Interview – Tim Commerford of Prophets of Rage.

Tim Commerford: Yo, my name is Timmy C, and I play bass for the ‘Prophets of Rage’ and I did some bass playing for a band called ‘Audioslave’ and I’m the bass player of ‘Rage Against the Machine’, and I’m here to talk about some bass with these kids from Orange amps.

I think I was more influenced by the feeling of bands like the ‘Sex Pistols’ earlier on but then I gravitated to more intricate, progressive rock and became a Geddy Lee fanatic. He actually was playing this amp that I am standing on and I was searching for a certain tone. It sort of came from him, the sound he has is similar to what I was looking for.

I have an Ampeg head, Barefaced 8×10 cabinet and then I have another Ampeg SVT pro with a gain control through a 4×10 Barefaced cabinet and then the Orange head. This head is an incredible head for just going to that next level of overdrive. When I want to push it into a higher end, not going crazy but more into the white noise and the higher distortion; This head is a beautiful amp for that. I have different amps for different tones and there is all different tones, and there is all different ways that you can make the bass sound even better.

I’m a finger player and I feel like it is a sport and that’s the way it is supposed to be played. I’m on that field with those guys who play with their fingers and realize it’s just like a little miniature body on the end of your arm. It’s a deeper, for me, a deeper science, a deeper low end, a different feel.

Because I still enjoy going on the internet and going “Hey, bass lessons” or “advanced bass lessons”, these videos come up and there are great players out there and they aren’t in these huge bands but they are showing you how to do cool stuff. That’s something I didn’t have when I was growing up as a kid, now any song you want to play is on the internet. So it’s actually a good time to learn how to play an instrument and do it the right way. My advice is to put away the computer for everything expect for bass lessons, its killer for that!

Interview: Unlocking The Truth’s Malcolm Brickhouse

Photo by Bennett Raglin

You were very young when you started this band, how did it all come about, and how did you get into this kind of music in the first place?
We got into metal from hearing the background music in anime cartoons like Naruto, and in WWE. Jared was already playing drums at this point, and I had just started having guitar lessons, then Jarad just had the idea of starting a band.

Unlocking the Truth’s first claim to fame was playing in Times Square which gained you a lot of social media attention – who’s idea was it to take the band to the streets?
It was my parents’ idea to take us to Times Square, they knew we had talent and wanted to get us the best exposure, and what’s a better place than being in the center of Times Square with tourists from all around the world? People with cameras and phones taking pictures and recording? It just made sense.

You’ve got some incredible accomplishments for such a young age, is there anything in specific that pops to mind as a highlight, or a ‘pinch me’ moment?
Everything should have been “pinch-me” moment like performing at Coachella, Bonnaroo, opening for Manson, Motörhead, Living Colour and Metallica. I guess we were so young and didn’t know how big of a deal these things were. Now when I look back, I realize most people will never get to say things like they opened for these bands – and we have accomplished all that before high school. It’s really amazing to think about and it keeps me going.

You’ve also had a documentary ‘Breaking a Monster’ made about yourselves, how was the experience of having someone so up and close in your lives, and sharing it all with the world?
I had fun shooting the documentary. The cameras weren’t as personal as you might think. They were pretty much like flies on the wall and sometimes I forgot  they were even there.

Now to the reason we’re both here – Orange Amps! You’re an Orange ambassador, and we’re very excited to have you! What’s your history with the brand?
I’m very excited and proud to be an Orange Ambassador, it’s such a great brand! The first time I heard about Orange was in a tutorial video by Slipknot’s Jim Root, I loved the rawness of Orange, whether it’s the smooth clean or rich and but distorted tones. I also remember skyping Alex Auxier (Orange A&R) back in 2014, where he asked us a bunch of questions about which bands we liked and what sound we were going for to give him a better idea of what we really needed. The next thing I knew, these giant boxes arrived, including the Jim Root amp and speaker cab, and I just screamed! Later I graduated to the Dual Dark 100 and 4 x 12 cabs. My guitar sounded so real, everywhere I perform, I must have an Orange Amp.  It just sounds right – it sounds perfect!

