Captures of my Revv Tilt Overdrive. The Tilt is a 2-in-1 boost/overdrive made in collaboration with Shawn Tubbs, meant to deliver his ideal overdrive tone to pair with his favourite amps. The "Boost" side of the Tilt is where the name comes from. It consists of a tilt EQ, a three position low cut switch, and a completely clean boost knob. The "Drive" side Is a relatively transparent overdrive with a good range of gain, and has bass and treble adjustments that never get harsh or boomy. Both sides can be used independently, or together to use the Boost side to push the input of the Drive side more. The combinations you can come up with are nearly endless with this thing.
I have captured the Boost side with three brightness levels, and each brightness level was captured in each of the low cut positions. I use them in front of a high gain amp to tighten the low end, without changing the overall character of the amp.
The "Boost" captures are not calibrated, as the boost knob is incredibly clean across the entire range, and I wasn't able to capture it in any position other than unity without it clipping my inputs. You can use the output level of the NAM block to adjust how hard it hits your amp, and it will give the same effect as turning up the boost knob (I tend to like it around +10 dB or +12 dB).
The "Boost" captures are labeled B1, B2, and B3. B1 being the most neutral, B3 being the brightest, and B2 landing somewhere in between.
The low cut settings for the "Boost" captures are labeled as:
F = Flat
HC = Half Cut
FC= Full Cut
There are 8 captures of the "Drive" side, labeled "OD". These captures are all input calibrated at 14 dBu, and each capture output has been calibrated respectively.
The "Push" and "Push Plus" captures are intended to be used to tighten up a high gain amp, and add brightness. They work well for pushing a crunchy Marshall style amp into higher gain as well.
"Push" has the Gain on 0, and "Push Plus" has the Gain at around 9 o'clock. There are also "T" variations ("T" for "Tight") of these two captures, which have the Boost side turned on to remove more low end, add more brightness, and push the input of the Drive side slightly harder.
The remaining 4 captures in the pack are intended to go in front of a clean or edge of breakup Fender style amp, giving it more gain. They range from a slight push with the Gain lower, to a great lead tone with the Gain on max. These ones all have the Boost side turned on in various settings to further shape the tone and breakup.
All captures were trained on the Juniper NAM Trainer.
Signal chain:
Avid Mbox Studio (line out) > Radial Reamp Station (reamp box) > Tilt Overdrive > Avid Mbox Studio (instrument input)
I tried to include a decent variety of options in this pack, but it is hard to land on a limited set of tones with such a versatile pedal. When I got this thing, it quickly became my go-to drive and boost pedal for every situation. Hopefully you find something to fit your needs in there!
Thanks for checking em out!
