The new cabinet also features two Speakon connectors that allow for daisy chaining to another cabinet.
England (July 28, 2015) -- The OBC210 Mini is Orange Amplification’s smallest ‘conventional’, non-isobaric cabinet to date. As part of the successful OBC Series, used by the likes of Geddy Lee, Glenn Hughes and John McVie, the new 2x10 ensures the maximum punch from the smallest available space. It combines portability and solid construction with an assertiveness that belies its compact size.
This latest cabinet is constructed using birch plywood. This choice of material creates a well balanced and resonant enclosure adding presence to the overall sound. The OBC210 Mini comes complete with the Orange signature skid runners to acoustically bond the cabinet to the stage and improve bass response.
Housed within the cabinet is a pair of 10” Eminence Legend speakers. Tried and tested on the road in a number of other OBC cabinets, the two 200W drivers are a perfect fit for the new design. They deliver a rich low end with great mid-range clarity making sure the OBC210 Mini bears all the sonic hallmarks of a classic 2x10” cabinet.
The new cabinet also features two Speakon connectors that allow for daisy chaining to another cabinet of the same impedance for a total load of 4 Ohms. The new cabinet’s dimensions allow it to sit comfortably on top of the OBC410 or OBC115 to create some smart looking stacks that push some serious air!
The versatile array of tones produced by the OBC210 Mini includes pronounced and detailed mid ranges, highs with smooth and satisfying character and a surprising great low-end clout. Its warmth and sharp bass response come with a gravity and boldness that will shock even the fussiest bass players.
For more information:
Orange
Two channels. Six gain circuits. Endless combinations. Enter for your chance to win Brothers AM—the analog boost, overdrive, and fuzz machine built for stacking, blending, and sonic exploration.
Chase Bliss Brothers AM
Made in collaboration with Analog Man himself, Brothers AM is a tribute to the legendary King of Tone overdrive.
It takes that coveted circuit, gives you advanced control, and tosses in a couple exciting bonuses – but it doesn’t mess with what made it so good in the first place.
A stack of sunny saturation that always manages to sound just right.
Adding to the company’s line of premium guitar strapsand accessories, Fairfield Guitar Co. has introduced a new deluxe leather strapdesigned in collaboration with Angela Petrilli.
Based in Los Angeles, Petrilli is well-known to guitar enthusiasts around the world for her online videos. She is one of the video hosts at Norman’s Rare Guitars and has her own YouTube lesson series, the Riff Rundown. She also writes, records and performs with her original band, Angela Petrilli & The Players, and has worked with Gibson, Fender, Martin Guitars, Universal Audio, Guitar Center and Fishman Transducers.
Angela Petrilli's eye-grabbing signature strap is fully hand cut, four inches wide and lightly padded, so it evenly distributes the weight of the instrument on the shoulder and offers superb comfort during extended play. The front side features black "cracked" leather with turquoise triple stitching. The "cracked" treatment on the leather highlights the beautiful natural marks and grain pattern – and it only gets better with age and use.The strap’s back side is black suede for adhesion and added comfort, with the Fairfield Guitar Co. logo and Angela's name stamped in silver foil.
Features include:
- 100% made in the USA
- Hand cut 4” wide leather strap with light padding -- offering extra comfort for longgigs and rehearsals.
- Black suede back side avoids slipping, maintains guitar’s ideal playing position.
- Length is fully adjustable from 45” - 54” and the strap has two holes on thetailpiece for added versatility.
The Fairfield Guitar Co. Angela Petrilli signature strap is available for $150 online at fairfieldguitarco.com.
Tube Amp Doctor has reissued one of the company’s mostsought-after products: the TAD 6L6WGC-STR Blackplate™ small bottle power tube is back inproduction after a 5-year absence.
The TAD 6L6WGC-STR Blackplate™ is the tube that has made TAD so popular with boutiqueamp manufacturers and vintage tone enthusiasts since 2003. A direct replacement for 6L6 and5881 tubes, it’s a remake of the small bottle GE6L6GC and has the same warm lower midrangeand silky top end as the classic GE versions of the 1950s and 1960s. Like the historic RCA5881, this tube features exclusive Blackplate anodes and a side getter.
The TAD 6L6GC-STR Blackplate™ and the TAD 6L6WGC-STR Blackplate™ feature TAD’sexclusive black-plate designs, gold grid wire, double getter construction, no-noise filaments and1.2mm thick heavy duty glass. This tube is approximately 80mm high (without pins) and canreplace 5881 and 6L6WGB tubes.
The newly reissued tubes feature the original design and raw materials from old stock, availablein limited quantities as long as the old stock raw materials are available. They’re the perfectchoice for vintage tweed and black panel amps such as the 1960 Bassman, Twin, Showman orSuper Reverb. The complex midrange and sweet heights are a class of its own. The TAD6L6WGC-STR is recommended for classic tone with warm cleans and rich, sweet mids whenpushed – and it’s great for fat jazz or blues tones.