You released your debut album ‘Chaos’ last year, and you recently independently released your single ‘My Chains’, can you tell us a bit about the song?
Yes, we independently released My Chains on August 29th.  This song came about while recording demos at home in my basement, it started out with the main riff and then I built the electronics, verses and chorus around that. After a few days of testing different song structures, we had a solid song idea which was enhanced once again by our producer, Kenta Yonesaka (Germano Studios NY). I love this song because it’s something new and a little different from the stuff we usually do, we’re finding our own sound and I think people can tell, so expect more change and growth from Unlocking The Truth, this is only the beginning.

With the release of this single we have to ask – can we expect a follow up to ‘Chaos’ in the next foreseeable future?
I don’t want to give away too much information as of yet because we are still planning, but we sure will have more music coming in the very near future, so stay tuned.

Interview – Kelby Ray of The Cadillac Three

Kelby Ray: Hi, I’m Kelby Ray of The Cadillac Three – Proud Orange User. I think Orange Amps – the look, is just so classic. It’s super old school, super Rock N’ Roll and something I always thought just looked so cool. The first time I ever used an Orange Amp was at a festival in Nashville as like a backline situation. I plugged into it and it was so easy to use – not a lot of knobs and it just sounded great. I want something that’s going to work, not too much hustle and fuss and something that’s just Rock N’ Roll. Orange is all those things, so that’s why I’ve always gravitated towards them, they’re something I’ve always loved to play.

My influences are from all over. I used to listen to a lot of 80s country, particularly growing up in Nashville, also learning to play the guitar in high school, things like Jimi Hendrix, Metallica, Pantera – little bit of everything. Blues. Influences from all over the place. Hell, I even liked Mariah Carey when I was a kid. The way my set up works in The Cadillac Three, I’m playing lap steel but I split it and play into a guitar amp and a bass amp at the same time. I’m just looking for something that sounds good mixed together. Right now, I’m using the AD30HTC and AD200 and they sound great working together. It’s a cool sound  that you just can’t emulate anyway else. The Orange sound is just well rounded enough it makes MY sound as part of the band something huge and it really adds a lot of depth to what we’re doing.

Orange Amps are so diverse with many different artists that play them. To be a part of that family is just really a cool thing. I’m getting to do something unique and add my own flair into the musical world through Orange and it’s just super awesome.

Interview: No Trigger’s Jon & Brad

I heard you guys have had quite the day today with flight delays and all that jazz, how does a typical day on the road look like for you?
Jon:
On tour? A lot of driving. We haven’t been back in the UK for about five years, and we expect to be spending a lot of our time here in this van we’re in right now, before rolling up to various venues.
Brad: To be fair, this is a pretty sweet van, and it can actually fit all of us. There’s been a lot of times spent in shitty vans with like double the amount of people the van’s actually meant for. It’s nine of us for this tour and we’re at capacity – ‘3 – 3 – 3 seats, perfect, book it, boom.’

You’ve got quite a cool history with Orange, would you mind sharing it with us?
Jon: I was working for SJC Custom drums who got in touch with Orange, and we ended up building an Orange snare, with Orange sending over the tolex and custom badges to go with it. We premiered the snare at the following NAMM convention in California where we met up with Alex (Alex Auxier, US A&R). In 2011, while still making snares for Orange, No Trigger recorded a new album, so we got in touch with Orange and it ended up working nicely with Alex lacing us up.
Brad: And here we are, still using it, still going.

At the NAMM convention 2012 with Alex Auxier

You had a really long break from recording before the release of ‘Adult Braces’ earlier this summer, what did you guys get up to during your hiatus?
Brad: All just getting up to our own stuff individually, as well as other bands. We all try to play when we can, but when it comes to No Trigger it always feels very much like a special occasion as everybody is so busy.
Jon: We’ve all got our own schedules and lives, buying houses, having kids, getting married – you know, adult stuff, but when the opportunity comes up we all jump on it whenever we can make it work, and we’re really excited about this tour.

