Table of Contents

Overview

Packing information

Safety precautions

Quick Start instructions

Front Panel

High Gain input

Low Gain input

Channel 1 overview and controls

Volume

Bass

Middle

Treble

Master

Channel 2 overview and controls

Volume

Treble

Middle

Bass

Master

Reverb

Presence

Anti-Feedback Equalizer

Standby & Power

Rear Panel

Mains Input

Mains Fuse

HT Fuse

Speaker & Tweeter outputs

Impedance Selector

Footswitch Jack

Effects Loop

Tube Direct Box & Ground Lift

Speaker System

Connecting The Sedona With Other Gear

Driving a full-range extension speaker cabinet

Driving a Sedona Extension Cabinet with tweeter switching

Running two amps in parallel without a Y-cord

Slaving a second Sedona

Slaving a second amp or power amp

Placing a signal processor in the effects loop

Sending a direct signal to P.A. or recording gear

Using an A/B switch box to route two guitars to Sedona

Adding a microphone and/or drum machine to a Sedona setup

Running two Sedonas in stereo

Care and troubleshooting

Quick troubleshooting guide

Bias Adjustment

MIDI Control Of Switch Functions

Tube care and replacement

Preamp & Power Amp Tube First Aid

Accessories

Specifications

Warranty

Your Rivera Amp Is An Important Part Of Your Sound

Your sound is your signature, your mark, your voice. An amp only deserves to have your guitar plugged into it if it can deliver the tone you want--and, of course, the dependability you need. It's as simple as that. And it's exactly why you bought your RIVERA amp. For that, we thank you, and we're confident that you'll enjoy your amp for years to come.

Many factors go into creating a great amp--experience, an understanding of what guitarists want, and a lot of hard work. You'll notice that tone isn't on any parts list. Roadworthiness isn't, either. And there's no law saying that an amp must sound good or be well-made. But we dedicate ourselves to making the best-sounding, most reliable amplifiers anywhere. That's why we use only the highest-quality components, regardless of price. Such features as metal jacks, ultra-strong dadoed cabinet construction, and highest-quality electronic components are part of our uncompromising approach. They're chosen for their precision, strength, and ability to withstand the rigors of years of use--and occasional abuse--on the stage and in the studio. No compromises are made because cutting any corners--no matter how small--means settling for second best. This is the premise and promise by which we make amps.

This requires dedication to you, the guitarist, and a belief that an amp is more than a collection of parts. It's part of your sound.

Please fill in the following information for future reference:

Packing Information

Unpacking

Before you plug in, inspect your Sedona amp for any damage. Your amp was inspected and sound-tested before shipment, but transportation can sometimes be tough. Check that the FS-7 Footswitch and power cord have been shipped with the amp. If parts are missing, or if any damage has occurred, contact your dealer.

Packing Materials

We designed the original box and packing materials to protect your amp during shipment. Save them. If you ever need to send your amp to us or to anyone else, the original box and packing materials will ensure safe transit.

Safety Precautions

Warning: To avoid the risk of shock or fire, do not expose this amplifier to moisture. Do not remove the chassis from its cabinet, or remove metal covers from chassis parts. Removing the chassis from its cabinet exposes extremely dangerous high voltages. There are no user-serviceable parts inside. Hazardous voltages are present inside the chassis. Refer all servicing to qualified personnel.

Caution: To avoid a fire hazard, always replace the fuses with the same type and rating.

Caution: Always replace the line cord (mains supply) with the proper type.

Caution: Always turn off the amplifier before making or unplugging any speaker connections.

Always transport your amplifier securely, preferably in a suitable flight case or packing carton. Before operating your amplifier, be sure the speakers used are properly connected. For countries where 220 to 240 volts AC is encountered, make sure that you have the correct power cord. Our 230-volt export unit can be used with any of these voltages. For the United Kingdom, South Africa, Australia, and New Zealand, we build a special 250V version able to handle higher Mains voltages. For Japan 100 VAC models, all instructions for the 115 VAC models apply.

Before you plug in:

Take a quick look inside the back of your amp. Make sure of the following--

1. The tubes are securely seated in their sockets.

2. Jake Combo Amp: A speaker cord is plugged into the Speaker 1 output (this jack must always be used first) from the internal speaker, or to a input jack on a speaker cabinet with a minimum impedance of 4 ohms.

