer to the
chart below & set the bias accordingly.
4. Re-check the settings of each bias test point &
make any further adjustments as required.
5. Once the bias is set at the required settings, return
the chassis into the headshell if removed and rear
bae panel to the rear of the amp & fasten it with
the screws you removed. You are done!
(Measurements are for two tubes per bias point)
Note: The range setting is for experimentation. Power
tube bias settings change the sound of the amp & the
range listed above is safe for experi-mentation. The
largest setting is considered the maximum setting &
should not be set above this setting. Running the tubes
on the higher end of the range will shorten the tubes
expected life.
BIAS CHART 37
Type Recommended set point Safe Range
KT88 100mV 90mV to 110mV
EL34 70mV 60mV to 80mV
6L6GC 85mV 80mV to 95mV

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MIDI
SETUP 38
Versatile & optional MIDI control helps Revv amps
seamlessly integrate into any rig. The amplifier will store
up to 128 programs for program change commands as
well as accept Continuous Controller (CC) commands
to control functions directly. The amplifier also features
OMNI mode to allow control options on 16 channels, &
phantom power to power control devices.
What does that mean?
1. You can set up “presets” of switch positions on the
amp to recall quickly. (this could be used for clean,
crunch, rhythm, & lead, for example).
2. You can simply control anything’s on/o state
(FX loop for example).
3. You can do a combination of both of those things.
4. You can do this with a computer for automatic
changes during songs, a MIDI floor control unit
instead of our footswitch, a loop switcher with midi
to control pedals as part of the “presets,” a multi-
eects unit with MIDI control, & more.
5. You can do this with just our footswitch, or not at
all if you choose. External equipment just becomes
more beneficial when integrating your Revv with
additional pieces of a rig such as eects units.
OMNI MODE 39
OMNI mode o will allow the amplifier to be controlled
via a designated channel (1-16), & OMNI mode on will
allow the amplifier to respond to commands on any
channel. If other equipment is being used in a MIDI
system, it is desirable to set each piece of equipment to
separate channels. However if the amplifier is the only
piece of gear being controlled via MIDI, then setting
it to a specific channel is not required and using the
OMNI mode setting becomes preferable.
To toggle OMNI mode on or o:
1. Make sure the power switch is in the o position.
2. Press & hold “Reverb” push button.
3. With the “reverb” push button being held, turn on
the power switch.
4. Release the reverb push button once the reverb
LED begins to flash. Once the “reverb” LED has
stopped flashing, it has accepted the command to
adjust OMNI mode.
Note: The reverb LED will flash 3 times when it turns
OMNI mode on, & 4 times when it turns OMNI mode o.
MIDI CHANNEL SETTING 40
This amplifier can either automatically or manually
change the 16 MIDI channels you would like it to
respond to. The channel change is stored in memory
& only needs to be done when you need the amp to
respond on a certain channel.
1. To set the MIDI channel: With the power o, press
& hold the store button then turn on the power
switch. The amp will power up & begin to flash all
4 channel LEDs. Once this happens it is awaiting
the channel data to be received from the external
equipment (Automatic) or to be set manually.
2a. To set the channel automatically: (recommended)
With your external equipment ready (pedals,
computers, etc.) & set to the channel you want the
amplifier to be controlled from via MIDI, send a
command to the amplifier by pressing a program
change button or CC command on your external
equipment. Once the amplifier receives the data,
it will verify the channel it received & save it to
memory. Easy!
2b. To set the channel manually: Once step 1 has been
completed above & the channel LEDs are flashing,
press the CH1 CLEAN button. The CH1 LED will flash
& the other Channel LEDs will turn o, this signifies
that MIDI channel 1 has been selected.

