"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.
This Bruno Royal Artist, with its matching accents on the pickguard, headstock, toggle, and pickup surrounds, is a much more savory monster than Dr. Frankenstein’s
I bought a guitar on our honeymoon, and our yearly trips to the shore were often spent trying to get a music-store owner to sell me an old hollowbody. (He thought it made a nice decoration.) On our 10-year anniversary, I bought a few guitars up in New England. But this year, we were staying in a beautiful but remote part of northern Pennsylvania, and I couldn’t find anything. There wasn’t even a music store in the whole county! Plenty of dollar stores, though, which are totally not that fun.
On our drive home we had the best chat about all sorts of topics, but eventually I started talking guitars. (Actually, the reason the subject came up was because she wants me to sell some of mine! Ha!) We were discussing remote spots, crazy music locations, and some totally strangecollectors who had music “stores,” but never sold anything because the prices were nuts.
Once, we were driving through Massachusetts. I don’t remember the name of the town, but I do remember that it had a famous fire station that was depicted in some Norman Rockwell paintings. [It was likely Stockbridge.] As we were driving out of town, we spotted a big “SALE” sign in front of a kinda-sorta country store. The place was an amalgam of buildings, makeshift tents, and semi trailers filled with all sorts of goods and sundries. I remember it was hot as hell, and being inside the trailers felt like being broiled. Yet, I persevered, and went on searching for weird stuff.
the guitar featured a totally warped-looking body that was slightly offset and a tad offbeat.“
My wife bought a few things, like a fat ballerina mirror which we still have, and some old glass bottles of various colors. I wasn’t finding anything, but I asked one of the locals there about guitars. He eyed me up and must’ve thought I was worthy because he took me to a spot near the back, in an old shed that was probably being held together with paint. Inside, there was a little treasure trove of kooky instruments in all sorts of disrepair. Still, I was smitten with a few pieces, including this column’s subject.
This Decca guitar is the kissin’ cousin of that old Bruno our columnist found in Western Massachisetts.
Labeled as a Bruno Royal Artist, the guitar featured a totally warped-looking body that was slightly offset and a tad offbeat. Finished in redburst with lots of brown pearloid, the Bruno had a lot of oddities that left me wondering. The neck and pickups were Kawai-made, circa 1966, but the body and tremolo originated elsewhere. I just assumed it was pieced together, but I still dug the thing, and it came home to live with us for a little while.
In the years that followed, I started to see more guitars just like this Bruno. I also saw some different brand names like Crown, Conqueror, and, pictured here alongside my Bruno, Decca. What was the mystery guitar factory behind the hybrids, piecing together Kawai parts with different bodies? I guess I may never know, but these are the happy little accidents we see in the bizarre world of guitars.
The guitar sounded very good, and the Kawai pickups in that hollowbody were smoky as hell. The body was finely crafted, and felt much more solid than typical fare from the era. The tremolo was also a solid feature, and the darn thing actually returned to tune.
This Bruno did eventually find a new home, and if I don’t sell more guitars, well … you know.
Electro-Harmonix’s Pico Rerun plays the character of tape echo very convincingly in this respect. It hangs with more expensive digital tape echoes at a $137 price tag that’s easy to stomach. Better still, this Pico version is petite and offers unexpected surprises and flexibility.
Beyond the Pico Rerun’s essential enveloping voice, the pedal enables a lot of fairly authentic tape-echo functionality. Manipulating the feedback, blend, and echo rate controls together (which is tricky given their small size) yields flying-saucer liftoff and “Dazed and Confused” time/space-mangling textures in copious measure. These tweaks betray some digital artifacts—mainly trebly peaks that don’t have the benefit of real tape-compression softening, but they hardly get in the way of the fun. Saturation lends welcome drive and haze. And the flutter button adds faux tape wobble in three degrees of intensity. At the most intense setting, long repeats take on a woozy sense of drift. At the fastest rates, however, the flutter function will generate chorus and flange effects that neither my Echoplex, nor my best tape echo simulators, can manufacture.