3. The impedance selector is set to match the cabinet's internal impedance (8 Ohms).

4. The power cord is plugged in.

5. The FS-7 footswitch is plugged in (this is optional).

Now look at the front to make sure:

1. The Volume and Master controls are set at low levels (2 is a good starting point).

2. The Power switch is off (the lower half is pushed in).

3. The Standby switch is set to standby mode (the lower half is pushed in).

Plug in!

Now plug the amp into the wall, plug your guitar into either input jack, and set your controls to one of the Quick Start settings outlined here. Then turn on the Power switch. Wait for about a minute for the tubes to warm up. Turn on the Standby switch. Now it's time to rock.

After you've played with your Quiana for a while, check out the rest of the manual for some good tips on getting the most out of your amp.

Quick Start: Doyle Dykes'Settings

If you're looking for a good starting point, try Doyle's settings. Remember that every guitar sounds different, so adjust the controls to suit your taste.

Channel 1 (Doyle says, "User either the High Gain or Low Gain input-both sound great!")

Channel 2

Front Panel

High Gain input This is a high-sensitivity input. If your instrument has hot pickups, then plugging into it makes it easy to overdrive the preamp section, creating harmonic distortion. Note: Instruments that have an active system may have a higher output level than passive pickup systems. Also, instruments equipped with low-output passive 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 pickup systems, or instruments equipped with preamps. This is also a correct choice when taking a signal from a line level source, like a guitar synthesizer or keyboard.

Channel 1 Both channels are voiced differently, and Channel 1 is voiced for electric guitar sounds, clean or distorted, with the distortion character voiced with a British influence. 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. For more on the FS-7 and its functions, click here.)

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. It is well suited for acoustic instruments. With an electric Instrument, such as a guitar, you can achieve some pretty impressive "sweet" overdrive distortion with channel 2, and as a rhythm channel it brings out every subtlety of your playing.

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 (with 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, it adds highlights to the tone. This is very useful for acoustic instruments. If the treble frequencies are too extreme when the control is pulled, try setting the treble control to a lower number and the Pull Bright switch off, and compare this tone to what you get with the treble control at a higher setting. Note: Refer to the section on the Presence control for an explanation of its relationship to adding brightness.

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 that notch's depth. Its Pull Notch switch shifts the notch's frequency center 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. Large-bodied acoustic instruments, such as guitars, cellos, bouzoukis, etc., will have fewer feedback problems caused by resonant droning if the Pull Notch switch is engaged.

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 Sedona 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 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.

Anti-Feedback Equalizer Sedona is provided with a special circuit that can reduce the tendency or amount of resonant feedback that commonly occurs when amplifying acoustic instruments. This is possible by enabling a dip or cut in the frequencies that are amplified, with the frequency and amplitude of the dip continuously variable (like a parametric equalizer). The design parameters of this "cut-only" equalizer were chosen for their musical and sonic qualities.

It may also be desirable to use this feature for additional equalization to work in tandem with Channel 2's passive 3-band (Treble, Middle, Bass) controls. For instruments that may have an excessively fat or midrangey tone, you can select a deeper midrange notch. Note: The Anti-Feedback Equalizer can be engaged only when Channel 2 is selected. Also, the tweeter can only be switched on when Channel 2 is selected. This convenience allows you to optimize one channel (Channel 2) for acoustic or rhythm instruments and one channel (Channel 1) for electric instruments like solidbody guitars.

Anti-Feedback Level (with Pull On switch) To activate this feature, Channel 2 must first be selected. Pull out the knob on the control labeled Level located in the right area of the front panel. An adjacent red LED will illuminate, indicating that the circuit is engaged. Rotating this control adjusts the level of "cut," or "dip," with 1 providing the minimum cut and 10 providing the maximum cut.

Anti-Feedback Frequency Control (with Pull On Tweeter Switch) Rotating this control with the Anti-Feedback equalizer engaged (Channel 2 must selected) continuously sweeps the different center frequencies of the "cut," or "dip." The knob setting of 1 corresponds to the narrowest range (150 Hz) and 10 corresponds to the widest range (3.5kHz).

Tweeter Switching In order for the tweeter to work, Channel 2 must be selected. Pull out the knob on the control labeled Frequency. An adjacent green LED will illuminate, indicating that the Tweeter is activated.

