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• Review

This amp is not a reissue; it takes inspiration from 1972's 80-watt Graphic Valve Amplifier – in designer Adrian Emsley's opinion, the time that Orange really found its "glam crunch" sound.

The OR50H uses a new circuit, which claims a slightly more realistic 50 watts from its dual EL34 output valves. It also adds a gain stage and includes the intriguing HF Drive knob.

The HF Drive knob controls presence and gain in the power section. Turning it fully clockwise makes the sound brighter, more lively and with maximum attack. Emsley says: "Up to around eight, it's a cross-line presence on the power amp only, between eight and 10, it adds negative feedback as well to really make it scream."

One feature that's not immediately obvious is the switchable master volume. You can switch the master completely out of the circuit, and control everything from the gain knob. We recommend you take care when you do this for the first time – we had a bit of a Back To The Future/Marty McFly moment!

"A Telecaster bridge pickup returns a raunchy rhythm sound that'll suit biting blues, The Stones, Springsteen and beyond."

In terms of build, the OR50H comes in Orange's standard, high quality ply cabinet, but uses a Plexiglass front panel rather than steel which, along with the more bulbous Orange logo, adds extra retro flavour to the visual package.

Inside it's built to a good standard: the circuitry, pots and preamp valves are on a single, main PCB that's secured to the chassis with bolts. Transformers (wound in the UK), power valve sockets and switches are chassis mounted and are hard-wired, while the jacks have little PCBs of their own.

Sounds

Hear Guitarist's Simon Bradley put the OR50H through its paces in the following clip:

Is a single-channel amp too tonally limited for you? Try this: plug into the OR50H's 'Hi' input, set everything straight up at 12 o'clock and experiment with the gain control.

Using vintage-style humbuckers, below half is where your clean-ish to light crunch tones are. Any classic guitar's natural character is served well, thanks to the focused mid-range and plentiful bottom end.

A Telecaster bridge pickup, for example, returns a raunchy rhythm sound that'll suit biting blues, The Stones, Springsteen and beyond. With a Les Paul, it's Peter Green territory at lower levels, and classic British rock just below half. It does seventies glam-type sounds particularly well, but goes way, way beyond…

Just past 12 o'clock on the gain control brings another gain stage that, when using PAF-style humbuckers, offers heavier crunch tones and heads into a fuzzier distortion.