Rivera M100

I believe my M100 was built in 1998.
I play mostly classic rock...the M100 has that covered, in spades.
Both channels are fantastic - all I need is footswitch 1, as I don't use the Slavemaster or Ninja Boost.
I play gigs from small bars to large auditoriums, and everything, in between. It has all the power I need, and then some.

I play an Ibanez SZ520 w/hb's and a Strat with Duncans (Hot Rail fr/Cool Rail mid/Vintage Rail bk).
I don't play any lead, I would rather concentrate on being as good a rhythm player as I can be (I do my pyrotechnic wailing on the keys).
The M100 is extremely quiet, unless I load it up with too many pedals. I had an extensive pedalboard, which I used to make up for the shortcomings of my old Peavey Classic 30. The Rivera sounds so incredible just guitar into amp, that I will probably pair down and replace some of the less-expensive of my fx.
I heard much talk of this being a lower-gain type amp, but I have found nothing of the sort. Channel 1, with both gain pots out, outgains a JCM900 band gets close to the Recto-type sound, but thank goodness it doesn't go that far...I really don't care for that sound.
The only thing that is missing from ch 1 is some transparent high-end sparkle - but that is subjective. My lead guitarist says I hear everything too brightly, anyway.
Channel two is a wonder. with the pregain under 3, you can take this beast up to 8 or 9 on the master, and twang or strum until your windows shatter. Reverse those settings, and by golly, you got you some creamy, plank-spankin' Stevie Ray or Billy Gibbons tone.
I hate to be a fanboy with my first boutique amp, but it went far and beyond my expectations, in regard to tone.

Read all the reviews, and all I can do is concur. It's almost impossible to find quality like this in musical gear, these days.

Haven't had any need to deal with them, but the feedback speaks for itself.

If this amp were stolen, I would probably quit playing guitar.
I never thought I would be able to afford a boutique amp.
I had played on several different kinds, but the tones that Rivera gets out of his amps just sound perfect, to me.
Imagine my excitement at finding one with matching EV-powered 1x12" cab (although I do wish it came with that nifty 2x12" slant cab) at a consignment shop for only $600.
So I bought it not only to gig with, but as an investment, as these things hold their value.

The Rivera M100 is a two-channel, 100-watt, all-tube amp. Mine was made in November 1991, according to what is written on the chassis. Channel 1 is British (aka Marshall)-voiced, and channel 2 is American (aka Fender)-voiced. There are plenty of tone-shaping options on both channels, so there is a lot of tonal flexibility here. It has a half-power option as well as a pentode/triode switch, so it can run at 100, 50, 25, or 12.5 watts (although the primary function of the pentode/triode switch is to alter the tone rather than the wattage). There is an effects loop with adjustment knobs for both the send and return, as well as a separate effects loop for the 'Slavemaster' channel. This is a separate gain channel that is controlled by the EQ of channel 1 and is differently-voiced. Channel 2 has a built-in boost. There is a presence control and also a focus control, which makes the sound looser or tighter. It is switchable to run at 16, 8, or 4 ohms. Oh yes, it has reverb too. The footswitch I got with the amp is the high-end model and controls the channel switching, slavemaster, ninja boost, effects loop, reverb, and chorus (which this amp doesn't have, but the stereo S120 does). This amp has more features than I actually use, so it scores well here.

In the type of music I play, I need to be able to switch between a clean tone without breakup and a big crunch sound (I was weaned on alternative rock, so the Nirvana/Pixies approach was what I learned, even though that's not the kind of music I play at all). I used to play a Marshall TSL601, which is a good amp, but the M100 leaves it in the dust. I usually play Les Paul-style humbucker-equipped guitars. Channel 2 has a wonderful, crystal-clear glassy quality to it when set for clean. When pushed, it does a cool Fender blackface-type breakup. I always run it with the bright switch and the notch pulled. The TSL's clean channel never satisfied me in the high end, but the Rivera has all the Fender treble I want. Many people complain that the ninja boost is too loud, but I find that with the amp actually up at stage volume, it's about right. When channel 2 is pushed, the boost just adds more gain rather than more volume. Channel 1 is a really mean-sounding Marshall-type gain. The mids are voiced in a somewhat different way from a Marshall, and some people dislike the Rivera sound, but I happen to like it a lot. While I wouldn't call this a high-gain amp, it's enough for me to use without a pedal. There are two pull-pot gain boosts on this channel. I usually have them both pulled and then run the volume (which controls the gain) at around six. That's plenty of gain for me. The gain on tap is all usable and does not become fizzy or compressed even when dimed. I don't find the slavemaster especially useful--it's a mushier sort of sound than the gain channel. However, since it has its own effects loop, you could stick an EQ in the loop and alter the voicing to fit your taste. This amp is very loud, and there is no way you will need more volume if you're playing through a 4x12 (I use a Peavey 5150 4x12 with Celestion V12-60s and Eminence M12s in an X pattern). Here's a big advantage of the M100 over the TSL--the channel switching is instantaneous and silent. No more do I have to deal with the brief delay when switching channels that drove me nuts on the TSL.

