Orianthi is partnering with Orange Amplification to release a travel-friendly amp designed to be both functional and reliable.
The new Limited Edition Orianthi Crush 20RT has been played by the respected guitarist, singer-songwriter, in the studio and at live gigs.
The white Tolex-clad, solid-state signature Crush 20RT offers some of the most distinctive tones available in its price range. With the gain turned down, the amp delivers a versatile crystal clean tone. The ādirty channelā can be selected to unleash high levels of detailed creamy distortion to full saturation. The Crush 20RT offers a wide range of sonic possibilities courtesy of an 8ā, custom-designed āVoice of the Worldā speaker. From modern sonic punch to vintage tones, this incredibly portable amplifier also includes a 3-band EQ, built-in āspring-inspiredā reverb and chromatic tuner.
āI wanted a portable amp I could use anywhere. Thereās a soaring tone you get from this amp despite its small, compact sizeā, comments Orianthi. She continues, āPlus this amp is really diverse - from the clean channel to the dirty channel - thereās warmth and thereās grit, itās really quite incredible. I think everyone is really going to dig it!ā
To experience the new Limited Edition Orianthi Crush 20RT visit your favourite authorised Orange retailer, or learn more online at orangeamps.com.
Orianthi joins forces with Orange Amplification for her signature combo, the Oriverb, based on the classic Rockerverb MKIII 50 NEO Combo.
"Seeing this whole amp come to life has been a dream come true," said Orianthi, "itās 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 Orianthiās 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 12ā 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 canāt 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.
Both shredders first established themselves as top-level hired gunsāNita Strauss (left) with Alice Cooper and Jennifer Batten with Michael Jacksonābefore setting off on their long careers.
These super-guitarists talk about originality, busting the patriarchy, supporting Jeff Beck, touring with Alice Cooper, Demi Lovato, and Michael Jackson, guitar education, their secret weapons, and ā¦ oh, how to be badass!
Itās a fact: Women and minority artists have often been marginalized, unacknowledged, and even ripped offāboth musically and financially. And while the industry has slowly gotten better about amplifying their significant contributions, white male artists have historically been heralded as the heroes and innovators. Even with all of the progress made in recent years, one niche where bias still seems the norm is āhired gun.ā The commonly used term āsidemanā demonstrates the pervasiveness of male-dominated norms entrenched in our collective psyche. But there are exceptional sidewomen who have broken the glass ceiling with their primetime gigs. And among the most notable are Jennifer Batten and Nita Strauss.
Batten established herself as the lead guitarist for Michael Jacksonās first solo world tour, in support of the album Bad. From 1987 to 1989, she was an integral part of Jacksonās live shows, with her distinctive guitar style and charismatic stage presence. And her 6-string prowess during performances of hits like āBeat Itā and āDirty Dianaā (the former featuring Eddie Van Halenās iconic solo on the record) displayed chops that easily rivaled her male contemporaries. Her work with Jeff Beck on his Who Else! album and subsequent tours further solidified her reputation as one of rockās most exceptional guitarists. Though decades removed from the bright lights and big stages of those two major gigs, Battenās career continues to thrive, and she remains an influential figure through the guitar clinics and workshops she conducts worldwide, as well as the solo albums sheās released and continues to tour behind.
Strauss famously cut her teeth with the Iron Maidens, an all-female Iron Maiden tribute band, where she performed under the stage name āMega Murray.ā In 2014, she became the touring guitarist for legendary shock-rocker Alice Cooper, replacing Orianthi, and her modern approach to shred remains the perfect foil to the more traditional classic-rock styles of her Cooper bandmates, Ryan Roxie and Tommy Henriksen. In 2018, she released her debut solo album, Controlled Chaos, which showcased her diverse range of playing styles and songwriting chops, and solidified her reputation as a formidable guitarist in the modern metal scene. In 2022, she was tapped as Demi Lovatoās touring guitarist in support of Lovatoās Holy Fvck, and just this summer Strauss released her second solo album, The Call of the Void, featuring David Draiman (Disturbed), Lzzy Hale (Halestorm), and Alissa White-Gluz (Arch Enemy), among others, as guest vocalists. During NFL football season, she has a standing gig at Los Angeles Rams home gamesāand a Super Bowl ring to prove itāand has also received several She Rocks awards, including āBest Guitaristā in 2018.