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Simply continue to press the CH 1 button to get to the
channel you desire. As you press the button you will
notice the other Channel LEDs turn on as you increase
the MIDI channel number. Once you reach the channel
you desire, press the STORE button to save it to
memory.
Note: There are only 4 channel LED, so the MIDI
channel count will be done in values of 4. MIDI channel
1 will be signified by CH1 CLEAN LED flashing, & as you
increase in number, MIDI channel 4 will be signified by
all four channel LEDs flashing, but once MIDI channel
5 is selected, only the CH1 CLEAN LED will flash again.
Every time you reach MIDI channel 5, 9, or 13, the LED
cycle will once again start from the CH1 CLEAN LED. So
keep count as you select the channel you desire. If you
go past MIDI channel 16, the count will start at channel
1 again. Once saved to memory, the Channel LEDs will
flash very quickly several times to verify the change has
been made & completed.
MIDI PROGRAM CHANGE 41
This amplifier can remember up to 128 program settings
of the MIDI controllable functions. To set a program (i.e.
amplifier configuration) to be controlled via MIDI:
1. Set the amplifier to the configuration you intend to
save to a program number. (Ex: Ch: 3, Aggression
level: 2, Fat: ON, Master Volume: 2, FX Loop: OFF,
etc)
2. Once the amplifier is configured as you would like,
press the store button. The Store LED will flash &
the amplifier will wait now for a command through
its MIDI IN jack.
3. Send a program change command from your MIDI
Pedal or other equipment with the correct channel
& program number you intend to have the amplifier.
save the current configuration to.
4. Once the command is received, the amplifier will
save the current amp configuration to that program
number. The Store LED will flash 3 times & turn o
verifying that the command has been received &
saved.
Now, anytime you send that program number to the amplifier
from your MIDI pedal or other external equipment, the amplifier
will switch to that saved configuration. This will allow for any
configuration of your settings to be recalled with any MIDI device.
MIDI CONTROLLABLE FUNCTIONS 42
The amplifier functions that can be controlled via MIDI
are as follows:
Channel Selection (1-4)
Wide Mode (Ch1
3 Drive Levels (Ch2)
3 Aggression Levels (Channels 3 & 4)
Bright function (All Channels)
Cut function (Channels 3 & 4)
Fat function (Channels 3 & 4)
FX Loop in/out
Master Volume 1 & 2
Reverb
Noise Gate
Pre-Post
Mute
Two Notes Embedded Functions
These functions can be set & controlled in a MIDI
program change setting, where one program change
command will call up a configuration of the above
settings, or continuous controller commands, where
a CC command will switch any one of the functions
listed above, independent from any of the others. The
CC command functions are great for things like instant
access buttons on foot pedals etc.
CONTINUOUS CONTROLLER (CC) 43
To use CC commands, the amplifier Functions have
all been given a designated number & on or o
setting. When using & selecting a function the number
associated with the function must be used & then the
setting of the function (on or o) must also be sent.
Most MIDI equipment (pedals etc) allows you to select
a CC number & then designate whether it be turned to
on or o. (Consult the external equipment instruction
manual).
The following commands & their CC numbers need only
be sent an ON command (0-63) as they are used to switch
between channels & aggression levels which cannot be
turned o, only changed to a dierent channel or level,
on & o commands sent will produce the same result.

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The following commands & their CC numbers need
only be sent an ON command (0-63) as they are used
to switch between channels & aggression levels which
cannot be turned o, only changed to a dierent channel
or level, on & o commands sent will produce the same
result.The following 2 commands will switch to the
channel & then toggle through the aggression levels
with each use of the command using the footswitch to
switch to the channel & toggle through the aggression
levels. This command will also respond to an on & o
command with the same result:
Function CC Number Hex value)
Ch. 1 13 - (0x0D)
Ch. 1 wide 14 - (0x0E)
Ch. 2 low Drive 15 - (0x0F)
Ch. 2 med Drive 16 - (0x10)
Ch. 2 high Drive 17 - (0x11)
Ch. 3 low aggression 18 - (0x12)
Ch. 3 med aggression 19 - (0x13)
Ch. 3 high aggression 20 - (0x14)
Ch. 4 low aggression 21 - (0x15)
Ch. 4 med aggression 22 - (0x16)
Ch. 4 high aggression 23 - (0x17)
The following 2 commands will switch to the channel
& then toggle through the aggression levels with
each use of the command using the footswitch to
switch to the channel & toggle through the aggression
levels. This command will also respond to an on & o
command with the same result:
Ch. 3+ aggression toggle 24 – (0x18)
Ch. 4+ aggression toggle 25 – (0x19)
The following commands control functions that are
turned on & o. These functions require an o (0-63)
& on (64-127) command (byte) to be sent with the CC
number to either turn them on or o.
If you are trying to use them & are not getting them
to respond, chances are you are sending the wrong
command byte ( 0-63 is OFF & 64-127 is ON).
(Consult the Peripheral’s instruction manual)
Function CC Number Hex value)
Noise Gate 26 – (0x1A)
Masters 27 – (0x1B)
Fat 28 – (0x1C)
Bright 29 – (0x1D)
Mute 30 – (0x1E)
Reverb 31 – (0x1F)
Pre-Post 33 – (0x21)
Cut 34 – (0x22)
FX Loop 35 – (0x23)
Two Notes Power Amp 36 – (0x24)
Two Notes Reverb 37 – (0x25)
Two Notes Noise Gate 38 – (0x26)
Two Notes Twin Tracker 39 – (0x27)
Two Notes EQ 40 – (0x28)
Two Notes EQ R 41 – (0x29)
Two Notes Mute 42 – (0x2A)