Here are my only complaints about the sound of the amp: the overall volume seems to drop when I engage the reverb. Fortunately, I never use reverb and this doesn't affect me, but surely Rivera could have avoided this. I would also prefer more clean headroom on channel 2, but that is probably a pipe dream considering I'm running E34Ls in the power section and it is remarkable enough that Paul Rivera designed a preamp that would coax the Fender sound out of that tube type. If I'm in 100-watt mode, there is enough clean headroom.

This seems like an extremely reliable amp. Paul Rivera is known for overbuilding his amps to an almost ludicrous extreme, and this amp is no exception. The transformers are massively oversized, and it's unlikely anybody will ever blow these out unless they're trying really hard. There is protection circuitry built into the speaker out, so if there is no spearker connected, the amp will not switch out of standby. That's a nice touch. The tube sockets are chassis-mounted and the wiring is all artfully done.

One caveat: my impedance selector switch has broken. I don't particularly like the design of it--it requires a screwdriver or a coin to turn it. One day I was turning it, and it just crumbled apart. My quick fix was to hardwire it for 8 ohms until I can get a replacement switch, though I rarely have any cause to use cabinets that aren't 8 ohms and fixing that isn't really a priority at the moment. It seems strange to me that the rest of the amp is so amazingly well built but that switch was so chintzy. However, I'm not going to dock too many points here, since the amp is very solid overall.

I have not had much contact with Rivera's customer support yet, though I did email them about the switch to see if I could order a new one from them. They never responded. I hear that people have much better luck phoning them, which I have not gotten around to trying yet. Still, how hard is it to answer an email?

I've been playing guitar about 10 years (oh God). My first amp was an old Kalamazoo Bass 30 combo which I still have, but my first main amp was a Kustom KLA100 (not that bad for solid state). I then graduated to a Marshall AVT150 head (lame), followed by the TSL601 (not a bad amp at all). I don't really feel the need to own any other amp for my main rig, though I'll always be cursed with the desire to own practically any amp I hear good things about. If it were stolen or lost, I'd certainly try to replace it. They aren't particularly common but they sell for a good deal less money than I think they're worth, to be honest.

1992 Rivera M-100 is one of the most versatile amps around. I've had this head for 13 years. During this time I've played in heavy metal, hard rock, pop, country and blues bands. Channel 1 is full on marshall, and channel 2 is full fender. Most of the knobs pull out for more creative control of tone. Incredible range of sounds. It has a nice channel switching pedal and effects loop. Adjustable ohmage for different speaker cabinets. Hi/Lo input jacks. Focus and Presence. Adjusts from 100w to 50w to 25w to 18w.

Caveats: engage the reverb and drain 10db off the volume.
The slavemaster and ninja boost are very harsh transistor sounding and not at all like a nice warm tube breakup. I also bought the amp for the direct out recording jack, but it is practically useless. It sounds thin like a transistor radio. Even when I trimmed the highs like they recommend in the manual.

The amp sounds nice through a pair of 12's but many Fender twins and Ampegs outpace it. It outrocks everyone on 2 4x12 cabinets though. Great recording on 4x10. It is a very powerful amp but needs a lot of speakers if you want to push the master volume/output tubes.

I give it a 10 on variety of features but 8 on quality of all of them.

The amp sounds very rich and punchy on clean mode. But it doesn't have the nice edge sound. I plugged into an old MusicMan head and the tube breakup was much better. So natural and rich. We tried to get the Rivera to do that in the studio but everyone liked the MusicMan. Plus, GrooveTubes, MusicMan, Fender seemed to have more headroom when overdriving with pedals.
I tried Svetlana tubes, Ruby, Groove, Mullard NOS but still not a harmonically even edge. Always like a Mosfet at saturation.

But when the full out Marshall distortion is needed the Rivera can crank with the best of them. Even the plexi crowd was impressed.

