High Gain input This is a high-sensitivity input. If your guitar has hot pickups, then plugging into it makes it easy to overdrive the preamp section, creating harmonic distortion. Guitars equipped with low-output pickups seem hotter than usual when plugged into this input.
Low Gain input This is a low-sensitivity input. Guitars plugged into it have more headroom before distortion sets in (meaning that you can crank up a channel's volume a little louder before you experience preamp distortion). This is a good choice for a clean overall sound, and is especially well-suited to active pickups or guitars equipped with preamps.
Channel 1 Both channels are voiced differently, and Channel 1 is definitely geared toward creating impressive overdrive (think of a "British" tone). Grit, grunge, dirt--whatever you're looking for in the distortion department is here, from sweet and singing to hard-driving to maximum sustain. Note: Like the controls on all classic amps, the Treble, Middle, and Bass interact, creating smooth, musical tone changes. All three controls operate with even response throughout their ranges.
Volume (with channel-select switch) Although it's labeled "Volume," this control does a lot more than determine how loud Channel 1 is. It regulates the preamp's volume and works with the Master to set the level and distortion amount. A simple rule of thumb is, the higher the Volume is set, the more distortion you get. The pull switch selects which channel is active. Its circuitry is designed so that you don't hear a pop or click when the channel is changed. (The FS-7 footswitch also selects channels; the Volume's pull switch must be pushed in for the FS-7 to choose channels. See the later section on the FS-7 and its functions.)
Bass The "chunk" and support that form the backbone of your tone come from this control. Its effect on your overall sound will be different at high and low volumes due to the speaker's characteristics and how much distortion you use.
Middle The midrange circuit provides the "meat" that fills out your sound. It has a slight notch in the frequency spectrum at about 550 Hz, and turning the knob alters the depth of that notch, letting you change the overall voicing of your tone.
Treble Whether you're looking for edge, slash, or just a little shimmer, this knob's for you. Like the Bass control, the apparent effect of the Treble changes with the loudness and distortion you dial in.
Master (with Pull Boost switch) Think of the Master as a sort of governor that sets the maximum loudness for the channel. Also, think of it as the second half of what the Volume knob does. With the Volume turned down and the Master up, there's less distortion than if you crank up the Volume and set the Master lower. The Master control comes after all distortion and tone-shaping on Channel 1, so its level doesn't have a bearing on your basic tone. When you pull out the Boost switch on Channel 1, it adds a whole range of harmonics, and not just gain. This is easy to hear by playing a power chord and comparing its sound with the switch pushed in and pulled out. With the switch activated, the tone blooms, going from fat to ferocious.
Channel 2 Channel 2 is extremely flexible, with a flavor that brings to mind the great classic American tones and textures. You can get some pretty impressive lead overdrive distortion out of Channel 2, and as a rhythm channel it brings out every subtlety of your playing. The range of tones can be anywhere from sparkling-clean to perfect for bluesy rhythm--the kind of sound that has an attitude and gets meaner as you pick harder.
Volume The Volume knob regulates the preamp's volume and works with the Master to set the level and distortion amount. A simple rule of thumb is, the higher the Volume is set, the more distortion you get.
Treble (R55-112 and R100-212 include Pull Bright switch) This treble control is similar in operation to the one on Channel 1. In addition, it has a built-in Pull Bright switch. When pulled out, it adds bright highlights to the tone.
Middle (with Pull Notch switch) The midrange circuit has a slight notch in the frequency spectrum at about 550 Hz, and turning the knob alters the depth of that notch. Its Pull Notch switch shifts the frequency center of that notch down to about 250 Hz. (For reference, most 1950s tweed amps have their notch centered at 550 Hz, while classic "blackface" amps have theirs centered at 250 Hz.) Experiment with this, especially if you're looking for a uniquely expressive rhythm texture.
Bass The "chunk" and support that form the backbone of your tone come from this control.
Master (with Pull Ninja switch) Channel 2 has a special EQ circuit that works in conjunction with the distortion circuit to sweeten the tone. Therefore, the Master knob's effect goes beyond loudness control. Try it with different Volume and Middle settings to adjust the amount of "singing" and "grit." The Ninja Boost», activated by pulling out the Master knob, is a sweet-sounding boost characterized by a more subtle effect on the harmonics than Channel 1's Boost control while adding sustain. The Ninja Boost helps to drive the power amp, and the best description of its influence over the tone is that it thickens it.
Reverb In the tradition of classic amps, your R Series amp is equipped with a spring reverb. Its single-knob operation controls its effect on the signal coming from both preamp channels. Specially buffered circuitry drives the reverb, keeping your tone intact and minimizing harshness.
Presence (R55-112 and R100-212) The Presence control is incorporated as a vital part of the power amp section. Think of it as a final brightness control after all the EQ, distortion, effects, and reverb.