- Delivers classic sound of the 1950s and ‘60s - excellent tone, maximum lifespan
- Tube Type: 6L6/5881
- Socket: 8 Pin(Octal)
- Identical construction, even tighter tolerances with improved production quality
The TAD 6L6GC-STR Blackplate™ and the TAD 6L6WGC-STR Blackplate™ are each priced at$48 (does not include VAT) / €46.50 (includes VAT) and are available at tubeampdoctor.com.
In challenging times, sometimes elemental music, like the late Jessie Mae Hemphill’s raucous Mississippi hill country blues, is the best salve. It reminds us of what’s truly essential––musically, culturally, and emotionally. And provides a restorative and safe place, where we can open up, listen, and experience without judgement. And smile.
I’ve been prowling the backroads, juke joints, urban canyons, and VFW halls for more than 40 years, in search of the rawest, most powerful and authentic American music. And among the many things I’ve learned is that what’s more interesting than the music itself is the people who make it.
One of the most interesting people I’ve met is the late Jessie Mae Hemphill. By the time my wife, Laurie Hoffma, and I met Jessie Mae, on a visit to her trailer in Senatobia, Mississippi, she’d had a stroke and retired from performing, but we’d been fortunate to see her years before at the New Orleans Jazz & Heritage festival, where she brought a blues style that was like quiet thunder, rumbling with portent and joy and ache, and all the other stuff that makes us human, sung to her own droning, rocking accompaniment on an old Gibson ES-120T.
To say she was from a musical family is an understatement. Her grandfather, Sid, was twice recorded by Alan Lomax for the Library of Congress. While Sid played fiddle, banjo, guitar, harmonica, keyboards, and more, he was best known as the leader of a fife-and-drum band that made music that spilled directly from Africa’s main artery. Sid was Jessie Mae’s teacher, and she learned well. In fact, you can see her leading her own fife-and-drum group in Robert Mugge’s wonderful documentary Deep Blues(with the late musician and journalist Robert Palmer as on-screen narrator), where she also performs a mournful-but-hypnotic song about betrayal—solo, on guitar—in Junior Kimbrough’s juke joint.
That movie, a 1982 episode of Mr. Rogers’ Neighborhood (on YouTube) where she appears as part of Othar Turner’s Gravel Springs fife-and-drum band, and worldwide festival appearances are as close as Jessie Mae ever got to fame, although that was enough to make her important and influential to Bonnie Raitt, Cat Power, and others. And she made two exceptional albums during her lifetime: 1981’s She-Wolf and 1990’s Feelin’ Good. If you’re unfamiliar with North Mississippi blues, their sound will be a revelation. The style, as Jessie Mae essayed it, is a droning, hypnotic joy that bumps along like a freight train full of happily rattling box cars populated by carefree hobos. Often the songs ride on one chord, but that chord is the only one that’s needed to put the music’s joy and conviction across. Feelin’ Good, in particular, is essential Jessie Mae. Even the songs about heartbreak, like “Go Back To Your Used To Be” and “Shame on You,” have a propulsion dappled with little bends and other 6-string inflections that wrap the listener in a hypnotic web. Listening to Feelin’ Good, it’s easy to disappear in the music and to have all your troubles vanish as well—for at least as long as its 14 songs last.“She made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag.”
The challenge I’ve long issued to people unfamiliar with Jessie Mae’s music is: “Listen to Feelin’ Good and then tell me if you’re not feeling happier, more cheerful, and relaxed.” It truly does, as the old cliché would have it, make your backbone slip and your troubles along with it. Especially uptempo songs like the scrappy title track and the charging “Streamline Train.” There’s also an appealing live 1984 performance of the latter on YouTube, with Jessie Mae decked out in leopard-print pants and vest, playing a tambourine wedged onto her left high-heel shoe––one of her stylish signatures.
Jessie Mae was a complex person, caught between the old-school dilemma of playing “the Devil’s music” and yearning for a spiritual life, sweet as pecan pie with extra molasses but quick to turn mean at any perceived slight. She also spent much of her later years in poverty, in a small trailer with a hole in the floor where mice and other critters got in. And she was as mistrustful of strangers as she was warm once she accepted you into her heart. But watch your step before she did. On our first visit to her home, she made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag and would make Dirty Harry envious.
Happily, she took us into her heart and we took her into ours, helping as much as we could and talking often. She was inspiring, and I wrote a song about her, and even got to perform it for her in her trailer, which was just a little terrifying, since I knew she would not hold back her criticism if she didn't like it. Instead, she giggled like a kid and blushed, and asked if I’d write one more verse about the artifacts she’d gathered while touring around the world.
Jessie Mae died in 2006, at age 82, and, as happens when every great folk artist dies, we lost many songs and stories, and the wisdom of her experience. But you can still get a whiff of all that––if you listen to Feelin’ Good.
