London, England (January 24, 2014) -- Following the amazing reception and prestigious awards received for its personal Computer, the Orange OPC, Orange Amplification are delighted to unveil three new exciting and dynamic OPC models. They are aimed at offering users a choice of serious computer power combined with all the software you need for a wide range of creative uses from recording, video editing and music playback.
The new OPC family effectively widens and broadens the range, with the OPC Studio, The OPC Professional and The OPC Ultimate, offering users a choice to suit their diverse demands. The new OPC portfolio offers consumers more options than ever before which deliver cutting edge performance and quality whether at home or in the studio.
The OPC Models offer a choice of 4th generation Intel Core processors, memory and a dedicated graphics card allowing you to decide the right specification for your needs: OPC Studio (Intel i5 Processor, Memory 4GB RAM), OPC Professional (Intel i5 Processor, Memory 8GB RAM), OPC Ultimate (Intel i7 Processor, Memory 16GB RAM, Graphics card included).
All models come complete with Windows 8, IK Multimedia AmpliTube 3, PreSonus Studio One (Orange Edition), Acoustica Mixcraft 6, Toontrack EZdrummer Lite, and LickLibrary Guitar Lesson Center software. Audio features include 5.1 line out, coaxial 2x 1/4in TRS outputs, 2x 1/4in TRS inputs, 2x 1/4in TRS instrument inputs, 2x integrated 6.5in JBL studio monitor speakers. They all support wired keyboards and mouse, USB and extension cable. The addition of a dedicated graphics card is available to satisfy the needs of gaming enthusiasts.
'The expanded OPC range provides a complete computing experience, free from frustrations of buggy/trial software, latency and slow-downs ’ said Charlie Cooper, OPC Lead Developer. 'The OPC’s will now appeal to a wider audience and are more customisable, faster than ever and upgradable to future technologies.’
Orange Amplification have combined years of experience with the latest technology to design and produce a new 1000 Watt solid-state bass amplifier. The OB1-K is Orange's first ever rack-mountable amplifier (with optional sleeve mounting available) forged by the demands of the modern bass player. Inspired by techniques such as bi-amping (running a bass guitar through bass and guitar amplifiers simultaneously) Orange has produced a stunning bass amplifier that takes care of this and much more besides.
The OB1-K splits the signal into two separate paths. One side produces a tight, clean bass sound with thunderous low end. The second side features two stages of controllable gain rich in upper harmonics. These two components can then be combined using the amplifier's footswitchable blend control giving the player a wealth of options that range from a crystal clear clean boost to all-out filthy bass mayhem! The result is a truly brutal bass tone, which still maintains the all-important low end. This enables the bass to cut through the mix in any situation.
The OB1-K features a fully responsive, active three-band EQ. This provides the bassist full control whilst keeping the classic Orange 'Pics Only' design. The OB1-K also features a DI with ground lift.
The all-new Orange Dual Dark Series is a range of high-end dual channel amps. Put simply, these amps showcase Orange Amplification at their most innovative. The new amps build on the brand’s reputation for creating the ultimate British guitar tone. Bringing a new dimension of sound that delivers potent combinations of tone and the highest levels of gain the brand has ever offered.
The models have a completely new voicing for Channel A, different to anything else in the Orange Amp range yet still true to their heritage. Channel B has the voicing of the Dark Terror tone. Both channels can go from clean through to crunch at lower gain levels and offer four stages of gain!
Launching at NAMM 2014 are the 50 Watt and 100 Watt versions, both feature footswitchable attenuators and Orange’s signature low impedance effects loop design. The Dual Dark 50 has an output that can be switched to 50 or 25 Watts. Output on the Dual Dark 100 can be switched to 100, 70, 50 or 30 Watts.
Both amps come with standard EL34s fitted but other tetrode valves can be used when biased correctly by a technician. The Dual Dark amps have been built with state of the art components backed by Orange’s ever evolving design and deliver the biggest amount of gain available in the history of their amps.
For more information:
Orange Amplification
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