What’s your set up for this tour?
Jon: Mike and I are playing Rockerverb 100s, we normally play Rockerverb 50s back home, so we’re pretty stoked about the 100s here, just a little bit more beefier.
Brad: I’ve got the AD200 over here, where back home I’ve got the Bass Terror 1000, and that thing is just a beast. People see it and it’s this tiny little cute thing, and then there I am, unable to play it over 2 without shattering everything else in the room. I remember looking at them deciding between the 500 and 1000 and thought to myself ‘Oh well 1000 must be great!’, and it’s just been the best thing, not to mention it’s saved my spine from having heavy Ampegs or whatever to haul around, I just bring the Terror and I’m good to go.
Jon: We just sound checked the UK backline though and it sounded absolutely incredible. We pretty much got off our overnight flights, and went straight to a rehearsal space to get our chops straight. We’ve got a special guest drummer from The Swellers, and we’re stoked to have him filling in for Michael on this run, although we’ve had very limited rehearsals,
Brad: It happened very last minute, so we only had two practices with him before we left and so far it’s worked out really well, guess we’ll see what happens tonight – We’re all here and we’re ready to roll!

Jon, Brad mentioned why he went with the Terror, why did you decide on the Rockerverb?
Jon: I was over in Australia when I first tried the Rockerverb, my friend had one and let me use it, and I just thought it was one of the best tones I had ever heard. I’ve played the Mesa and I’ve played the Marshall, but never been as stoked about any of them as I have with Orange. And not even just that side of things, but you guys are awesome, you’re just cool and always take care of us, you cant beat that. Having a company like Orange where the sound is as awesome as the people.

Interview: Gnarwolves’ Charlie

First of all, you’ve got a pretty sweet deal here tonight playing with Bad Religion at the Kentish Town Forum, how did that all come about?
Charlie: Well, we’ve told our agent about a few bands that we really like, and after that I think she must have worked some kind of magic! Previously we’ve played with bands such as NOFX and Alkaline Trio, and it must have gone well as we’ve been allowed to open up for Bad Religion!

You must be pretty stoked! You just got back from Italy, how was that?
Charlie: Yeah, today is the day of us kickstarting touring again, we just got back from Italy a few days ago as we were flown over there to play Curtarock Festival – we’re a three piece so it’s quite easy for us to travel light. We brought a backpack full of merch to sell so we could get some money for beer, and that was pretty much it. It was 31 degrees, we had a pool.

Damn, this is the first time ever touring’s sounded luxurious, normally I’m used to hearing about bands spending 18 hours in a van, that sorta stuff.
Charlie: Oh, don’t get me wrong, we’ve had our fair share of 18 hour drives, vans breaking down – this Italy thing isn’t how we normally roll.

Your second album ‘Outsiders’ was released in May, how did you attack that whole process of recording the second time around compared to your debut album?
Charlie: We’ve been very used to overdubbing, so this time we really wanted to focus on getting that live sound and did all the songs as a three piece in the studio. Thom literally only did two guitar tracks, one where we all played together, then another one after in the same live room, followed by vocals. We had plans to go to America and record with Steve Albini, but that would have cost us a lot of money, so we ended up getting our friend to do it and use the same process as Steve would have used, which is to have it as live and raw as possible – it’s more about the vibe than the talent, and I think it flows better than the first one. Punk just sounds better live.

 

Well, let’s get down to business, the reason we’re both here is because of Orange Amps, what’s your history with the brand?
Charlie: On our first ever tour as Gnarwolves, my friend was in a band called ‘As We Sink’ and he had the terror going through an 8×10 or 8×10 cab, and I just knew I needed that tone. The fact that you can just pack the terror away as well and put it over your shoulder is so sick. I ended up getting one, and I’ve had it for three or four years now and it’s just great! I love it, and wouldn’t go anywhere without it. People still ask me what my tone and sound is, and all I’ve got is one pedal and the terror. Tonight, I don’t even have my pedal with me, so I’ll be plugging straight into the terror using the gain and treble. I’d say any bassist who’s just started and wants to learn to play, the terror is perfect as it’s only got five channels and is so easy to use. I was originally a drummer and only started playing bass for Gnarwolves with Thom (guitarist) basically showing me how to do it, so for me, the terror worked out really well as it wasn’t scary and just quite easy and fun to play around with.

