TESTIMONIALS
AARON RUDIN
“ I started playing Orybon drums when I was 16, and nearly 20 years later, the custom drum set Ory built is still my kit of choice.
I thought I was already playing the best, but when I finally sat behind my own Orybon kit for the first time, it felt personal right away, like I was hearing more of myself in the drums.
I’ve played Orybon throughout my entire professional career, in the studio and on tour, and they’ve always delivered. What still blows my mind is how natural they feel.
They respond to the way I play in a way no other drums ever have, and they do exactly what I need in every situation. I’ve lost count of how many engineers, drummers, and other musicians have commented on how incredible they sound.
There are a lot of great drums in the world, but I’ve never played anything that feels, sounds, or inspires me the way my Orybon drums do. “
-Aaron Rudin
Robert Abraham
I first met Ory Brochet in about 2005/2006, just about the time that I was in the market for a new kit. Matter of fact, he “stole” a gig from me, so he had to make good when he said, “Hey, I’m gonna start making drums. Do you wanna wait and buy one of mine?” We have laughed about that continuously over the past 20 years. We’ve laugh, cried and prayed for each other over the years.
I have the pleasure of owning one of the first 2008 production line Orybon kits. A 6-piece walnut poplar mixture that is a chameleon. I remember conceptualizing the sizes with Ory in pre-production, and then the day that I first saw them they had just been stained. The beautiful natural wood grain craftsmanship, the all-black hardware complete with special Orybon-specific lugs were stunning. The first one I heard was the 15” floor tom. It had and still has a stunning attack coupled with a great low-end.
We decided to use allen screws for tuning, which was a first for me, but they’ve never significantly lost tuning integrity, even after sitting in my closet for 8 months when COVID was at its height. The allen screws actually increases fine-tuning of the drum heads. Whether I crank them up for higher tuning or loosen them for lower registers, they perform above expectation.
My first gig with the kit was a small reggae casual and it performed excellently. Since then, I’ve used it on RnB, smooth jazz, top 40, and large reggae festivals. My Orybons continue to perform brilliantly in every situation, even after 20 years. I’ve worked with a long list of sound engineers through the years and I when I ask their opinion on how my drums performed, the prevailing response is usually something to the effect of, “They not only look great, they sound great!”
I’ve played my fair share of “house kits” both on my Sunday morning rotations as well as multiple-band festivals that provide backline. Although I’m grateful not to have to carry a lot of gear, I do miss natural feel and warm sound and response of my Orybons. I’ve played Orybons for 20 years and I am very excited that there are new models on the horizon, not only for myself, but for drummers to experience the brilliance of Ory’s drum making abilities and discover drums that sound different.
Robert “B-Bow” Abraham
Dante Goglia
I got my Orybon kit in 2006, when I was just 14 years old, and 20 years later I’m still playing it. I’ve taken it on nationwide tours, internationally, into studios, and through hundreds of live shows, and it has held up through all of it.
The first thing that stood out to me was the punch and power of the kit. The snare has an incredible crack, and even though I pack my kick pretty tightly, it still cuts through with a ton of power. If it’s possible to be smooth as butter and powerful as stone, this kit is just that.
There’s also something very natural about the way these drums feel. You can tell they were designed and built by a master craftsman and drummer, not just produced by a machine. The details make that obvious, right down to each drum being hand-signed by Ory on the inside of the shell.
I’ve used this kit for everything from jazz to hard rock, deathcore, CCM, and everything in between. And before anyone even hears it, the salmon pink wrap turns heads. Once they hear it, the sound speaks for itself.
What makes these drums most special to me is how involved I was in their creation. I was a kid when Ory built it, but he took me seriously and listened to exactly what I wanted, from the 8-inch rack tom to the absurd 18-inch floor tom. He was easy to work with, incredibly knowledgeable, and willing to do something different.
After all these years, the kit represents me as much as it represents Ory and his craftsmanship. I couldn’t be happier with it. I’ve already spent most of my life playing these drums, and I plan on playing them forever.
⁃ Dante Golgia
Burleigh Drummond
Upon first seeing the kit, my initial takeaway was how wholesome and organic the drums looked. Like they had been plucked straight from some rich soil or off an ancient tree. There weren’t any frills or flashiness to them. I loved the materials and sturdiness they represented.
I was amazed at how much control the drums embodied, no matter how out of control I was in any moment. The drums sang at any velocity but maintained their humble constitution. I could tell right away that these drums would be my go-to kit for any style of gig or recording, and any size or shape of space they lived in.
These drums make you want to play the meat and potatoes of the pocket. With sounds so pure, I almost felt humbled and reminded of why I started playing drums in the first place.
From the lugs to the wood to the finish, these drums feel connected to their source. They made me want to dig in and play barefoot. When drums like these are presented to you, you want to cut out any fat and nonsense and serve the purpose of the space and song.
What makes Orybon different is their versatility and control. I’ve not had an instance where I thought another snare, tom, or kick would fit a particular style better. There’s something magical about them.
These drums made me want to say exactly what was needed for the moment. I found myself more interested in the space between drum tones, more concerned with letting the resonance of each stroke ring out and direct the narrative. Not to say these drums aren't fun to play fast and athletically, but I found myself saying less, with more meaning behind it.
I've had countless engineers, musicians, and even music fans comment on the beauty of their sound, look, and control. I really don't go to a gig or session where it doesn't come up.
I have a really beautiful history with Ory. I can remember being a young kid, visiting Ory with my dad. I remember the attention to detail he embodied when it came to the craftsmanship of shells and drums overall. He would hold up an unfinished shell to my ear and thump the side to relish with me in the beauty of this thing we love called drums.
It was magical for me as a child, and I feel very fortunate to call him a friend and mentor.
-Burleigh Drummond