Standby (R55-112 and R100-212) By turning the Power on and the Standby off (the down position, labeled with a "0"), you can warm up the amplifier before applying full voltage to the preamp and power output tubes. This prolongs tube life. Using the Standby switch when you're taking a break also helps to extend the tubes' life, plus it keeps the amp constantly at the ready. Just flip the Standby switch to the up ("I") position, and you're ready to play.
Power This is your main power switch. The on position is indicated by the light being illuminated. The off position is marked by the "0" on the switch. Before turning the amp on, always check that a speaker is connected and that the power cord is firmly plugged into the amp and the outlet.
Mains Input
Your R Series amp has a detachable power cord that connects to the chassis AC connector labeled Mains Input. Always use this cord and, in the event that the power cord requires replacement, replace it with the same type of power cord. Consult your RIVERA dealer for further information. Be sure to use a grounded electrical mains power supply socket whenever possible. These outlets have a grounding pin in addition to the normal line and neutral pin. The power cord supplied with your R Series amp has a 3-pin plug. Do not cut off or damage the ground pin. If the available electrical outlet is of the older 2-pin type, use a suitable ground-lift adapter.
The U.S.A., Canada, and Japan share a common CSA/UL-style cord. Most of Europe and Scandinavia utilize a Euro plug and have a SEMKO/VDE-style cord. Australia uses a different type of plug, as does England.
Note: Avoid using long extension cords. Long cords have sufficient resistance to electrical current that the voltage arriving at your amp can be significantly reduced. This can have a bad effect on your tone.
Mains Fuse R30-112
This AC line fuse protects your amplifier from damage due to shorts, momentary surges, and defective power tubes. In the event of a fuse failure, always replace it with the same type of fuse.
Note: Always turn the amp off and wait about five minutes before replacing a fuse. This allows the parts to cool and high voltages to dissipate.
For 100VAC and 115VAC versions, the Mains Fuse is: 2 Amp, 250 Volt Slo-Blo type (size 3AG, or MDL)
For 230VAC versions, the Mains Fuse is: T 800mA (time-delay, 5mm x 20mm size)
Mains Fuse R55-112
This AC line fuse protects your amplifier from damage due to shorts, momentary surges, and defective power tubes. In the event of a fuse failure, always replace it with the same type of fuse.
Note: Always turn the amp off and wait about five minutes before replacing a fuse. This allows the parts to cool and high voltages to dissipate.
For 100VAC and 115VAC versions, the Mains Fuse is: 3 Amp, 250 Volt Slo-Blo type (size 3AG, or MDL)
For 230VAC versions, the Mains Fuse is: T 1.25A (time-delay, 5mm x 20mm size)
Mains Fuse R100-212
This AC line fuse protects your amplifier from damage due to shorts, momentary surges, and defective power tubes. In the event of a fuse failure, always replace it with the same type of fuse.
Note: Always turn the amp off and wait about five minutes before replacing a fuse. This allows the parts to cool and high voltages to dissipate.
For 100VAC versions, the Mains Fuse is: 5 Amp, 250 Volt Slo-Blo type (size 3AG, or MDL)
For 115VAC versions, the Mains Fuse is: 4 Amp, 250 Volt Slo-Blo type (size 3AG, or MDL)
For 230VAC versions, the Mains Fuse is: T 2A (time-delay, 5mm x 20mm size)
HT Fuse (R55-112 and R100-212)
The power amplifier circuit has its own fuse for protecting the output section from short circuits and transient current peaks that exceed the normal current draw. These conditions are usually caused by a bad tube. When a short circuit or transient peak causes the fuse to blow, the output tubes should be checked and replaced, if necessary.
R-55-112:
For 100VAC and 115VAC versions, the HT Fuse is: 1/2 Amp, 250 Volt Slo-Blo type (3AG, or MDL) For 230VAC versions, the HT Fuse is: T 500mA (time-delay, 5mm x 20mm size)
R100-212:
For 100VAC and 115VAC versions, the HT Fuse is: 1 Amp, 250 Volt Slo-Blo type (3AG, or MDL) For 230VAC versions, the HT Fuse is: T 1A (time-delay, 5mm x 20mm size)
Repeated blowing of this fuse is a clear indicator of a defective output tube. Always use the correct fuse value when replacing the HT Fuse.
If the Mains Fuse or the HT Fuse repeatedly blows, refer your amp to your local RIVERA dealer or contact us at (818) 833-7066 for further service assistance.
