Origin Effects REVIVALDRIVE COMPACT Owner's Manual page 9

RevivalDrive Compact
Main controls (continued)
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 (turning clockwise) results in a thick and raspy distorted sound. Conversely, pulling the lows
out of the drive path (turning counter-clockwise) 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 pushpull 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.
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