Tour diary: Radio Moscow – Day 1

First day on the road with Radio Moscow and I’m currently on the verge of dying from alcohol poisoning and bad decisions.

Kicking it all off, they played a sold out show at London’s Borderline last night supported by the legendary Groundhogs, and I must say, having the Groundhogs supporting you is pretty damn cool – and pretty damn brave as those guys can tear shit up and have been doing so for decades, even before any of the Moscow dudes were born. It was my third time ever seeing Groundhogs, and needless to say, they left big boots to fill. Luckily, Radio Moscow are pretty damn great too and had every mind in there blown within the first song. It was my first time ever seeing them, and I’m stoked I get to see them again tonight. And tomorrow. And Thursday. Then twice again in October. That’s right, no getting rid of me now for these dudes.

Following last night’s gig I spilled an entire bottle of ranch over myself backstage before venturing next door to the dingiest dive bar of them all, Crobar. A place you go to lose your dignity, memory and personal belongings, and it might not come as a surprise that it’s all a bit of a blur after that. Cans of red stripe, hotel hallway vending machine bags of crisps, listening to Dirty Tricks and falling asleep on the floor. So far I think I’ve made a great impression on everyone, and it’s going really great.

Most of today has been spent in the van feeling horrendously hungover, with the highlight of the day being a pit stop at some pub in Kent which hosts Freddie Mercury, Michael Bublé, Elvis, and of course – white Tina Turner tribute nights. Next level entertainment right there, so I shall be returning once I’m sick and tired of this San Diego psych rock and in the mood for an upgrade.

As for now, we’ve just arrived in Hastings to find the venue being on the second floor, and had to load in a bunch of amps up through three flights of stairs, and as you all know, Orange amps are good as gold, but god damn heavy as led. Still, spirits are high, and as I type the guys are setting up and getting ready to soundcheck. Tomorrow we’re at The Exchange in Bristol, followed by The Castle and Falcon in Birmingham on Thursday, and I’m hoping for lifts and no condiment spillage.

Interview – Matt Pike (Sleep) and Ade Emsley

Ade – I’m Ade Emsley of Orange amps and this is Desertfest, I’m here with Matt Pike, from Sleep!

Matt – I’m Matt Pike from Sleep at Desertfest, playing his amps. So I take it you are a bass player?

Ade – I play both.

Matt – I do now too, I just got this Gibson fretless Ripper, its fuckin’ badass! I actually use a Dual Dark Orange and an Ampeg.

Ade – Nice! Do the top end on the Dual Dark!

Matt – I use some of those Earthquaker effects, they have some gnarly stuff.

Ade – I tend to like to bi-amp with the bass, I like to put a guitar amp on the top end.

Matt – That’s the way to do it, well everybody I play with does that, everybody at least has a half stack.

Ade – Helps if you have new strings, you get the harmonics off.

Matt – Ye, and it dirtys it up without a distortion box.

Ade – Sounds like punching a box of springs.

Matt – I like having multiples because the difference between, there is kind of a chunk thing, chunk riffs! There is smooth where you have to hold it real long and you don’t want it to feed back unnecessarily, you want it to feed back smoothly into stuff. So it takes some dialling in.

Ade – You like the Dual Darks?

Matt – I like the Dual Darks a lot yeh, I like the two hundred Watt Thunderverbs and I like those little OR50’s or 80’s?

Ade – It’s the OR50.

Matt – Dude! Those things fucking shred if you have a bunch of them and you mic the shit out of them and use them for the PA tone. Then like a Pignose out the back as well.

Ade – Ye, a lot of artists like those because it was meant to be, the original were like our 40th anniversary and we had a plexi glass front on them.

Matt – I would like to get my hands on one of those.

Ade – We ran them for a year and then people started contacting us saying “can you do the OR50 again?” We were getting emails about it every day, so we brought them back.

Matt – I like it because tone wise they are really, really good, they saturate because there aren’t so many tubes to spread out to. It’s just those two to saturation.