Practical Use Of The Anti-Feedback Equalizer

A. For controlling feedback With Channel 2 selected and the equalizer off, adjust the volume and tone controls to taste. When a note or frequency begins to drone or howl, indicating feedback, turn on the equalizer and rotate the Level knob to 10. Then rotate the Frequency knob until you find the setting that tunes out the note or frequency that is feeding back. Now try lowering the "cut" amount by decreasing the equalizer's Level control until the feedback comes back. Now slightly increase the amount of "cut." By minimizing the Equalizer's "cut," you minimize the effect it has on the overall tone. The most effective adjustment of this equalizer is a matter of taste, and varies according to the type and size of your instrument, Channel 2's volume and tone settings, room acoustics, and your demands.

B. For additional EQ Some instruments require more midrange notch, or "cut," than others, so you may want to adjust your sound using the Anti-Feedback equalizer. For example, typical rhythm accompaniment sounds are usually equalized for bottom and top-end tones with a decreased midrange. Using an instrument with midrange-rich pickups such as dual-coil humbuckers may require far more "cut" than a similar instrument equipped with single-coil pickups. Selecting a humbucking pickup-equipped semi-acoustic guitar's neck-position pickup provides a very bass-heavy and fat tone that may be too "dark," but by experimenting with different settings, you can dial in a much more pleasant rhythm sound.

Standby 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.

Rear Panel

Mains Input

Your RIVERA 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 RIVERA 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, and South Africa as well.

Note: Avoid using long power 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.

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

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: 3 Amp, 250 Volt Slo-Blo type (size 3AG, or MDL)

For 115VAC versions, the Mains Fuse is: 3 Amp, 250 Volt Slo-Blo type (size 3AG, or MDL)

For 230/250VAC versions, the Mains Fuse is: T 1.6A (time-delay, 5mm x 20mm size)

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.

HT Fuse

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.

For 100VAC and 115VAC versions, the HT Fuse is: 1/2 Amp, 250 Volt Slo-Blo type (3AG, or MDL)

For 230/250 VAC versions, the HT Fuse is: T 500ma (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 outputs

Two pairs of 1/4" Speaker Output phone jacks are provided. The first pair are wired in parallel and are for the primary full-range speaker, like the internal JBL M121 8-ohm driver in the Sedona, and are unswitched. The second pair are for the tweeters and are switched.

The first jack of the pair labeled Speakers must be used first, as there is a built-in safety standby switch that will interrupt the power amp section from drawing DC current if a plug is not inserted into this jack. (This feature is also provided for technicians to easily and accurately adjust the amplifier's bias by measuring the DC idle current. See the Bias Adjustment section for more details.)

The second jack is intended to drive an external speaker such as the optional Sedona Extension Enclosure. When using an external speaker enclosure, make sure to switch the impedance selector's setting from 8 Ohms to 4 Ohms.

Note: Operating a tube amplifier without a proper load can cause damage to the output transformers as well as the output tubes themselves. It is also a possible fire hazard.

Tweeter Outputs A pair of 1/4" phone jacks for the tweeter output are switched on by the front-panel Anti-Feedback Frequency control, and can only be enabled when Channel 2 is selected. If the Frequency control is pulled out, the tweeter automatically switches off when Channel 1 is selected. When the amplifier is switched back to Channel 2, the tweeter is automatically turned on. The first jack connects to the internal crossover network and to the internal Electro-Voice dome tweeter. The second jack is provided to power the tweeter of an optional Sedona Extension Enclosure.

Note: If you want to utilize the Tweeter Switching feature when using the optional Sedona Extension Enclosure, you will need two speaker cables. Do not connect any other type of speaker to these jacks. The switching circuitry is designed to handle only the load required of the Electro-Voice dome tweeters.

Impedance Selector

The impedance selector is designed to match the Sedona's output impedance to the speaker(s) connected to it. When the Sedona is connected only to its internal speaker, the setting should be 8 ohms. If you connect an 8-ohm speaker cabinet to the jack labeled Speaker 2 in conjunction with Speaker 1 connected to the internal speaker, then set the impedance selector to 4 ohms. If you connect a 4-ohm speaker cabinet to the jack labeled Speaker 2 in conjunction with Speaker 1 connected to the internal speaker, then set the impedance selector to 4 ohms. If you connect a 16-ohm speaker cabinet to the jack labeled Speaker 2 in conjunction with Speaker 1 connected to the internal speaker, then set the impedance selector to 8 ohms. If you disconnect the internal speaker and connect two 8-ohm speaker cabinets to Sedona's outputs, set the value to 4 ohms.