The manual show all sorts of settings to sound like famous guitar players and famous amps. Unfortunately most of these settings are with the master volume dimed and the speakers are rattling and the bandmates are complaining. You can also use the effects send as a volume attenuator. It attenuates the volume but the tone sounds like it goes to mosfet saturation.

I have carted this amp through snow storms, rain, humidity, desert heat, smoke and even a few So. Cal earthquakes where it ended up tossed on the floor. Not one incident. Literally built like a tank.
And as heavy as one.

I live near the Rivera headquarters in So. Cal. I took the amp in to get new tubes, a check up, and a modification to the footpedal. I met Paul and Paul Jr. They smiled, shook my hand and promised the amp back in a few days. A few days later they didn't return my call. I called for several days with no response. My band had a show. No response. I was forced to play with my backup amp. I finally drove to the plant and demanded the amp. They brought it out without the backplate(which they said I never had). The chasis was loose and not screwed in all the way. They said they were still burning in the new tubes. After over a week?
They never modified the footpedal, the amp sounded the same. Then they gave me a bill for over $300.

Been playing for 30 years with many amps and guitars and bands in many states. I play a '74 Les Paul with mini humbuckers, recently replaced with TV Jones pickups (much brighter and clearer), '72 strat deluxe with EMG humbuckers, '80 strat with suhr scott henderson pickups, kramer strat with duncan hotrails, esp telecaster with duncan vintage 50's. I use Keely, Analog Man, Fulltone, Palmer, Manley, Joe Meek pedals and rack units. Evidence audio and George L cables. I've played vintage marshall, fender, kustom, silvertone, laney, mesa-boogie, ampeg, gallien kruger, randall, carvin, peavey etc.. Most before they were valued as vintage

This Rivera has a great punchy, bright, rich clean sound. It has a full on raging chunk, crunch sound. It's a real good amp.

If it were stolen I would try another boutique amp for 3 reasons.
1. When I bought this amp in 1992 there were not as many hot rod amp designers as 2005. 2. Not a good edge sound 3. When I took the amp directly to Paul Rivera I was basically ignored.

1992 M-100 head. If ya kow what I mean. Yes it has 2 channels and features up the kazoo.I have the 2 footswitch's that came with it also. The amp is used about twice a month in a classic rock band. I have been looking for the Holy Grail for 42 years, I do believe I found it!

GIBSON! I use a Nighthawk Special and a Firebid V. Had a ton of different guitars over the last 42 years. I just keep coming back to Gibson. Both guitars sound fabulous thru this thing!

I have only had this for about a month. Have done 2 gigs with it. I also got new tubes from Bob @ Eurotubes. He is the best. I am anticipating many years of service from this baby. Called Rivera and got a manual from them in 3 days too.

Rivera did a great job by sending me a manual fast. What a great bunch of people out west. They also have a very informative web site.

I have been playing since 1962. Looks like I'm a vintage musician at this point. Still have my first electric, an Epiphone Coronet, made in Kalamazoo!
I have had MANY different amps, but like I mentioned, I found the Holy Grail. I am running it through a Hartke 4x10 cab. Seems to do what I am looking for. I would have another one in a heartbeat.

There is alot of freaking knobs on this thing. So many tone options it's rediculous, but ist COOL! I love this amp. AND IT"S FREAKING LOUD!!!! Not ment for the super high gain stuff though. It'll do it, but it's alot better for a more Rock/blues/jazz sound. But it'll do metal if you crank the gain, and it'll do it well.

Warmth for miles. So creamy sounding. Not A super gainy amp, but it's still got it's fare share. If your looking for tone, This amp has it. Punchy, warm, & clear. Not increadibly bright sounding though. I love this amp!!!

this ting has toured for years, and it's not failed once. Great head.
It has the usual problem of any tube head.

I give this thing a 10 because it's so versatil. It's not a super gain amp, nore is it the brightest clean amp, but it is everything in the middle and does everything you'll need it to. Even if you play death metal, or jazz. Super versaltil

See the other reviews for detail. key features are 2 channels + slave, independent eq for each, boost, reverb, contour, presense. triode / pentode mode, and hi-lo output allows for variety of drive. more flexibility than you need.

I use this with a Marshall JCM 1960A 4x12 and a Carvin 2x12 (junk). I play a PRS Custom 24, with a Fender Jap Strat as backup.

As a preface, the controls are incredibly responsive. If you have a Marshall and have to do the 1 or 10 on the knob to see a difference, you will quickly see this is not that kind of amp.