Ade – They have a sound, three stage they are, they are three stages of gain. Whereas the Rockerverb is four, Thunderverb is a three.

Matt – The Thunderverbs, the two hundred ones are really good for massive amounts of sound being projected.

Ade – Ye they push! They push the bottom out of the cabinets in a certain way. But they play really firm. Ye I just try and make a good honest amp, with proper transformers. The other thing is there are so many people that say their amp is a hundred percent fully tube and it’s not. Like the effects loop is solid state, some of the distortion is solid state and they are saying its a hundred percent and they are just lying to people. I don’t like that, I keep the solid state stuff, solid state and the tube stuff, tube.

Matt – All tube yeh! Well in my Laney I have Patridge transformers, that shits, fucking, why don’t they make stuff like that any more thats the weird thing, I can tell the difference.

Ade – I think Transtronic have got the drawings for those.

Matt – It’s like that and Mercury does them, I have SLO Soldano’s, Mercurys are pretty good but there is nothing quite like the Partridges.

Ade – Ye we used the Mercurys for a bit in the U.S.A. amps and I liked them, I thought they were really good.

Matt – They are, definitely.

Ade – It actually prompted me because they actually sounded better than what we were using at the time. It prompted me to, I obviously looked at getting coils sent over from Mercury to Europe and then laminating them here. But they wouldn’t do it so I went to the drawing board and redesigned all the transformers, until I was happy with them. So all the fifty Watt transformers and upwards are all eight sections, you know like proper.

Matt – They are good, I mean they perform, they put out.

Ade – No they were great the Partridges, you can get similar made now though.  I mean ours are not a million miles away, I mean they are different design because I went from scratch. I didn’t want to tear anything down and rip it off, its not the way I roll. I went I’m going to make something that sounds similar to this or maybe try and better it. Do my own recipe, make a few different ones up and feel them and play them.

Matt –  Well then it is all a matter of parts, you know little parts, like capacitors and diodes. That’s why I don’t build amps, that’s where I get confused. Dudes like you! Well thank you for making them!

Ade – We still build some hand wired stuff, you know like the Custom Shop stuff, I always have a lot of fun doing those! They are different, they do sound different.

Matt – What is your preference on speakers? Do you mess with stuff?

Ade – Ye! I do, I really like Alnicos, I did a bit of work on the gold 10’s, I like 10’s, I use them a lot. 2X10 Alnico cabs.

Matt – Really? Its weird but the low end thing, the smaller you get and the more of them, produces low end.

Ade –  Well I like open back because its not so directional and you can still get a lot of bottom out of them.

Matt – I like open backs, my friend who records my other band High on Fire, Kurt Ballou, he is in that band Converge. Emperor made him a bunch of open backs and I think there just Celestion greenback copys.

Ade – I don’t like  speakers that are less than a hundred dB, I don’t see the point. If you are going to lug a 4X12 you want it to be loud. If it’s 96 dB speakers then it is half as loud as hundred dB speakers. Its the way the human ear hears Decibels, its half as loud. I’ve tried the Fane Alnicos, they are good.

Matt – Alnicos I’ve got to write that down.

Ade – They do a 60 Watt cream coloured Alnico 12″ which is really nice. Its kind of like the Celestion but a little bit softer. But not too soft, do you know what I mean, its a nice balance. The bottom is really good on them.

Matt – If they are a little bit puffy to begin with, thats where your effects come in and how you are driving the amp. I use a lot of mids, its smoother than if I turn all the mids off and its the bottom and top its what everybody like in Metal. I like the Randy Rhodes mid thing, Iron Maiden even used a lot mids.

Ade – Oh you have got to use a lot of mids on guitar.

Matt – If you want your lead to pop out add mid.

Ade – Ye, you don’t want to take it out if you want lead! Its going to sound like a wasp in a jar if you do that!

Matt – I think a lot of people try to add a little bit of treble to it or volume and treble.  It doesn’t make it smooth, more mid smooth.

Ade – Its like the Tiny Terror, doesn’t have any tone controls.

Matt – Oh I love that thing! I have two of those!

