HIGHS:
The HIGHS knob progressively increases mids and highs as you turn it clockwise, delivering a brighter, more incisive tone
while keeping the low end tight and controlled so that high-gain settings don’t turn to mush.
Based on the original RevivalDRIVE’s Preamp mode switch, the HIGHs knob provides a continuous range of useful preamp voicings.
This ranges from a Marshall-style amp with its tone controls centred (fully counterclockwise, ’0’ mode) to a cranked Plexi Marshall
(12 o’clock, ‘GB’ mode) to a cranked Blackface Twin (fully clockwise, ‘US’ mode).
LOWS:
The LOWS control allows you to adjust the amount of bass pushing the drive circuitry. Increasing the amount of low end (turn
clockwise) results in a thick and raspy distorted sound. Conversely, pulling the lows out of the drive path (turn counterclockwise) will
reduce the amount of low-frequency distortion, resulting in a tighter, more defined overdrive.
Fully clockwise, the LOWS control imitates the response of a Tweed-era Fender amp or a Marshall JTM45 with the bass turned up.
Fully counter-clockwise, it replicates the tight lows of a Marshall Super Lead or the Vox AC30’s “Brilliant” channel. In between these
two extremes, the LOWS knob produces the characteristic low-end response of a Blackface-era Fender amp.
MORE/PRES:
This control combines two parameters, both related to the effects of negative feedback in the power amp stage.
Turned clockwise from the centre position (PRES), this control releases the higher frequencies from the effects of negative feedback,
progressively boosting highs just like the classic “Presence” knob on vintage Marshall and Brownface Fender amps.
Turned counterclockwise from the centre position (MORE), this control progressively reduces negative feedback in the pedal’s push-
pull output stage, increasing gain at all frequencies and also varying playing feel by modifying the break-up characteristics.
With the control centred at 12 o’clock, there is a definite threshold to this transition, with an abrupt switch from clean to overdriven
once you pick hard enough. Turned fully counterclockwise, there’s a smooth, gradual transition from clean to fully overdriven with
an earlier onset of distortion.
At 12 o’clock, the response is akin to a Marshall with the “Presence” knob at zero. Fully counterclockwise, the pedal behaves like a
Vox AC30, with no negative feedback whatsoever. In between, you’ll find Fender Blackface territory.
Summary of Contents for RevivalDRIVE Compact
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