NITA STRAUSS - Victorious ft. Dorothy (Official Music Video)
Premier Guitar hosted a conversation with Batten and Strauss, and got some insight into their similar histories, their work to overcome the status quo, and why it might be best for aspiring guitarslingers to just āchill the fuck out.ā
You share strikingly similar career trajectories. Can you give PG readers the CliffsNotes versions of your respective backgrounds?
Jennifer Batten: I started playing when I was 8 years old and, fast forward, I saw an ad in Guitar Player magazine for GIT [now the Musicians Institute]. They had a weekend symposium, and I went up and participatedāthree really intense daysāand understood about 1 percent of what the hell they were saying. I didnāt even know a major 7th chord. In fact, one of the things they asked me to play was Gmaj7. And you know me, I know a G with a 7, first-position cowboy chord [laughs]. So, I got my ass whooped with that. By the time I got the Michael Jackson gig in ā87, I was in five or six different bands, just trying to make it in Hollywood. I got out there and played with as many bands as I could, and said āyesā to every situation until I got an audition with Michael Jackson, and then it was like zoom. I almost got seasick making that big of a jump so fast. Once you play with the biggest pop star in the world, itās kind of likeā¦.
Where do you go from there?
Batten: Well, to Jeff Beck.
Nita Strauss: The biggest guitar star in the world. Iāve said ad nauseam that Jennifer is the one that blazed the trail for the rest of us to followāyou went through with the sword, cutting down the barricades. I took the tour at GIT three times. I could actually never afford to get in, but I grew up in L.A. playing clubs, playing in multiple different bands. I went straight from a metalcore tour in Europe, straight into Jermaine Jacksonās band, straight into an Iron Maiden tribute band, all while doing my original thing, doing covers, doing solo shows, playing acoustic guitar with singers that needed accompanistsāreally anybody that would have me until I got picked up by Alice Cooper in 2014. And that was my introduction to the big leagues.
Batten: When I went to GIT, class of ā79, I was the only female. And that really shocked me because I didnāt expect that. I didnāt realize it was such an odd career choice for a woman. Fifty-nine guys and me. Crazy.
Jennifer Batten's Gear
Batten has been involved in music education in the form of teaching, workshops, and instructional materials. One piece of wisdom she shares: āIf youāre going to be somebody that gets hired for different shows, itās so important to be humble and be aware of what they need, because they donāt necessarily hire you to make you shine.ā
Photo by Ana Massard
Guitars
- Suhr Modern Antique
- Washburn Parallaxe PXM10
Amps & Effects
- BluGuitar AMP1
- BluGuitar NANOCAB & FATCAB
- Line 6 HX Stomp XL Multi-effects Floor Processor
- MeloAudio MIDI Commander
Amps & Strings, Picks, & Accessories
- DāAddario NYXL (.008ā.042)
- Gravity 1.5 mm
- Lock-It Guitar Straps
- DāAddario XPND Pedalboard
- ASI Audio 3DME in-ear monitors
- Audix i5 Microphone with CabGrabber Mic Clamp
Were there female guitarists you could look to for inspiration or was it just the typical male guitar heroes of that era?
Batten: Yeah, it was all guys. I donāt recall thinking, āWhere are the women?ā My ears just went to the music that I liked. Jeff Beck was on the radio, with Blow by Blow, and that was good enough for me. I didnāt need another gender to look at.
Strauss: As a young kid getting into shred guitar, it really was a boyās club, and I was the same way. I didnāt seek out a female guitar hero to be inspired by. I gravitated towards the players that I liked. I was into Steve Vai, Joe Satriani, Paul Gilbert, Marty Friedman, and Jason Becker. And then, when I first discovered Jennifer, it was like a kid finding a Barbie that looked like her for the first timeāthere was somebody like me doing it, and here she is on the biggest stage in the world with the biggest star in the world, and itās not a chick thing. Sheās playing circles around all these guys. Sheās not there because sheās beautiful. Sheās not there because sheās a great performer. She is all those things, but sheās there because of the technique and the performance and just delivering night after night after night. And that was my biggest thing: If she can do it, I can do it too.
āReady to shred! Strauss poses with her Ibanez Signature JIVAX2, and Batten with her steampunk-styled Washburn Parallaxe PXM10.