Footswitch jack

This 8-pin DIN plug is designed to work specifically with the included FS-7 footswitch. Your Sedona 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
• Pin 1: +18 VDC
• Pin 2: Ground
• Pin 3: Channel Switching
• Pin 4: Channel 1 Boost Switching
• Pin 5: Channel 2 Ninja Boost Switching
• Pin 6: No Connection
• Pin 7: Led Light for Channel Switching
• Pin 8: No Connection

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.

Effects Loop

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 Sedona'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. The Anti-Feedback Equalizer is placed in the signal chain after the Effects Loop. 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.

Tube Direct Box Internal to Sedona is an all tube direct box with an adjustable level output as well as a ground-lift switch. It is terminated with a balanced-line 3-pin XLR male-type connector, and can drive impedances as low as 600 ohms. The internal matching transformer is a broadcast-quality component built exclusively for the Sedona by Cinemag. (Cinemag is well-known in the recording industry for building the finest handmade audio transformers. Its transformers are used by such well-known studios as Philips Digital in Baarn, Holland, and Decca in Germany, various tube microphone manufacturers, and many others.)

The signal-level output is continuously adjustable and can be set from below Instrument level (-20dBv) to line level (+10dBv). This level is ultimately determined by the strength of the signal from the instrument. Like any true direct box, the signal that is present at the XLR output is directly from the instrument, fully buffered and driven by a tube.

Tube Direct Box Level Control (with Pull Ground Lift Switch) To adjust the output of the Tube Direct Box, rotate the Level control until the desired level is obtained. If you are connecting to a recording or broadcast-quality mixer, try bypassing the mixer's microphone preamp and plug in pre-fader. This may require increasing the level control's setting, but will save the noise generated by the microphone preamp in the mixer. It may also result in a better overall sound quality.

Ground Lift To lift the ground, thereby assisting in reducing the likelihood of hum caused by a ground loop, just pull on the Level Control knob, and the ground connection will be interrupted. If a ground loop persists, try floating the AC Mains ground on one of the interconnected AC-powered pieces of the equipment in the signal chain. Note: As local electrical safety laws vary differently around the world, please check with your local electrical safety department of your governmental municipality for any legal and safety issues regarding the lifting of AC Mains grounds on consumer and professional equipment.

Speaker System Your Sedona's speaker system has been specially designed to handle a wide variety of instruments with the best possible tone. It is a two-way system, with a 12" JBL M121 driver and a special Electro-Voice high-power dome tweeter. It has a crossover consisting of a 12dB/octave air-core inductor divider network, with a crossover point at 4kHz. To protect the driver and dome tweeter, keep the grille on your amp at all times, do not expose the amp to moisture (direct or indirect), and don't use the back of your amp for storing any sharp objects.

Connecting The Sedona With Other Gear

Follow this link to a separate document with diagrams that show various ways to hook up Sedona to speakers, signal processors, and other gear.

Care And Troubleshooting

Chances are, you bought your RIVERA amp to make your guitar sound great, not to improve your skills with electronics. What we're saying is, "If something ever goes wrong with your amp, don't try to fix it yourself." There are some potentially lethal high voltages inside the amp, plus if you do something that causes even more damage than when you started out, the person who does the real repair will probably tell you, "Hey, I know what's wrong. Somebody's been monkeying around in here." And, of course, your warranty will be void.

There are some things you can do to keep your amp running and to determine (and hopefully remedy) common difficulties.

Keep the amp out of the elements. A lot of this is common sense. Don't use your amp in a sauna or in the bathtub. Don't leave it out in the rain or in a damp basement. If you take it to a gig or to practice and it's cold out, give it 15 minutes or a half-hour to stand in the room where you'll be playing. That way, it can get acclimated and sound its best when you're ready to play.

Be nice to it. The jury is still out on whether talking to plants makes them happy, or whether Elvis lives on the moon, but the verdict on pampering amps is well-known. Don't drop, knock over, kick, or otherwise mistreat your amp. If you don't have a flight case for travel, use the box it came in, or wrap it in something thick, soft, and protective. RIVERA amps are built to take a lot, but why push it? If you treat your amp well, it will treat you (and your guitar's tone) well.

Check for loose tubes. Here's as close as you should get to being inside your amp. With the amp unplugged and cooled off, examine the tubes to make sure they're in tight and straight. Note: Unlike light bulbs, tubes push straight into their sockets. Never try to twist them! Also note that some of the tubes are inside of metal sleeves. These are easy to remove for checking the tubes. Grasp the sleeve with your fingers and depress it (it's spring-loaded) and turn to the left (counterclockwise). Now pull it off; this may require a little wiggling action. Remember to put the sleeve back on after you check the tube.