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TORPEDO REMOTE &
REACTIVE LOAD
The amplifier can be connected to Two notes Remote
software to manipulate all available settings and
change the presets found on the front knob of the
amplifier.
This is via the USB port. You can find the
Remote Software for the amplifier here:
https://www.two-notes.com/downloads
Once you connect to the computer using the provided
USB cable, your computer will start recognizing the
amplifier. This may take a couple of minutes. Once
this is complete, simply open the Remote Software
and the amp will connect. Once connected, you can
tweak all available Torpedo Embedded settings to your
preferences!
Note: If you are new to studio practices such as
mic placement, the dierence in tonalities between
dierent speakers and more Two notes has a wealth
of resources available throughout their channels to get
you started. Of course, the presets are the best start in
this situation!
BLUETOOTH CONNECTION 44
You will connect to the Two Notes Torpedo inside your
Revv Amplifier from your mobile device via Bluetooth.
The connection has to be done in the following order:
1. Launch the Torpedo Wireless Remote app
2. Accept all the requested authorizations
(they depend on your tablet or phone)
3. The connection window should show up and when
it does, follow the on screen instructions.
4. Input the pin code to pair the Torpedo in your Revv amplifier
and your mobile device. The pin code is found with your
amplifier. Contact Revv should you misplace the Pin Code.
TROUBLESHOOTING 45
If after inputting the pin code the Torpedo does not
show up in the “Devices” menu in Torpedo Wireless
Remote, you will need to unpair the Torpedo in the
list of devices that are paired in the Bluetooth menu
of your phone. Once you have done this, please redo
the procedure detailed above. You cannot pair the
Torpedo from the phone or tablet OS, it has to be done
by Torpedo Wireless Remote. Some phones need to
have the location (GPS) activated to allow for Bluetooth
pairing. Try activating the Location if you find yourself
unable to pair with just the Bluetooth activated on your
phone or tablet.
INTERNAL REACTIVE LOAD 46
Your amplifier comes with a built-in, fan-cooled,
reactive load to allow you to play without the need for
a speaker cabinet. On the rear of the amplifier, there is
an internal load/speaker switch to switch between the
speaker cabinet and the reactive load.
Depending on what you need, you can switch between
the two on the fly. The speaker cabinet does not have
to be unplugged when switching to the reactive load,
the switch will bypass the speaker cab and only use
the reactive load or vice versa! So you have full control
by simply using the switch..
Note: If you forget to plug in a speaker cab and run
the amplifier without a speaker cab fear not! The
amplifier automatically uses the reactive load if there
is no speaker plugged into the amplifier. But be aware,
if there is a cable plugged into the speaker jack on the
amplifier but no speaker cab plugged into the other end
of the cable, this will cause damage unless the reactive
load is engaged by using the internal load switch!

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SETTINGS &
SAVING CABINETS
The amplifier by default will power up with channel
1 loaded and all options turned o. But if you would
prefer to save how the amplifier powers up and how
each channel is set at power up you can!
Any combination of channels, drive, aggression settings
and functions can be saved so that the amplifier will
always power up in your favorite setting.
In order to perform this setting:
1. Select the channel you want to power
up with and set it up to your preference.
2. Press the store button and quickly release.
3. The store led will now flash
4. Press the CH button of the channel you have active.
The amplifier will now store your setting and confirm
it by flashing the store led quickly and turn o. That’s
it! Your favorite setting will now be loaded when the
amplifier is powered up. This will remain until changed.
Note: Each channel can be set up this way, however,
the last channel saved will be the first channel to
become active when the power is turned on. So when
setting your channels up the way you want them when
power is applied, just remember that you want to save
your power up channel last.
FRONT PANEL & CAB LIGHTING 47
While we know a lot of people like the color-changing
Revv logo and cabinet lighting, some do not. The
option to turn this feature on and o has been added
to your amplifier!
To disable/enable the cab and logo lighting:
With the main power in the OFF position
1. Press and Hold the GATE button then
power ON the amplifier.
2. When the GATE LED begins to flash
release the button.
3. If the GATE LED flashes 4 times, the cab save option
is disabled. If the GATE LED flashes 3 times, the cab
save feature is enabled.
The logo leds will either now be on or o for complete
amplifier customization!
SAVING GLOBAL/MASTERS 48
While the FX Loop and Master functions are considered
global settings across all channels, some players
might prefer that these functions are saved dierently
on each channel. In this case, the amplifier has been
designed to oer either setting so that it is possible to
have each channel call up a dierent setting for both
the FX loop as well as the master volumes.
This can be a pretty powerful feature if your settings
will always remain the same.
By default, these functions are set to global as most
players will require the FX Loop and master to remain
the same across all channels (global).
But to toggle the amp to store these settings dierently
among the channels, simply turn on the saved FX Loop/
Masters setting.
With the main power in the OFF position:
1. Press and Hold the FAT button then
power ON the amplifier.
2. When the FAT LED begins to flash,
release the button.
3. If the FAT LED flashes 4 times, the setting is saved
to store the FX loop/masters how you want them
to all channels. If the FAT LED flashes 3 times, the
setting is saved to global.