And what tone it is: with a tube rectifier to enable the kind of super-playable attack and release feel that just seems to glide your fingers along the fretboard, and a gain that goes from clean as a whistle to crunch to roaring saturation, this is an amp that will have players of all styles performing at their best. That versatility is reflected in the amp’s controls, too: with an cross-line presence control designed to work at any volume and not just howlingly loud, you can roll off the treble on the tone stack and add presence, or vice versa, and get two totally different tones.

Add to that the three-way bright switch, and the tone-shaping possibilities are almost endless. With the switch in the neutral centre position, the amp is a perfect pedal platform, allowing the muscularity of your distortion and overdrive effects to augment the tone of the amp. Flick it leftwards for a fine treble boost; switch to the right and a broader treble will be engaged to sharpen your tone, resembling the best classic rock amps of yesteryear. Then, once you have your ideal sound nailed, throw in the second volume control that can be toggled with a footswitch for further flexibility still: a perfect rhythm tone can become your lead tone with the stomp of a foot, giving you a jump in wattage for soloing, with a choke and a huge output transformer offering more perceived clean headroom, ensuring your tone stays cleaner as you get louder.

It all adds up to the best British single-channel amp that’s possible to build, with literally nothing skimped in the feature department, and a noise floor that’s practically subterranean. Essentially, when you want complete control, accept nothing less than the OR30.

BRIGHT SWITCH

A three-way bright switch offers you a clean-slate pedal platform, a fine-treble boost to interact with the tone stack, or a broad-treble fizz that offers laser-like cut-through.

FOOTSWITCHABLE VOLUME BOOST

A secondary volume setting activated with a footswitch gives this single-channel amp a cheeky way of easily boosting from rhythm to lead.

CROSS-LINE PRESENCE

A lot of presence controls are based on negative feedback, meaning you only notice it at high volumes. Not the OR30’s: this is cross-line, so works at any volume.