The clean channel is magical, never breaks up, vintage Paul Rivera Fender type sounds. This is the best part of this amp. If you can't find the clean sound of your dreams in here after adusting the tone, bright, notch, eq, and boost there's something wrong.

The dirty channel is OK for my taste. Very musical and crunchy, but not highly saturated like a Mesa Rectifier for example. At max gain you get a nice Bob Mould Sugar circa "Copper Blue" type sound. Very nice lead tones are par for the course. No problem getting most classic and hard rock sounds. Personally, I could do with more gain.

I think if you run better cabs than I, you will have better results as well.

One major thing to consider, is that even in reduced power modes, it is BALLS LOUD. The power rating on my head says "100+". My typical master volume settings are like 2-4 for rehearsal, and even unmiked, at moderate size venues gigging, I rarely get much above 4, even in what is supposed to be 50 watt mode, before I am asked to turn down. With the same cab and guitar, I would play a JCM900 on 7 / 9. This type of power can be impractical for many settings.

Built like a tank. Weighs almost as much. Would be nice if it had a back grill to protect the tubes. Gigged often w/o a backup.

I emailed about the old FS-2 footswitch I got with the thing. It took a few days. I asked a followup about basic functions of the footswitch, and got an "I don't know - it's too old"

I like this amp a lot, but it is not the be all and end all of amps that I hoped it would be. An amp like a Rivera runs rings around your basic Fenders and Marshalls. I would not hesitate to buy another one, especially at the price I paid, but brand new, for around $1700, you have many other choices that merit consideration.

This amp is the most flexible I've ever played. Every feature is based on common sense, and serves to effectively enhance or vary the tone. I'm so glad it's not one of those "1 million" pull switch types, where you never know what the true character of the amp is. Three channels, footswitchable clean "Ninja" boost, and, thank goodness, an effects loop that, when nothing's connected, acts as a second master "solo" volume. Half power switch, and pentode/triode operation to facilitate playing at any volume.

I've used this amp with a variety of Strats (particualarly an S.R.V. and an eighties Mary Kay), and a Heritage H-140 (Les Paul) mainly, as well as a goldtop neck thru P.R.S. It ALWAYS sounds amazing! Every sound engineer and player that hears this amp freaks! No kidding! It sits tonally, in a unique place. It can generate tones familiar enough to satisfy the vintage jones most of us have, but it's flexible enough to personalize your own sounds. It jumps through all but the most extreme hoops (i.e. EXTREME grindcore, etc.). For that extra yeeehaw, check out a Rivera Knucklehead (a little less vintage vibe, and more modern "thunk"). The M 100 is also DEAD quiet, which is a real blessing in the studio. I push serious volume most of the time, and you can't really tell when the amps off standby. Clean sounds are full, shimmery, and dimensional. You just can't get a bad sound out of this amp.

I've had my amp 12 years and played (for real) a couple thousand gigs with it, and a bunch of recording. It's png ponged all around the country with me (Going from inside hot sweaty clubs to 40 below winter weather for the car/bus ride home, with no road case) and I've had only two problems with it. The first, some freak ground issue tht caused a noise in the amp (after 10 years of flawless service). It was easily remedied. The second was a degradation in the tone very recently that I shipped the amp to Paul to source out and fix. Unfortunately, Fed-Ex destroyed the amp in transit to Rivera. I'm getting another Rivera M 100 to replace my original. I just can't see playing another single amp for all the types of gigs I do (R&B, rock, pop, soul, trip-hop/ambient).

A+, I can't believe I called the company and spoke to a real person! And... spoke to the people that BUILD the amps. Paul and Paul Jr. have been most helpful!!

Overall, the best gear purchase I've ever made! I'm looking forward to getting my new M 100 quite a bit. Would I change/add anything? I'd modify the pickup compensation feature on this amp to the same style as found on the defunct Rivera TBR series amps. Thats It!! Built like a tank, sounds amazing!! Don't try one without a credit card in your pocket! If you find one used, jump on it! It's not a HiWatt or a Bassman (Iown those too!) but it jumps through hoops those can't, and a few that they do! Rivera's aren't cheap, but they're built extremely well built, and sound even better. I think when you combine the quality of tone and flexiblity, and compare it to other amps using ears only, regardless of price, it's a winner. That said,even at retail of roughly $1500.00 U.S., it's a pretty good deal for a "boutique" amp. Just my two cents! I love this amp!!!

look at the rivera website. www.rivera.com

once again. look at www.rivera.com you can hear mp3's and see who uses the amp on which cd's

i replaced the tubes with electro harmonix. they sound awsome. the reverb pan went bad, so i upgraded to a hammond six spring. also a plus. i mean it has lasted almost twenty years and has been through the worst. i ll give it a 7.

rivera people are good. you can reach them by phone or by email.

well it is a great amp. it just needed a manly makeover because of its age. I recovered mine with leather in a hunter green color and redid the grill cloth in fender silver blackface. it is sounds incredible and looks awsome. one of the best amps ever for the music i play.

