There have been some changes since Paul’s ReValver 3 review. In other respects, the stand-alone and plug-in versions are similar, and are built around a number of ‘modules’. This mode also includes a global EQ option to shape all presets to the acoustics of the performance space. There is a ‘gig’ mode that offers features tuned for that context, including eight user-defined presets and MIDI switching with suitable MIDI hardware. This would, with suitable hardware and audio connectivity, allow you to use ReValver 4 in a ‘performance’ context in the studio, rehearsal room or on stage. The Producer Pack bundle opens up an impressive collection of virtual equipment including a diverse selection of amps.I spent most of my time with the VST plug-in running within Cubase 9, but also gave the stand-alone version a spin. Peavey also provided me with a few other extras to try out, notably some of the ACT (Audio Cloning Technology) add-ons. Amps, cabs and so on can be bought individually, but also in bundles, and for this review, I explored what is perhaps the best-value bundle: the ReValver 4 Producer Pack. The built-in Amp Store allows you to buy items once you are ready to commit. The free version includes only a few ‘lite’ amps, cabs and effects, but the full set of virtual equipment is accessible via a demo mode, so you can give the ReValver 4 experience a pretty thorough workout before buying. Installation is simple enough, but does require a USB device to store a licence key: I used my iLok, but any USB device can be used. ReValver 4 is installed as a stand-alone program and in VST, AU and AAX plug-in versions, on Mac OS and Windows. The new ReValver 4 is a free download, and although you only get a relatively small amount of virtual kit for nothing, an impressive selection of virtual amps, cabs and effects can be added with the modestly priced Producer Pack. Peavey’s ReValver is one of the many native software-only modellers, and has been around for some time - Paul White looked at ReValver 3 back in the May 2009 issue of SOS. Players have strong personal preferences in terms of tone and feel, but from the listener’s perspective - even that of a well-informed and critical listener - when those tones hit you from your studio monitors, PA speakers, hi-fi or ear-buds Well, there are lots of interesting A/B blind tests you can now find on YouTube if you want to test your own abilities to tell the difference between a real amp and a modelled version of the same amp. Whether it’s done using dedicated hardware such as modelling amps, racks or floorboards, or in software, modelled guitar tones can now be utterly convincing. Guitar amp modelling is a technology that now has a long history. The latest iteration of Peavey’s modelling software not only allows you to build your own virtual guitar amps, but to ‘profile’ real ones.
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