OMEC Amplifiers and Cabinets (1977)

OMEC’s 150-Watt solid-state range brought pro features, effects, and smart design to budget amps, bridging the gap to valve models.

By 1977, Orange had already made waves with the OMEC Digital, the world’s first digitally programmable amplifier. While the concept was years ahead of its time, it laid the groundwork for a whole new line of solid-state amps under the OMEC name.

In the mid-1970s, solid-state power amps were beginning to overcome their reputation for being unreliable and harsh-sounding. Orange had developed a robust and proven 150-Watt transistor power stage, originally built into the OMEC Digital. Although the programmable features may have been launched a decade too early for the market, the technology inside was game-changing.

Using low-cost, high-quality integrated circuit chips, Orange began designing a new series of solid-state amplifiers, not only for instruments, but also for PA systems. This time, the approach was more accessible: classic front-panel controls, black and silver aesthetics, and a compact, lightweight design.

Building a Better Solid-State Amp

The OMEC range offered two core models — one for instruments and one for PAs — with an optional five-band graphic EQ. At a time when PA systems were becoming more advanced, graphic EQ gave users the ability to adapt to different rooms and venues with ease.

Effects pedals were still rare and expensive in the late 70s, so Orange built them straight into the instrument amps. Reverb, phasing, and overdrive were all added, offering players the kind of sounds they were hearing on records without needing external gear. This boosted the appeal of the OMEC instrument amps and positioned them at the top of the solid-state range.

Cabinets to Match

To complete the package, Orange needed matching speaker cabinets that were lightweight, compact, and affordable. “To complement the new range, we designed cabs that followed a simple, functional formula,”remembers Mick Dines, former Orange Production Manager. “The amp sleeve mounted onto a base plinth, bolted into a three-sided enclosure. Instead of metal or plastic corner protectors, we used aluminium moulding with a black PVC inlay. It looked clean, modern, and saved on cost.”
Each cab was a sealed enclosure with front-loaded speakers and a German-sourced black open-weave nylon grille cloth. The guitar amp got a sloped-front 2×12, the PA version had a straight 2×12, and the bass version used a ported 1×15.

A Solid-State Success

With the OMEC range, Orange offered a well-built, budget-friendly alternative to its high-end valve amps. The combination of new tech, onboard effects, and a sensible price point made the series a hit with dealers and players alike. It may have grown out of a futuristic idea, but the OMEC line was firmly grounded in what musicians actually needed, and wanted, at the time.