Paul Jackson Jr profile?

I’m going to go with something fender tweedy. I tend to use MBritt profiles but it’s a broad church here and there are some good ones on the rig exchange. That clip is dynamite by the way.

Yeah - it helps to start with one of the best guitarists in the world. 😄

I'm hearing a significant amount of really high quality compression on that, but this is definitely a case of tone is in the fingers. Every note is clean and perfect.

He used a lot of Rivera Amps, which are some kind of Fender Deluxe modded amps if i remember right.

There´s a good one free in Rig Exchange from Don Peterson, RIVERA CLEAN.

Try a lot of compression, but with a long attack time (not the Dynacomp style).

Have listen to his youtube tutorials:

The Science Of Rhythm Guitar

“He used a lot of Rivera Amps, which are some kind of Fender Deluxe modded amps if i remember right.”

Thanks for the great links you supplied in this thread.

Paul Rivera was an amp repair man and amp modder during an era when players starting desiring higher gain amplifiers and amp modding was the latest craze in town.

Some session players (Louie Shelton amongst them) had session amps like Fender Princeton’s especially modded. So that if needed, in addition to the typical Fender tones, they could accommodate high gain lead tones for a recording session using the same amplifier.

Here’s Louie with his modded Princeton. Typical clean sounds were often obtained through DI boxes. Larry Carlton also had a Princeton.

The Making of I Want You Back | The Jackson 5 - YouTube

Sorry the wrong link. here you go..

The Wrecking Crew's Louie Shelton and the 1969 Fender Princeton Reverb - YouTube

At home, I have a thick book bought many years ago, full of all these amp mods applicable to typical popular session amplifiers of the day.

It was quite a thing at the time and its amazing how many different mods there actually are.

Paul Rivera was then, a natural choice to be brought in by Fender at that particular time to design a new range of amplifiers. Based on their established popular designs Pauls amps often featured multiple push pull potentiometers to the typical amplifier controls to access the high gain stage.

Its usually pretty easy to identify a Paul Rivera Fender design because it featured Red Knobs in contrast to the long established chicken head, black and silver or other knobs found on Fender amps. There were a whole range of different sized amps in that style, the best of which was a highly modified Fender Twin Reverb simply titled"The Twin".

Whilst I have no interest in criticising an excellent amp designer, there were essential differences between Leo Fenders amplifier designs and those of Paul Rivera, worth being aware of.

The most notable of these to my mind were not cosmetic but fundamental to the products substantial essence. Whereas Leo’s designs were extremely easy to take apart and repair, its true to write that the Fender based designs Paul Rivera produced were much more complex, and often featured additional circuit boards placed over and completely in the way of the typical circuitry found on Fenders.

The smaller amps in particular, featured tightly compacted components crammed together and where there was limited space for the dispelling of heat, the sensitive traces on the additional large circuit boards could be damaged more readily than one might expect on a typical Fender amp.

The very nature of the circuitry layout, the addition of additional circuit boards than needed to be folded out once the amp has been dropped from the cabinet, made them much more difficult than a typical Fender amp to repair. After a while it appeared to be the case that the more experienced amplifier repairmen would avoid working on them.

Because to affect a repair would be far more time consuming and complex than to perform the same repair on a typical Fender amplifier, but would be expected to charge the same.

So Fender gradually dropped these red knob amplifiers.

Smaller boutique amp companies from innovative designers trying new ideas became a distinct trend in the amplifier community and Boogie made waves.

So Paul Rivera started his own amplifier company producing his very own designs which incorporated the push pull circuitry to access high gain sounds and greatly admired by players looking to produce their own, new, clearly identifiable sonic signature.

It appeared to me that given the speaker size Rivera cabinets were rather more spacious than typical established Fender designs ever enjoyed.

Although it is an assumption on my part. I believe it is entirely reasonable to suppose that the additional space afforded by his personal designs allowed for better prevention of overheating, (which was a problem in some Rivera designed Fenders) a superior layout for the circuitry and components along with easier access to internals should the product require serving and repair.

Designing for Fender, Paul was required to cram all the extra circuitry into a size of box that was already predefined by long existing products.

Therein lay most of the issues that I believe it’s helpful to be aware of.