Make sure the power cord is tightly plugged in. This is critical at both ends of the cord. And don't use one of those 3-pin-to-2-pin adapters unless you connect the ground lug to the outlet. Leaving the ground disconnected isn't just cheating--it's dangerous to un-ground any electrical device that's supposed to be grounded.

Let it idle before you play. If you have a few minutes to spare before you play, turn the amp on and set it to standby so that all the parts can get warmed up and stable. Once the amp's nice and warm (5 or 10 minutes), flip the Standby switch and get busy on your guitar.

Don't use the back of the cabinet as a storage locker. Remember, there's a speaker and glass tubes in there. Both cost money to replace (money that's better spent on strings, picks, etc., right?). Stash your footswitch and any other heavy and/or hard-edged stuff in a bag or a case for travel.

Clean your amp once in a while. You can use a damp but not wet cloth, or one moistened in a weak solution of dishwashing detergent and water to wipe off grime, dried Pepsi, Beer, and whatever else accumulates on the vinyl covering. If you use Gaffers or Duct Tape to hold Picks on the surface of the Quiana and you need to remove the adhesive, use a small amount of Rubbing Alcohol on a soft cloth, then wipe off the residual with a soap/water solution. Make sure the amp is unplugged first. Also make sure that no liquid is spilled into the top ventilation grille, or that the tubes have any liquid of any source dripped on them. Everything else can be vacuumed, as long as you're gentle and use a soft-bristled brush attachment on the vacuum hose.

Quick Troubleshooting Guide

Amp won't turn on

1. Make sure that the AC mains cord is securely connected at both ends.

2. Verify the power source with something that you know works (a radio, a light, etc.).

3. Check the Mains Fuse, and replace it if necessary (if it blows again, refer your amp to qualified service personnel).

There's no sound

1. Make sure that the guitar cord to the input is okay (wiggle it--check your guitar's volume setting, too).

2. Check the Volume controls.

3. Check the Standby switch.

4. If an effect or signal processor is plugged into the Effects Loop, make sure it's turned on and that the level controls on the amp and processor are set correctly.

5. Check the speaker cable or cables to see if they are disconnected or shorted.

6. Check for blown speakers.

7. If a fuse is blown, replace it (if it blows again, refer your amp to qualified service personnel).

The amp shuts down unexpectedly

1. Follow the seven steps in the "There's no sound" section.

2. Turn off the amp and wait 25 minutes before turning it on again. An internal thermal protection circuit can shut the amp down if it becomes overheated.

3. After 25 minutes, turn it on, and if it shuts down again, refer the amp to qualified service personnel.

Note: On SEMKO 230-volt models, there is one additional T 8A (250 Volt Slo-Blo type, 5mm x 20mm) fuse and two T 1A (250 Volt Slo-Blo type, 5mm x 20mm) fuses located internally. These should only be replaced by qualified service personnel.

There's unwanted distortion

1. Check the speaker(s).

2. Check the cables.

3. Check the signal level at other devices in the signal path.

4. One or more tubes may be bad (refer to the tube information in this manual, or take your amp to qualified service personnel).

Caution! There are no user-serviceable parts inside your Sedona Amplifier. The following information is intended for qualified technical personnel only. Do not remove the Sedona Chassis from its cabinet, as high-voltage shock hazard exists inside this chassis.

Internal to the Sedona and located on the main PC board is a potentiometer for adjusting the bias. The DC idle current can be measured between Pin 8 of the EL-34 tubes and the chassis ground. The cathodes of the EL-34s are wired together and are switched by an isolated standby switch located in the #1 speaker jack labeled "Speakers."

Bias Test Procedure: Start by connecting a DC milliampere meter (most analog and digital volt meters have this feature) between Pin 8 of the EL-34s and ground. With nothing plugged into speaker jack #1, and an 8-ohm load connected into speaker jack #2, turn on the amplifier, and do not insert a signal.

The DC Idle current should be set between 75 and 90 milliamperes for the pair of EL-34s.

Use a small screwdriver to turn the potentiometer on the main PC board, which raises or lowers the idle current. If the tubes are set with excessive bias (low idle current), the sound will be gritty and cold. If the idle current is set too high (low bias voltage), the EL-34 output tubes will run excessively hot, and this will shorten their life considerably.