Speaker output R30-112
A speaker must always be connected to your Thirty Twelve, whether it's the internal 12" speaker or an extension speaker cabinet. The amp is designed to deliver at least 30 watts to an 8-ohm speaker load. If it has to drive speaker loads lower than 4 ohms, its output transformer or other components could be damaged. You can use an 8- or 16-ohm extension cabinet, with the internal speaker unplugged). Never use a 2-ohm speaker cabinet. The only time you may run the amp without a speaker connected is if you have a proper "dummy" impedance load box plugged into the speaker output. Using a dummy load protects the output transformer, but prolonged use shortens the life of the amp's output tubes. If you use your Thirty Twelve to drive an extension cabinet, use a heavy-gauge speaker cord. A shielded guitar cord can't handle the power that your amp provides, and therefore won't sound right--plus it may actually harm your amp. Refer to the connection diagrams for more information.
Note: Never use a speaker output to connect directly to the input of a mixer, a tape recorder, a slave amp, or headphones. For further information, refer to the hook-up diagrams for proper connection with extension speaker cabinets.
Speaker outputs -- R55-112
A speaker must always be connected to your Fifty Five Twelve, whether it's the internal 12" speaker or an extension speaker cabinet. The amp is designed to deliver at least 55 watts to an 8-ohm speaker load. If it has to drive speaker loads lower than 4 ohms, its output transformer or other components could be damaged. You can use an 8- or 16-ohm extension cabinet, or two 8- or 16-ohm cabinets (one into each speaker output, with the internal speaker unplugged). You can also use one 4-ohm cabinet if the internal speaker is disconnected. Never use a 2-ohm speaker cabinet or two 4-ohm extension speaker cabinets. The only time you may run the amp without a speaker connected is if you have a proper "dummy" impedance load box plugged into the speaker output. Using a dummy load protects the output transformer, but prolonged use shortens the life of the amp's output tubes. If you use your Fifty Five Twelve to drive an extension cabinet, use a heavy-gauge speaker cord. A shielded guitar cord can't handle the power that your amp provides, and therefore won't sound right--plus it may actually harm your amp. Refer to the connection diagrams for more information.
Note: Never use a speaker output to connect directly to the input of a mixer, a tape recorder, a slave amp, or headphones. For further information, refer to the hook-up diagrams for proper connection with extension speaker cabinets.
Speaker outputs -- R100-212 A speaker must always be connected to your Hundred Duo Twelve, whether it's the internal 12" speaker or an extension speaker cabinet. The amp is designed to deliver at least 100 watts to a 4-ohm speaker load. If it has to drive speaker loads lower than 2 ohms, its output transformer or other components could be damaged. You can use an 8- or 16-ohm extension cabinet, or two 8- or 16-ohm cabinets (one into each speaker output, with the internal speaker unplugged). Never use a 2-ohm speaker cabinet or a 4-ohm extension speaker cabinet. The only time you may run the amp without a speaker connected is if you have a proper "dummy" impedance load box plugged into the speaker output. Using a dummy load protects the output transformer, but prolonged use shortens the life of the amp's output tubes. If you use your Hundred Duo Twelve to drive an extension cabinet, use a heavy-gauge speaker cord. A shielded guitar cord can't handle the power that your amp provides, and therefore won't sound right--plus it may actually harm your amp. Refer to the connection diagrams for more information.
Note: Never use a speaker output to connect directly to the input of a mixer, a tape recorder, a slave amp, or headphones. For further information, refer to the hook-up diagrams for proper connection with extension speaker cabinets.
Line Out
Your R Series amp can drive another R Series amp, power amp, or other guitar amplifier. The Line Out is post-power amp, so every bit of tone from your preamp, effects (if used), reverb, and power-amp circuitry is sent from this jack. Use a shielded cord connected between the R Series amp's Line Out and the input to a second amplifier (check that amp's manual--it may recommend a specific input). The Line Out can also be used to feed a signal to a tape recorder or mixer. Although the recorder or mixer doesn't receive the tone that comes from the speaker, it does receive all of the signal from every other stage of the amp, and for live-performance recording it does an excellent job of isolating your guitar sound.
Note: Do not connect the Line Out to speakers or headphones. For further information, refer to the hook-up diagrams for proper connection.
Footswitch jack
This 8-pin DIN plug is designed to work specifically with the included FS-7 footswitch. Your Hundred Duo Twelve will function perfectly without a footswitch. However, the footswitch provides a hands-free way to switch channels and select boost functions. Its three switches control the following:
Channel Select Gain Boost for Channel 1 Ninja Boost for Channel 2
Note: If you are using the FS-7 footswitch, make sure that all pull switches on the amp's front panel are pushed in. If any of the pull switches is pulled out, then the corresponding footswitch function will not operate. Also, the switches and their LEDs are driven by the amplifier's power; there is no battery to replace inside the FS-7.
Patch (Preamp Out and Power Amp In) R30-112
The Thirty Twelve's Patch section is optimized for driving slave amps or accepting the signal from another amp's preamp so that the Thirty Twelve can act as a slave. When a jack is inserted into the Patch's Power Amp In jack, the connection between the preamp and power amp sections is broken. Therefore, any signal that comes in through the Power Amp In goes directly to the power amp section and the speaker. You can use the Preamp Out to send a signal to another amp, and if nothing is plugged into the Power Amp In, the signal also goes to the Thirty Twelve's power amp section and speaker.