Ade – It’s actually a filter on the power amp, so the preamp hasn’t got any tone stack in there at all. That’s why its got the perceived gain of like a three stage, when you crank the gain up. Its actually a two stage because it hasn’t got the tone stack loading it down, you get more through.

Matt – You know on my rig out there, usually I have one of those with me in the States. Usually I have two of them, I didn’t get a chance to bring anything like that over here, you know weight wise and luggage and shit. We usually have one of those Tiny Terrors and a little two speaker deal and then we put in a Marshall head case or one of the big cases and then we just put a 57 in there. I started with a Pignose doing that and then I got endorsed by Orange and I started using that thing and it really rips. That’s what the guy at the board can really do shit with my guitar with that thing, he has a bunch of FX pedals up here, that distort that thing or give it delay or swirl it around the room. That means I don’t have to touch shit, I just have to play!

Ade – That’s cool! That is what you really want to do. Those saturate in the output stage nice because of the way the transformer is, its like a baby fifty Watt five stage but miniaturised.

Matt – That is great!

Ade – That saturates like an old late 60’s fifty Watter would but in fifteen Watt.

Matt – I don’t need it much either because it is in a box, next to a mic, going through the speakers out there. I got that from, it’s an old Frank Zappa trick, he would take a little Pignose and fool everyone, he would just be shredding it!

Ade – I’m a big Zappa fan.

Matt – I love Zappa.

Ade – I just try to make good honest amps, don’t lie to anyone, don’t tell them its hundred percent tubes if its not. We make solid state amps but its a different animal and I try to keep them a hundred percent solid state where possible.

Matt – I’m not a big solid state dude, that’s not what I do. It’s cool for like practice room.

Ade – We make them for people who can’t afford the tube amps. We try to get them to sound as good as possible without being tube and so that the control panel, if they find themselves on a Rockerverb they’ll know where they are. The controls come in at roughly the same place, so they won’t be lost if they find themselves on a Rockerverb, a Dual Dark or Thunderverb. The gain structure works in the same kind of way.

Matt – Well I’ve been using these for so long, I kind of know all of them! I know what they all do. Thank you for making a solid amp!

Ade – Cheers man! No problem.

Matt – Proud to play them!

Interview – Jack Garratt

First time I saw an Orange amp would have been when I was, kind of teaching myself to play guitar, I just remember seeing these great big, bright, beautiful things at the back of these stages. To notice the difference in sound, was kind of what first woke me up to Orange amps or at least made me first realise them.

I remember the first time I really genuinely played one and found that it was compatible with the kind of tone I was trying to achieve and the sounds I was trying to make with my fingers. It was a couple of years ago, using the Rockerverb MKII, which then ended up being the amp I toured with for about a year and a half or so. The thing I really like about Orange and the thing I really like about the Rockerverb is, it is quite restrictive, the rest of it is up to you. That is something I resonated with, there wasn’t too much fussing about.

So I recently in the last six months, switched from the Rockerverb MKII up to the Rockerverb MKIII. The thing that really stepped up the amp into a whole new territory was the attenuator on it, being able to know that there is one knob on the end of the chain that will affect the volume of the amp but won’t affect the tone.

Whether its festivals, whether its venues big or small, I get to turn up with this amp and know the tone is going to be the same every single time and not worry I’m going to leave people with hearing impairment.

The Two-Stroke in particular has been a really fun thing to play around with, as like a post EQ thing. The one thing I have always loved about Stevie Ray Vaughan tone is it sounds like he is tearing paper. For some reason he was able to make this sound, that sounds like it just tears through the air and comes to you, but you hear every note and rips apart the world to get to you. I find that Strats do that and I find that Orange, the amps do that as well and the two of them together, its the closest I’ve found to being able to achieve that tone for myself, in my kind of way. The thing I’m really interested in the Two Stroke is the clarity it brings.

The minute I switched over to Orange there was noticeable difference, the kind of reaction I was getting from the crowd, the comments I was receiving afterwards about the guitar tone. Just two songs in a 1/2 hour, 40 minute set and the one thing people always remembered was the guitar.

