"Seeing this whole amp come to life has been a dream come true," said Orianthi, "it’s a beautiful amp and it really reflects my eccentric personality!"
The platinum-selling virtuoso guitarist has gained a reputation as a multi-faceted artist, singer, songwriter and first-call collaborator. With roots planted firmly in hard rock, her latest single "First Time Blues" featuring Joe Bonamassa and "Ghost" are a combination of blues-based riffs and memorable melodies. She is currently on tour in the USA and working on a new album to be announced soon.
The Oriverb, inspired by the Rockerverb 50 MKIII Combo Neo, is voiced to embody Orianthi’s unique sound. It has a cleaner mid-range warmth that reflects her classic blues and rock tone, whilst retaining all of its desired variable distortion.. A tweaked EQ gives the Oriverb creamy, sparkly cleans and saturated screaming overdrives.
Fitted with a pair of lightweight, British-made Celestion Neo Creamback speakers and EL34 valves, the Oriverb has that definitive British flavour with incredibly versatile tone shaping abilities. The new combo also boasts a much-loved footswitchable spring reverb, built-in attenuator for maxed out textures at neighbour-friendly volumes, switchable power options and a near-transparent, valve-driven effects loop. The cabinet is crafted using the highest quality 15mm Baltic birch plywood, making it one of the lightest 2 x 12” speaker cabinets on the market and is finished in an embossed white Tolex, selected by Orianthi.
"We created this to be something very special, unique, something that when people plug into it, whatever guitar they are gonna use through this, it is going to amplify their personality," explained Orianthi, "being able to bring something to life that I feel a lot of people are really going to enjoy has been a real honour. I am so proud of this amp and I can’t wait for people to check it out."
To find out more about the new Oriverb, plus all the other Orange Amplification
products, please go to orangeamps.com.
The basic reverb voice of the CBX is plate-like—spectral, blooming, and vaporous. It’s a nice fit for the CBX’s functionality and makes surreal juxtapositions of big reverb and tight spaces even more striking. At first, CBX’s control set can feel elusive. But that’s the key to its surgical tunability. The lag control enables cool swelling effects, which can, in turn, be more dramatic with saturation from the preamp control and advanced mix settings—which then can be clipped and tightened by the gate. The musical possibilities made by these combinations are endless. High-gain, palm-muted, machine-gun riffing can be made extra ghostly and huge when the CBX is placed after distortion. And aspiring Kevin Shields-types looking to twist My Bloody Valentine templates can use spacious, gated sounds to lend clarity to melody and pitch-shifted overtones when the CBX is situated before overdrive or fuzz. But even mainstream producers and players seeking punch in arrangements will find many paths forward via this unusual stompbox