The Sedona can be controlled by a MIDI footswitch such as a Rockman Octopus, a Digital Music GCX, a Rocktron Patchmate, etc.- any device that has Phone Jacks for switching and connects to MIDI. It is necessary to fabricate an adapter. Use a Rivera Molded Footswitch Cable assembly. It consists of a cable with an 8 Pin DIN connector on one end with the other end's wires stripped and tinned. Connect the adapter cable's wires to 1/4" jacks as shown, and mount the jacks in a good, solid box(preferably metal).

Using The Adapter

Plug the 8-pin DIN connector into the Sedona's FS-7 footswitch input, and connect three cords between the MIDIcontroller's three switch outputs and the three 1/4" jacks of the adapter. Consult your the manual for your MIDI/switcher unit for proper control operation.

Notes

• Pin 1 is +18V (Red Wire).
• Pin #2 (Yellow Wire) is ground on the DIN connector side.
• Pin 6 has no connection.
• Pin 7 is Ch.Sw. LED (Purple Wire).
• Pin 8 has no connection.

Tube Care & Replacement

Like a sports car, there's a certain amount of wear and tear to be expected in a high-performance tube amp. Over time, especially with hard use, tubes may need replacement. That's why it's a good idea to make note of when you purchased your amp and whenever you replace tubes. It's no accident that your amp has two common types of tubes: They're great-sounding and reliable, and it's easy to find replacements. Here's a tube chart to show you which tubes go where.

V1 12AX7
V2 12AX7
V3 12AX7
V4 12AX7
V5 12AX7
V6 EL-34
V7 EL-34

Here's a brief description of what each tube does:

V1 Input buffer and tone control driver for Channel 2, and also the first preamp stage of Channel 1 and driving tube direct box
V2 Tone control follower for Channel 2 and an additional gain stage for Channel 1
V3 Final stages for both channels before the mixer stage
V4 Reverb follower and the mixer stage, provides gain to the reverb pan
V5 Phase inverter driver tube for the power amp section
V6, V7 Power amp tubes-for best operation, they should always be changed in pairsUse a matched pair if at all possible.

Checking for microphonic tubes

As tubes wear, some problems can come up. One of the most common symptoms is a ringing sound. This is usually due to the tube becoming microphonic (like its name suggests, it's picking up sound and amplifying it).

With the amp unplugged and cooled off, examine the tubes to make sure they're in tight and straight. Never twist them! Gently grasp the tube and wiggle it into place. Because some of the tubes are inside of metal sleeves, you will have to remove the sleeves to check them for microphonics. Grasp the sleeve with your fingers and depress it (it's spring-loaded) and turn to the left (counterclockwise). Now pull it off; this may require a little wiggling action.

Power amp tube first aid

Like Preamp tubes, power amp tubes can go bad or wear out. Your Sedona has two power amp tubes, and if one goes bad, they should both be replaced. This assures optimum output and tone.

If a power tube shorts out, the HT Fuse will be blown. Remove power from the amp and replace the fuse before doing the following:

1. Let the power tubes cool. Remember the way the eight pins are arranged, and note that the center hole on the tube socket has a keyway that matches the center post on the tube.

2. Replace one tube. Turn the amp on. If the fuse blows (or the tube glows cherry red, indicating an internal short), you've found the bad tube. Turn off the amp immediately. If the fuse doesn't blow, replace another tube and turn the amp on again. Repeat this procedure until you've determined which tube is bad.

3. When the tubes have cooled, remove them. Replace all power tubes. (Don't throw away good tubes from the old set, though--save them as spares!).

Available from your local Rivera dealer are accessories specifically designed for your Sedona Amplifier.

Sedona Extension Enclosure: With the same speaker system as your Sedona Amplifier, this handsome extension enclosure features a closed back and a port, adding a substantial amount of level and bottom end when used in conjunction with the Sedona's internal speaker system.

Rivera Replacement Tubes: All Rivera tubes are thoroughly tested and selected to assure that your Rivera Amplifier performs flawlessly through the years. Since our output tubes are graded and labeled, if you request the same grade of replacement as the original, you will not need to re-bias the amplifier (provided the bias was not adjusted from the original Rivera factory setting).

Footswitch Extension Cable: An optional 10-meter-long, 8-pin DIN male-to-female extension cable is available. Coupling the extension cable with the FS-7 footswitch's 5-meter-long cable provides for a 15-meter total length. Up to two extensions may be used end to end between the Sedona and the FS-7.