To be on a list of people of such iconic names, who also agree with that state of mind or like to play these amps is a crazy thing and I’m happy to be a part of the family. Because even though my tone and inspiration has come from Texas, I’m not. Its important that I can travel the world with an amp that respects the tone I’m trying to play and allows to make it unique if i’m ready to make it unique. It doesn’t do the work for me but gives me the tools necessary to do the best job that I can.

 

Interview – Rick Nielsen from Cheap Trick

Tuk Smith – Rick thanks for meeting.

Rick Nielsen – Happy to be here.

Tuk – We are going to talk about some good shit. In the early days, you guys did 300 shows a year plus, you’ve never quit touring. You tour now more than any other band, what is your secret?

Rick – You got to like what you are doing and people have got to hire you, if we weren’t hired then I don’t know if we would be out quite as much. But about eight years ago we said maybe we shouldn’t tour so much, so we should raise our price and that didn’t stop anything, so we should have raised our prices ten years ago!

Tuk – I’ve heard you have a really special Orange amp? It’s an early one?

Rick – That one right there, right in the middle, I think it is the first one ever made. Basically I bought it from Orange music, in London, I bought it from Cliff Cooper who started Orange.

Tuk – What year was this?

Rick –  It was somewhere between 1968 and 1970, because I bought my Mellotron, my first Mellotron from Cliff Cooper, it was used one over in London and I had it shipped over by boat. It was on the first album of Fuse in 1969, we recorded in 1968 so that would have been in.

Tuk – So you’re a self proclaimed hoarder?

Rick – Ye! So this is number one and the guys at Orange told me they made four of them and they haven’t even seen one, so that’s the very first one, very rare. So I’ve had it for forty or something years. Except for the emblem being bust, its perfect.

Tuk – Do you ever track in the studio with Orange?

Rick – I track in the studio with it yes, its got a punch, its got great punch to it. Then Orange was kind enough to build me another one and they made a chequer board for me. Its a little different configuration, looks a bit different. But then about a month ago I was in Seattle, went guitar and amp shopping with Mike McCready from Pearl Jam and I walk in this store, they were all looking at this and that. Then I go BOOM! I point over and that was down on the floor, that is a direct copy of this same one I already have, so I have got two of the four.

Tuk – Have you ever thrown a pick into an orifice, a mouth or an eye ball and was there a lawsuit?

Rick – A lot of cleavage, that is where it is usually drawn.

Tuk – Tell me about the cameo in the Fat Boys movie, because that was fucking wild.

Rick – See they wanted a really crappy actor and they got it. I can’t act, I can react, I’m a pretty good reactor! But as far as acting…

Tuk – I think your rat tail sold it though, you had a nice one.

Rick – They cut out my best line in that movie because I said “I was only going thirty five” but the other line was “I was only going thirty five” and then I gave him the finger!

Tuk – Well if you need somebody cute, to play rhythm guitar Rick, so you don’t have to do all the duties, I’m right here buddy.

Rick – Well why don’t you play with us tonight?

Tuk -Well I didn’t know you were serious Rick but that is awesome!

Interview: Brian ‘Head’ Welch from Korn

“There has always been always been an Orange amp in every studio that we have recorded in for the last 23 years”

“Hey, whats up, this Brian ‘Head’ Welch from Korn and I’m with Orange.

The first time I saw Orange was in a recording studio, sometime in the 90’s, that’s when we started mixing the Orange tone into other amps for albums on certain songs. There has always been an Orange amp in every studio that we have recorded in for the last 23 years, every producer respects them. I know a lot of guys out there using them, like Jim Root from Slipknot, I love it as he is like plug in and that is Slipknots tone, pretty cool.

I’m using the Rockerverb on the road, as for now I’m using it for my clean channel because it just has what I call “buttery” clean sound, like drops of water. I use effects with it, this song “falling away from me” is really melodic and needs to sound like, watery and the Orange amp got me that tone amazingly. I’m also messing around with my dirty tone, I haven’t got that far yet but I think a lot of cool things are to come with the Rockerverb.

Just to be added to the roster of incredible musicians, the legends really of music. Being on the Orange amps roster is an honour, what history, its amazing to have history like that in a company and I’m honoured to be on board.”