Photo by Ana Massard
Batten: When I joined Michael Jackson in 1987, I thought, āNowās the revolution.ā Wendy [Melvoin] & Lisa [Coleman] were already with Prince. And I thought, āOkay, a big change is happening.ā And then crickets for 10 or 15 yearsāit was nothing. Itās almost like it took the Internet to get up to speed. Now I tell people, āNot a month goes by that I donāt see some 7-year-old girl in Indonesia who could kick my ass [laughs].ā
Strauss: And whatās crazy, when I see these kids coming up hot on our heels, someone always tags me and says, āYou better watch out. Theyāre coming for you.ā And Iām like, āNo, I applaud them. I lift them up. This is what weāre here for. Women elevating women.ā Thereās no competition. I donāt have a sense of competition with anybody else out there. I want to see us all succeed. A rising tide lifts all boats, and women succeeding in this industry is a win for everybody. This is an amazing time to do what we do.
Nita Strauss' Gear
This past summer, Strauss released her second solo album, The Call of the Void, featuring vocalists David Draiman (Disturbed), Lzzy Hale (Halestorm), and Alissa White-Gluz (Arch Enemy), among others.
Photo by Ana Massard
Guitars
- Ibanez Signature JIVAX2
- Ibanez Signature JIVA10
- Custom Ibanez Signature JIVAJR
Amps & Effects
- Boss GT-1000 Effects Processor
- Kemper Profiler
Strings & Picks
- DāAddario NYXLs (.010ā.046)
- Grover Allman .60 mm
Can you share how playing smaller venues on your own helps you continue to evolve as yourself, versus the big arena gigs?
Batten: The only place you really get satisfaction is when youāre improving as a player. Nobody can take that away from you. Whether youāre doing great, or not so great, as far as the worldviewāare you famous this week? Every once in a while, I get people going, āI didnāt know you were still playing.ā Wellā¦.
Strauss: Well, here I am.
Batten: Michael Jacksonās been gone for quite a while, and I havenāt played with Jeff Beck in 20 years. Iām doing my thing on my level and still putting in as many frequent flier miles as I ever did.
Strauss: The mark of a great hired gun, no matter who youāre playing with, is that you maintain your own style, but youāre always able to execute that personās vision. Whether Iām going out with Alice, or Iām going out with Demi, you can tell that itās me on stage, but Iām not going to play the same way that I would with my solo band.
Batten: If youāre going to be somebody that gets hired for different shows, itās so important to be humble and be aware of what they need, because they donāt necessarily hire you to make you shine. When I got the Jeff Beck gig, he was always going, āI should really give you 10 minutes on your own.ā And I said, āHell no [laughs].ā
Jennifer Batten - Whatever
Strauss: You have to strike out on your own, especially when the majority of what people know you as āso and soās guitar player.ā You really have to take that stand and say, āIām not only someoneās guitar player, Iām also my own identity. I have my own creativity. I have my own vision.ā The only time that you have to really flex and be creative is when youāre doing your own thing. Youāre not executing anybodyās vision but your own, so I think itās super valuable.
Do either of you take a different approach to the craft when playing with other guitar players?
Batten: Jeff [Beck] is one of those guysājump and a net will appear. The first time I played with him, Iāll never forget walking into the room expecting a keyboard player, because ever since the ā70s, he had keyboards. And I thought, āMan, this is not going to cut it.ā All these songs that I grew up listening to, like āCause Weāve Ended as Lovers,ā have these lush keyboard backgrounds. So, I took it upon myself to dive deep into guitar synthesizer because I thought those pads were necessary. Like we said before, youāve got to realize whatās needed. I was there to support.
Strauss: I love to play with Ryan [Roxie] and Tommy [Henriksen]. I think it just fills out the sound so much, and weāve been playing together for so long that we mesh. We even have this brain-meld where our vibrato syncs up in a way that we donāt plan. So, I think once you play with people for a while, you get sensitive to their tendencies. We donāt even really go over parts before the tour anymore. When you play with people for a long time, you just get a good sense of what theyāre going to do.
āBoth guitarists have worked high-profile, hired-gun gigs while maintaining their own solo careers. āThe only place you really get satisfaction is when youāre improving as a player,ā says Batten.
Photo by Ana Massard
How important is music education to both of you?
Batten: Itās fun to show people stuff that youāve learned. Thereās an energy that just creates momentum. Iāve done a ton of teaching since my early days, and granted, most of the students donāt want to work, but when you get somebody thatās really into it, the momentum really grows.
Strauss: Just throw them in the deep end of the pool and say, āFigure it out kid, I did [laughs].ā
Batten: I give them too much information. I send them PDFs and videos and all this crap thatās enough for six months of work. Itās no wonder they donāt come back every week [laughs].
