A 4x10 with the portability of a 2x10
“Pride of the UK, those Geezers are.” That’s
what my friend from Manchester, England,
tells me about Orange Amplification. More
than 40 years of superior quality and innovation
have earned Orange quite a name in
the industry. When the company got started
they dabbled in a bit of everything—drums,
microphones, PA gear, and DJ gear, as well
as Orange Publishing, Orange Agency,
Orange Records, Orange Music, and Orange
Recording Studios. These days, Orange
focuses its energy on some sick guitar
and bass gear—including their new SP410
Isobaric 4x10 bass cabinet. Good thing for
us. Let’s take a closer look at this baby.
Deceptively Diminutive
My initial inspection of the SP410 left me thinking, “I got the 4x10 cabinet, right? I mean, seriously. I only see two speakers.” I was surprised by the ultra-compact size, as well. Orange’s standard 4x10 cabinet is quite stout at 95 lbs. and 24.5" x 25" x 18". That’s how big most 4x10 bass cabs are. But the SP410 weighs in at just 68 lbs and measures 24.5" x 16" x 15". That’s right, the SP410 is a good 25 lbs. lighter and almost half the size of a traditional 4x10 despite being made of heavy-duty Baltic birch plywood. And with a 1200-watt power-handling capacity, it still brings all the bottom end you could wish for. Cosmetically, it sports the classic orange covering, black grill cloth, and killer Orange logo. It also has metal corner covers, two heavy-duty handles on top, two Speakon and two ¼” speaker jacks, two wooden bottom rails, four lightweight neodymium Eminence speakers, and a port that runs across the bottom of the front panel. Feature-wise, the only way I could see this cab being improved was if it had a tweeter, a handle configuration that made it easier to position an amp head on top, and perhaps even some wheels.
Iso-What?
I’ll admit I wasn’t familiar with this technology prior to receiving the SP410. Most bass cabinets I have played through are of the traditional ilk. You know—big, heavy, monster sort of things that have a wide footprint onstage. Not this little citrus buddy. Two of the 10" speakers are visible from the front panel, while the other two are situated directly behind them. Orange says the SP410’s design avoids the need for a large enclosure because the front speakers’ movement is in phase with the back drivers, which creates an isobaric chamber (that is, a chamber of constant pressure) that functions as an infinite baffle for the rear driver. The rear driver therefore maintains its minimum phase and is free of linear distortion, all while having an effective doubling of mass that lowers its resonant frequency compared to the driver alone.
If you barely followed any of that tech talk, trust me—these guys know what they are talking about. The SP410 leaves you wondering “Is all of that really coming from this little cabinet?” Indeed it does, my rhythmic friend. In fact, it sounds every bit as big as a traditional bass cabinet. And then some. Every time I had the SP410 onstage, a bass player came up during the set break to ask if it’s really a 2x10 cabinet—because that’s what it looks like.
Fresh Squeezed
I took the SP410 for a ride using a five-string Fender Jazz bass and a five-string Ibanez SR485 into an Ampeg SVT-4PRO, and let me tell you that playing through this tasty biscuit is a joy! Rich, full, mega-thick tones just pour out of it, and it moves substantial air. I mentioned earlier that the SP410 has no tweeter, just the 10" speakers for that vintage wallop. That might bother bassists who play styles I don’t, but it’s not a big deal to me. I prefer bass sounds from late ’60s and early ’70s, and the Orange SP410 definitely delivers a blast of that low tone from the past. Even at low volumes, it is as thick as an Iowa Pork Chop! (Yes. When asked nicely, sometimes bass players play at low volumes.) At moderate to high volumes, I felt like I was in front of a huge cabinet. Every George Porter bass line that I dropped on the SP410 sounded like the bass rigs of old. Again, small package—huge sound.
The Final Mojo
Isobaric technology may be a bit involved as a discipline, but it sure makes for some thick bass tone! The power-per-square-inch ratio in the Orange SP410 is through the roof—and yet you can transport it in the front seat of your car. So you get vintage sound and killer portability that’s suitable for stages of any size—and at a street price of $1249! This creamy, round sound is intoxicating and I highly recommend plugging into it.
Buy if...
you need a huge bass sound in a small package.
Skip if...
you have a small gear budget or need a tweeter.
Rating...
Street $1249 - Orange Amplification - orangeamps.com |
Selenium, an alternative to silicon and germanium, helps make an overdrive of great nuance and delectable boost and low-gain overdrive tones.
Clever application of alternative materials that results in a simple, make-everything-sound-better boost and low-gain overdrive.
Might not have enough overdrive for some tastes (although that’s kind of the idea).
$240 street
Cusack Project 34 Selenium Rectifier Pre/Drive Pedal
cusackmusic.com
The term “selenium rectifier” might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts that’s likely because you pulled one of these green, sugar-cube-sized components out of your amp’s tube-biasing network to replace it with a silicon diode.
That’s a long-winded way of saying that, just like silicon or germanium diodes—aka “rectifiers”—the lesser-seen selenium can also be used for gain stages in a preamp or drive pedal. Enter the new Project 34 Selenium Rectifier Pre/Drive from Michigan-based boutique maker Cusack, named after the element’s atomic number, of course.
An Ounce of Pre-Vention
As quirky as the Project 34 might seem, it’s not the first time that company founder Jon Cusack indulged his long-standing interest in the element. In 2021, he tested the waters with a small 20-unit run of the Screamer Fuzz Selenium pedal and has now tamed the stuff further to tap levels of gain running from pre-boost to light overdrive. Having used up his supply of selenium rectifiers on the fuzz run, however, Cusack had to search far and wide to find more before the Project 34 could launch.
“Today they are usually relegated to just a few larger industrial and military applications,” Cusack reports, “but after over a year of searching we finally located what we needed to make another pedal. While they are a very expensive component, they certainly do have a sound of their own.”
The control interface comprises gain, level, and a traditional bright-to-bassy tone knob, the range of which is increased exponentially by the 3-position contour switch: Up summons medium bass response, middle is flat response with no bass boost, and down is maximum bass boost. The soft-touch, non-latching footswitch taps a true-bypass on/off state, and power requires a standard center-negative 9V supply rated at for least 5 mA of current draw, but you can run the Project 34 on up to 18V DC.
Going Nuclear
Tested with a Telecaster and an ES-355 into a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab, the Project 34 is a very natural-sounding low-gain overdrive with a dynamic response and just enough compression that it doesn’t flatten the touchy-feely pick attack. The key adjectives here are juicy, sweet, rich, and full. It’s never harsh or grating.
“The gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character.”
There’s plenty of output available via the level control, but the gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character. Settings below there remain relatively clean—amp-setting dependent, of course—and from that point on up the overdrive ramps up very gradually, which, in amp-like fashion, is heard as a slight increase in saturation and compression. The pedal was especially fantastic with the Telecaster and the tweed-style combo, but also interacted really well with humbuckers into EL84s, which certainly can’t be said for all overdrives.
The Verdict
Although I almost hate to use the term, the Project 34 is a very organic gain stage that just makes everything sound better, and does so with a selenium-driven voice that’s an interesting twist on the standard preamp/drive. For all the variations on boost and low/medium-gain overdrive out there it’s still a very welcome addition to the market, and definitely worth checking out—particularly if you’re looking for subtler shades of overdrive.
Some of us love drum machines and synths, and others don’t, but we all love Billy.
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
An '80s-era cult favorite is back.
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
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.