High-gain Input Impedance: 1 Megohm

Low-gain Input Impedance: 33k ohms

Speaker Output Impedance: 4, 8, 16 ohms, selectable

Direct Box Output Impedance: 600 ohms

Total Harmonic Distortion: 5% at rated power

Bandwidth: 30 Hz to 20kHz

Preamp Tubes: Five 12AX7A

Output Tubes: Two EL-34

Output Power: 55 Watts RMS into 4, 8, or 16 ohms

Mains Operating Voltage: 115 Volts AC 50/60 Hz (North America), or 230VAC 50 Hz (CE/Nemko model), 250 VAC 50 Hz (UK, Australia, New Zealand, and South Africa) or 100 VAC 50/60 Hz (Japan Only)

Speaker system: 12" JBL M121 8-ohm, Electro-Voice high-power dome tweeter

Speaker System power handling: Over 100 Watts RMS

Crossover Network: 12 dB/octave air-core inductor

Crossover frequency: 4kHz

Reverb Type: Accutronics 6-Spring Type 9

Footswitch functions: Channel Switching, boost for Channel 1, Ninja Boost

Height: 18"

Width: 23.75"

Depth: 10"

Weight: 70 Pounds

Cabinet Material: Solid Core Maple Plywood

Cabinet Thickness: 3/4"

Baffleboard: 3/4" Plywood

Construction: Dadoed Joints

Covering: 30 oz. vinyl

Cleaning of vinyl covering: Moist cloth, dishwashing liquid

Grillecloth: Fire-retardant synthetic cloth

Care of Grillecloth: Remove frame, use compressed air to blow out dust.

Warranty

Subject to the Obligations and Exclusions found below, this RIVERA product is warranted against manufacturing defects in material and workmanship for the period of one (1) year from the date of purchase, with the exception of tubes, which carry no warranty, and loudspeaker drivers, which are covered for 90 days.

The warranty period commences on the date of purchase by the original user.  Performance under this warranty must be obtained at one of the following: a RIVERA Authorized Service Station, by returning the unit to the RIVERA factory with prior authorization, or (in countries outside of the United States) by a representative RIVERA distributor.  A list of RIVERA Authorized Service Stations can be obtained from RIVERA, 12970 Branford St. Unit P, Arleta, CA 91331, USA, ATTN.: Warranty Service.  Telephone (818) 767-4600; Fax (818) 394-2097.

Obligations

1. This warranty will be honored only on the presentation of the original proof of purchase.
2. Transportation of the product to the service station or RIVERA factory is the responsibility of the user unless specifically stated otherwise in this warranty.  RIVERA will pay for return shipping charges if the repairs are covered by the warranty.

Exclusions

1. This warranty shall not cover adjustment of customer-operated controls as explained in the appropriate model's instruction manual, or products that have been altered, replaced, or have missing serial numbers.
2. This warranty shall not apply to the appearance of accessory items including, but not limited to, cabinets, cabinet parts, or knobs.
3. This warranty does not apply to uncrating, setup, installation, or the removal and reinstallation of products for repair.
4. This warranty shall not apply to repairs or replacements necessitated by any cause beyond the control of RIVERA including, but not limited to, any malfunction, defects, or failure caused by or resulting from unauthorized service or parts, damage resulting from improper packaging when returning product, damaged or broken tubes, incorrect line voltage, improper maintenance, modification or repair for the user, abuse, misuse, neglect, accident, fire, flood, or other Acts of God.
5. This warranty shall not apply to any loudspeaker drivers that have been damaged due to thermal destruction, or physical destruction such as moisture, rips, tears, shock, or transport.
6. Responsibility for any repair of any RIVERA product sold outside of U.S. boundaries is borne by the RIVERA representative in that particular country or territory.  Also, the warranty term and conditions may be different from those stated above.  Please contact the RIVERA distributor or dealer in your country for more information.

for it any other obligation or liability.  In no event shall RIVERA be liable for special or consequential damages arising from the use of this product, or for any delay in the performance or this warranty due to causes beyond our control.  Some states do not allow limitations on how long an implied warranty lasts and/or do not allow the exclusion or limitation of consequential damages, so the above limitations on implied warranty and consequential damages may not apply to you.  This warranty gives you specific legal rights.  You may have other rights that vary from state to state.