Strauss: Theyāre like, āThis guitar shit looked like fun, but itās hard [laughs].ā I taught myself how to play by watching DVDs, like Jenniferās, and I had all the REH instructional videos, all the Shrapnel albums. I learned modes from Frank Gambaleās Modes: No More Mystery and Melodic Control by Marty Friedman. I donāt teach one-to-one, but I do clinics. I have an online course called Rock Guitar Fundamentals. Iāve done my Guitar World and Premier Guitar columns [and interviews], and I think that the way that I teach is really understandable because Iām stupid and I didnāt have anybody teach me [laughs]. I approach it from a very practical standpoint because I had to figure it out myself.
I know you each have creative outlets other than guitar. Iām curious about how that influences your music.
Batten: When I moved to Portland 20 years ago, I took stained glass classes, and I just went bonkers with it. But I moved on from doing glass art to steampunk art. One day I woke up and said, āGears, I must work with gears,ā and I started making these fantasy airships from junk. Itās a really fun place to be. When you get back to music, itās a lot fresher and energizing. If I can focus on visual arts, I find that a real charge because itās all the same muscle, itās all creativity. And I find one muscle helps the other, as the workout queen will tell you [laughs].
Strauss: The workout stuff and the Body Shred challenge [an eight-week fitness challenge created by Strauss] isnāt as much of a creative outlet as a mental health outletāthe better you take care of the machine, the better the machine runs. And when I first started getting healthier and more involved in fitness, I lost some weight, I got sober, and people around me started asking, āWhat did you do?ā I found myself writing Instagram captions and comments. When we created the Body Shred challenge, it was a way to get our community, the guitar and the rock and heavy metal community, more incentivized to get healthier and fit.
Strauss and Batten have outside passions that help fuel their creativity. Strauss does yoga and has her eight-week Body Shred challenge. Batten does steampunk-inspired art.
Photo by Ana Massard
Do either one of you have a secret weapon that isnāt overtly obvious to the average listener or concertgoer that is essential for you when performing?
Batten: Iād say a tremolo. I mean, it should be called an āexpression barā more than a āwhammy bar,ā but thatās a must-have.
Strauss: Same answer. Iāve gotten to the point where I do a lot of my vibrato with the bar, as a different color tone. When you get up into a really high bend and you get the vibrato on the bar, it gives you a little extra oomph.
Batten: The bar lets you go sharp and flat as opposed to a finger vibrato thatās only sharp. So, itās not as rounded-sounding. I love it.
Has traveling, whether by air or bus, affected your gear choices?
Batten: My gear is super simple at this point. Iāve been using a Line 6 HX Stomp XL. Itās like I have 30 pedalboards that I can kick into at a momentās notice. Now, everything I need for sound is in my carry-on. Itās a little heavy to carry, but at least I know, worst-case scenario, I have to borrow or rent a guitar and grab somebodyās jacket, so I donāt look like a hippie [laughs].
Strauss: My rig is so simple. I was a very early adopter of the multi-effect units, so my first pedal ever was a Zoom 505. Now, my touring rig is a Boss GT-1000 direct into the house. I have my tone super dialed into it, and Iām in the mindset of if itās not broken, I donāt try to fix it. Iām not on a quest for tone unless my toneās not good. And I love my tone with that pedalboard. They make a palm size one, the GT-1000 Core, so I can throw that in any gig bag and travel all over the world.
Jennifer, do you have a favorite piece of advice that you would give a young guitar player that wants to follow in your footsteps? Asking for a friend [laughs].
Shredding with a smileāNita Strauss on stage earlier this year.
Photo by Ana Massard
Batten: I remember the angst and the pressure I put on myself to āmake it.ā And if the record doesnāt do it, my lifeās overāthat kind of bullshit. As long as you can plant a seed that the only thing that matters is getting better as a musician, things will happen as you put that energy out into the universe. I donāt think you need to stress, as long as youāre spending time with the instrument every day and playing with different people and doing a lot of listening. Thereās so much that you canāt control. At the end of the day, if youāre getting better, thatās all that matters. I think the best compliment Iāve ever been given is if somebody comes up to me after a show and says it was inspiring. I go, āMan, thatās the shit.ā Because when I go to a show, thatās what I want to get out of it. So thatās my advice. Chill the fuck out.
Strauss: Amen.