Of course, you can use pedals and rack-mounted effects between your guitar and the amp. In fact, that's where most wah-wahs and other pedals sound exceptionally good. However, rack signal processors are often best suited to being placed after the preamp's tone-shaping circuitry. Your Thirty Twelve's Patch section is designed to provide a solid signal that's just right for most line-level effects. Note:The Preamp Out can be used to route a signal to a guitar tuner.
The Patch section comes after the preamp and reverb sections. In addition, its circuitry is designed to drive line-level signal processors and other power amps or slave amps with excellent results. It can connect directly to P.A. and mixing consoles. (Because the signal is electrically unbalanced, you can use an unbalanced-to-balanced output transformer to connect to equipment requiring a balanced input.)
Before you connect a signal processor to your amp, either turn the amp off or to standby.
Use high-quality shielded cords between the amp and processor. Never use a speaker cord.
Setting levels for external effects
1. Connect the amp's Preamp Out and Power Amp In with the signal processor's input and output.
2. Plug in your guitar, turn on the signal processor, and then turn on the amp (wait a minute for it to warm up).
3. Set the signal processor's input level so that you don't overload the processor. Keep your ears open for unwanted distortion from the signal processor (you'll know it by its crackly, unmusical sound). Whack a few chords on your guitar to check that your settings are correct.
4. Now turn up the signal processor's output level until you hear the proper volume and overdrive and the lowest amount of noise. This level is usually equal to the level that passes through your amp when nothing is plugged into the Patch jacks.
5. Make sure that you set your straight/effects blend at the signal processor, since all of your preamp's signal is passed through the effects loop. Do not use an effects-only output to return from the processor to the amp. Always use the "mix" output, if the unit has one.
Effects Loop -- R55-112 and R100-212
Of course, you can use pedals and rack-mounted effects between your guitar and the amp. In fact, that's where most wah-wahs and other pedals sound exceptionally good. However, rack signal processors are often best suited to being placed after the preamp's tone-shaping circuitry. Your Hundred Duo Twelve's Effects Loop is designed to give you the best match between the amp and the processor by allowing you to set the level of the signal going to the effect, as well as the one coming back. Therefore, you can tailor your amp/effects levels for best signal-to-noise ratio and the amount of distortion you want. Note:The Effects Loop send can be used to route a signal to a guitar tuner.
The Effects Loop comes after the preamp and reverb sections. In addition, its low-impedance circuitry lets you drive everything from the simplest stomp-box effect to the most sophisticated pro signal processor with excellent results. It's also fully buffered, meaning that it can drive long cords and line-level gear and mixing consoles. (Because the signal is electrically unbalanced, you can use an unbalanced-to-balanced output transformer to connect to equipment requiring a balanced input.)
Before you connect a signal processor to your amp, either turn the amp off or to standby.
Use high-quality shielded cords between the amp and processor. Never use a speaker cord.
Setting Effects Loop levels
1. After you connect the amp's Send and Return with the signal processor's input and output, set the amp's Send Level and Return Level between 1 and 2.
2. Plug in your guitar, turn the signal processor on, and then turn on the amp (or flip the standby switch).
3. Set the amp's Effects Loop Send Level and the signal processor's input level so that you don't overload the processor. Keep your ears open for unwanted distortion from the signal processor (you'll know it by its crackly, unmusical sound). Whack a few chords on your guitar to check that your settings are correct.
4. Now turn up the Effects Loop Return knob until the proper volume and overdrive are dialed in. You'll probably have to experiment with the signal processor's output level until you get the best sound and lowest amount of noise.
5. Make sure that you set your straight/effects blend at the signal processor, since all of your preamp's signal is passed through the Effects Loop. Do not use an effects-only output to return from the processor to the amp. Always use the "mix" output, if the unit has one.
The Effects Loop Send is configured so that it is always active, so you can use it as a variable output. Note that if you use the Send to drive slave amps, etc., and have nothing plugged into the Return jack, the signal still passes from the preamp to the power amp.
Speaker -- R30-112
The speaker in your Thirty Twelve is a specially designed Celestion 12" with a 55-watt power-handling capacity. It was selected for its classic tone and ability to deliver lots of volume. To protect it, keep the grille on your amp at all times, and don't use the back of the amp for storing any sharp objects.
Speakers -- R55-112 and R100-212
The speakers in your Fifty-Five Twelve or Hundred Duo Twelve are specially designed Celestion 12" G12T-85 models with a 85-watt power-handling capacity. They were selected for their classic tone and ability to deliver lots of volume. To protect them, keep the grille on your amp at all times, and don't use the back of the amp for storing any sharp objects.