1997 M100 212 combo with stock Celestion GT 85 speakers. This amp has to many features to list, check the Rivera web site for more. I have owned this amp now for 4 years, and have played it every day and night since.

I have used quite a few different guitars through this amp, and have found that almost everything sounds good through this thing. I primarily play a 1968 telecaster, A Custom Shop Strat with EMG,s and a Tom Anderson Hollow T Classic. I am using a Boss GT 5 processer for extra OD Delay, and Twin Preamp sounds. The american channel is amazing, once you figure it all out. The british channel does scream but it is deffinatly different than a marshall. A little extra overdrive from some kind of box works great. Take your pick! If there is a problem with this amp it is that is TOO versatile. And that is a real issue for live gigs. Ive found it fairly difficult to find the perfect sounds on the fly, if you play a lot of diffent kinds of music, as in dance bands. You have to watch the conture control, which can make the amp very boomy. However every sound you can think of is in there somewere. Will Ray of the hellecasters plays these amps and has said that this is the only amp he has ever had that he did not grow out of. That is because it is so versatile, and seems to sound different every time you play it.It has taken me 4 years to get comfortable with this amp, and learn how each knob interacts with each other. It really is something. Now I have the sound I have always wanted. It is interesting that my Anderson Hollow T sounds so much different than a solid Fender through this thing.

I have changed the power tubes and the pre amp tubes twice now, not bad for 4 years of playing 6-8 hours every day.

Rivera has help with every question I have had, and walked me through biasing the amp myself over the phone. They have been excellent.

I have been playing for 30 years and own 5 amps right now including this M100, a Rivera R 100, a 73 Fender Twin and 2 deluxes. I switch arround but it seems I always end up with this amp. I think this amp is perfect for recording, but playing live takes a lot of getting used to. I will be keeping this amp around forever, but for live gigs its always a toss up between this and the R 100. This is one fun toy.

two channels, slave master, ninja boost, the ability to run the amp in triode or pentode mode- very cool! more features than I'll ever use!

Ok, I have a Floyd Rose Strat with a Dimarzio tone zone in the bridge feeding the M-100 to a 4x12 loaded with vintage 30s. I play hard rock.. think Creed meets Guano Apes. This amp kicks ass! I run it in triode mode and just get the best tone I could ever want. The clean channel is wonderful. I have heard people say that the clean channel is not as good as fender? Hello! Paul Rivera used to work for fender. The clean channel I way better than fender, because you can get fender sounds and then so much more. The reverb sounds great.

The dirty channel is pure heaven. Crunch for days. I have a friend who owns a Duel Recto, and I prefer the Rivera?s tone. It is more musical to me. You can do the massive distortion sounds and roll back on the volume to get some really nice in between tones. The M-100 will fill up a lot of sonic space. My band is a three piece and I take up a lot of room in the mix. The sound is thick and warm. Like I said, I run the amp in triode mode and it just sounds so fat. I wish I could insert a sound file on here to let you hear how good this amp really sounds. Great job Rivera!

I also own a 1994 Rivera Knucklehead 55. I have never had a problem out of the amp. I do not expect to have any problems out of this one. Riveras are built like tanks!

Have you ever called or emailed Rivera? Their CS dept. is second to none. I have emailed questions to them, and Paul Rivera himself has been the one to respond! do you think Jim Marshall would do that? I think not.

Riveras are expensive amps. But then you get what you pay for. I have received several compliments on my tone at gigs. I just smile and point to the Rivera. This is a great amp. It has a great distortion channel AND a great clean channel. How many amps can you say that about? Not many. And certainly not many for under 2 Gs. If you want that Duel Recto sound, go buy a Boogie. If you want to sound like yourself with an amp that will let each guitars own distinct qualities come through, you should really look at a Rivera. This amp makes me want to keep playing- long after band practice is over. And that?s what good equipment should do? inspire. If it were stolen? after I hunted whoever stole it down and beat them to death, I would defiantly buy another one.