An amp as versatile as it is powerful, with clean tones that are just as compelling as its high-gain roar.
Orange’s calling-card is, in the minds of many, a thick, coppery, and compressed high-gain roar. But for an amp that kicks this hard, the OR60 excels at translating the tonal qualities of a guitar with refinement and balance, and it’s a more subtle and nuanced creature than you might expect. In this respect, it’s much more like a late-'70s Marshall JMP with pre-gain than a hot-rodded Soldano or Bogner. The OR60 ably covers tones ranging from funky when clean to absolutely feral when cranked. And while the single-channel configuration suggests a narrow voice, there’s a massive range of timbres to explore—from chimey to chunky to charging-rhino, and all points in between.
Literal weight aside, the 43-pound OR60 is a heavy hitter that’s not mere high-octane hype. It doesn’t just sound good—it sounds vivid. Real. True. Three-dimensional. If it were an album mix, you might say it has terrific “imaging.” Even at the kind of high gain settings where Orange excels, it grabs onto the essence of your favorite axe without compromising it—a quality that defines most great classic amps. The OR60 is happy doing all this loudly, and no one is going to mistake the amp for a studio-specific low-watt boutique head or a Swiss Army knife modeling unit. Even through a modest Orange PPC212V 2x12 cabinet, this tangerine titan’s 60 watts of twin-6L6 power throw around the kind of sonic weight you’d expect from a 50- or 100-watt half-stack. Still, it has a great clean-to-dirty range.
Orange
OR60-V3 60-watt Amplifier Head
60W, 1-channel Tube Guitar Amp Head with Power Scaling, Bright Switch, Presence and Resonance Controls, FX Loop, and Volume Footswitch
When it comes to reverb, very few pedal manufacturers have done as much to reinvent the category as EarthQuaker Devices has over the past couple of decades. The independent, family-owned company has a long history of opening new doors of experimentation for ambient adventurers with landmark pedals—like Afterneath, Dispatch Master and Astral Destiny—that have found their way to stages of every size the world wide.
Perhaps best described as a “soundscape generator,” Towers sends your input signal into a unique set of resonant filtered feedback networks to create a massive stereophonic expanse that’s rich in movement and atmosphere.
Towers is the type of reverb pedal that will sound incomprehensibly huge and haunting with all the settings maxed out, but it’s also the type of pedal that offers virtually endless possibilities for the users who take the time to explore its wide range of sounds. There’s something really special about the textures the pedal generates when its subtler settings are explored.
The sheer amount of possibilities is thanks in part to the pedal’s three distinct modes of operation. There’s a Manual Mode, which puts the player in charge of the filter frequencies and stereophonic movement. Then there’s Envelope Mode, where playing dynamics breathe and morph into ever-changing filter movements. Finally, in LFO Mode, the player surrenders control to a slow-moving oscillator that sweeps the filter frequencies and across the stereo field. And while anyone familiar with the brand’s history knows that Towers isn’t EarthQuaker Devices’ first or only reverb pedal, company President and Founder Jamie Stillman wants to ensure the market understands that Towers is a new type of reverb for the company and is by no means simply an evolution or fresh take on an existing pedal.
"I don't want people to think that we've redone the Afterneath, or that we've redone the Transmisser, or that we've redone the Astral Destiny,” Stillman explained, “Towers represents a linear progression of reverbs. It’s not an evolution of or update on any current or legacy device.”
Stillman is tight lipped when it comes to divulging too much information related to the secret sauce that gives Towers its unique voice, but did explain that the colorful, resonate movement that occurs in the reflections is created internally and isn’t the type of effect you could recreate with external hardware.
When it comes to the big questions most prospective purchasers ask themselves when trying to decide if they should buy a new pedal like “who is this pedal for?” and “would I benefit from adding this to my rig?” The answer is it’s really a pedal for any and every reverb-loving musician who is ready for something new. In the case of Stillman—the architect of Towers—it was something he wanted because he really loves having resonant filter movements in the tails of a reverb.
Ultimately, guitarists, synthesists, drummers, vocalists, and all other types of musicians in search of an expressive reverberant voice are encouraged to make a journey into the Towers, because all who do will be rewarded with massive resonate experimental reverbs, subtle expressive reflections, and a lifetime of ambient adventures.
The Dan O. Mano series, armed with a pair of P-90 style pickups providing a dynamite match for the DANO's hollow inner body and rosewood bridge.
With their Atomic Age styling – drawing heavily upon Danelectro’s boldly original 1950s roots – and turbocharged retro vibe, the DANO line might be the company’s most true-to-the-spirit guitars ever. Key features include:
Full Bell Headstock, a Danelectro original design dating back to 1954
Rosewood Saddle Bridge, another feature from 1954 prized by generations of players for its warm tone
Skate Key Tuners, gloriously recapturing the Danelectro vibe from 1958 with smooth, modern tuning accuracy
Ultracool vintage colors – all of them authentic to the 1950s
And every DANO® guitar comes with a FREE 8-page collectable reproduction of a Danelectro catalog from the 1950s!
Upon resurrecting the long-lost Dual Op-Amp Big Muff 2 circuit with Josh Scott of JHS Pedals, Electro-Harmonix recognized that the pedal would be an instant favorite of low-end lovers and went to work “bassifying” the pedal. Enter the low-end optimized Bass Big Muff Pi 2 with features selected for full spectrum fuzz tones of all flavors.
The Bass Big Muff Pi 2 features the original’s pushed mid grunt and classic singing sustain any Big Muff lover would feel at home with. The bass version now includes a clean BLEND knob and Bass Boost for extended tone performance with Bass Guitar or any player looking for extra clarity and low-end. The typical VOL/TONE/SUSTAIN knobs set overall output volume, treble/bass eq balance, and distortion respectively. BLEND sets the overall wet/dry mix to dial in the perfect balance of fuzzy chaos and solid fundaments from your clean tone. The BASS BOOST switch adds even more low-end to your signal for booming bass tone even at higher TONE knob settings.
Additionally, the pedal features a silent true bypass footswitch with Latching/Momentary Action. Click the footswitch for normal latching functionality or press and hold the footswitch of a momentary burst of fuzz.
The perfect choice for pure Gretsch power and fidelity, The Electromatic Premier Jet represents the pinnacle of the celebrated Electromatic Collection. Carefully crafted for stellar tone, powerful versatility and refined performance, the Electromatic Premier Jet delivers everything from pristine clean tones to aggressive overdrive right at your fingertips. Designed to astound and fitted with premium appointments, this electrifying guitar delivers uncompromising playability with mighty Gretsch sound and iconic style.
FEATURES:
Chambered Mahogany Body with Bound Carved Maple Top
Sculpted Forearm and Body Contours with Rounded Heel
Performance “C” Neck Profile
10"-14” Compound-Radius Bound Ebony Fingerboard with 22 Medium Jumbo Frets
Pearloid Neo Classic Thumbnail Inlays and Luminlay® Side Dots
GraphTech NuBone Nut for Superior Tuning Stability