I opened the Orange shop in September 1968 and designed a crest with each part symbolising the values and ethos of what I wanted the company to represent. Above the crest I put the new company’s name “Orange” in stylised writing. I’ve always dreamt big so under the crest I placed the words “Voice Of The World”. I’m so proud that after nearly 53 years, what was once a wild ambition has now been realised and represents what Orange has become.
Orange continues to surpass my most ambitious dreams. Reaching out around the world to over 120 countries, it’s true that ‘The sun never sets on Orange’ and it always fills me with great comfort to know that at any one time there will always be someone, somewhere enjoying the warmth provided by the classic sound of an Orange amplifier. This new emblem will accompany the crest and logo in identifying the high quality products and caring support we strive to provide worldwide. The Orange O acts like the sun, shining its light and warmth over the globe and I hope it will continue to do so, “always”.
https://orangeamps.com/wp-content/uploads/2021/06/The-sun-never-sets-on-Orange-Photo-4-square-scaled.jpg25602560Harry Planthttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px.pngHarry Plant2021-06-22 14:03:272021-07-16 14:46:24The sun never sets on Orange
Ever since he founded Orange back in 1968, Cliff Cooper has always believed that no other company could have cared more than us about innovation in guitar valve amplifier design and sound technology. However, it’s not just about design, it’s about how the sound is perceived – something that Cliff has always thought of as ‘the sound of the sound‘… it’s about the physical pleasure that the sound of an amp gives a guitarist as he plays. That is what really matters.
I’ll share some of my favourite ‘Orange Sound‘ devices that I use in my studio, live shows, demos, etc.
For example, let’s talk about the Kongpressor pedal, an analogue Class A compression pedal with an organic three dimensional quality.
Kongpressor’s effect is transparent at lower compression levels, but somehow fattening, adding mojo and a glossy sheen to your core tone that you’ll truly miss when it’s bypassed. Even at extreme settings, the tone always remains musical with great feel under the fingers. Outstanding for crystal clean country pickin’, but maintaining the bottom end that seems to get lost in many compression pedals, behaving impeccably with overdrive pedals or the lead channel of your amplifier, adding fullness and sustain.
Oooooooor, what about the PPC212, a closed-back 2×12″ featuring two Celestion Vintage 30 speakers, the PPC212 is in essence our classic 4×12 slashed in half, ideal for players looking for the the fattest possible tone when a 4×12″ would be too large.
Finished in our legendary 1968 livery, basket weave vinyl, woven speaker grille cloth, signature ‘picture frame’ edging and 18mm Birch ply construction… what a cab !! As Devon Allman described it “This ain’t your Daddy’s blues. It’s the next generation. It gets airborne. It’s fueled by Orange.”
I’ll keep picking favourites and bringing them to you, to maybe give you a new idea for your rig, an obscure gadget you should discover or the next classic to be Orange product.
“… we can always learn new skills and improve, we will also continue with our search for perfection.” – Cliff Cooper
https://orangeamps.com/wp-content/uploads/2015/12/Kongpressor-7-1.png30003000Danny Gomezhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px.pngDanny Gomez2021-06-15 11:08:302021-06-23 09:57:21The Sound of the Sound
Orange Amplification is delighted to welcome new Ambassador Frank Sidoris, rhythm guitarist with Slash featuring Myles Kennedy and the Conspirators.
Sidoris, who has been with Slash since 2012, has also played with Alice Cooper, the late great Lemmy Kilmister and Rush’s Alex Lifeson. More recently he has joined Wolf Van Halen’s, Eddie Van Halen’s son, new band Mammoth WVH.
He uses the Custom Shop 50 amp, known for its exquisite blues / rock tones providing an inspiring canvas for his rhythm work combining it with the cabinet main stay for touring artists, the classic PPC412.
Talking about being an Orange Ambassador Sidoris said: “It’s an honor to be associated with Orange, a company that has remained at the pinnacle of iconic tone and style for decades and continues to catch eyes and ears on stage and in the studio.”
Last year we celebrated our 50 year anniversary, that’s half a century of Orange Amps! What’s even more impressive, is the fact that the company is still family run, with the CEO and top-cat being none other than founder Cliff Cooper himself, running the show decades down the line. Working closely with him, is son and Marketing Director Charlie Cooper – gotta love a family business, eyh?
When founded in 1968 as ‘Orange Music’, Orange was originally a retail store selling secondhand music equipment, doubling as a recording studio in the basement. However, it didn’t take long before Orange took on the task of making their own amps. Cliff had studied electronics at college and was ready for another challenge, and amplification named after his favourite colour seemed like the logical next step. Once Orange Amps became a reality, Cliff started searching for a company to help manufacture the amps, and eventually went with Mat Mathias of Radio Craft. At this point, Mat was working on his own 30w Matamp Series 2000 at the back of his tobacconist shop in Huddersfield.
When developing the Orange sound, Cliff worked closely with guitarists to find out what they wanted, and with artists such as Eric Clapton, Marc Bolan and Paul Kossoff all being frequent faces at the Orange shop he had pretty must the best customer feedback any man could hope for in those days. The original Orange amps had a very clean sound, so clean that despite blasting them at full blow they didn’t have the same effect as some distorted lower watt amps. The reason for this, is because the harmonics created by distortion works the ear’s conducting bones harder than a cleaner, less distorted sound, which is then perceived by our audio nerves as an increased sound level, and it wasn’t until the circuits were modified and a whole lotta gain was added that the Orange tone we all love and adore was born.
In October 1968, Fleetwood Mac’s former tour manager Dinky Dawson and guitarist Peter Green stopped by the Orange store and placed an order for the first ever Orange PA, which a mere four weeks later was a reality when the band got six 100w amps and sixteen cabs which they took for a spin around the UK, before flying them over to the states for a three month tour.
Creating these amps, Cliff and Mat Mathias worked together with Cliff supervising the 2000 Series being upgraded from 30w to 100w on Fleetwood Mac’s request, while the picture-frame amp sleeves and speaker enclosures were built on site in the Orange shop. Being on such a tight schedule, the brand new and iconic psychedelic Orange logo was sent up to Huddersfield to get engraved using a company Mat had used in the past – out of courtesy, Cliff also agreed to add the Matamp logo beneath it, which is when the whole ‘Orange Matamp’ confusion started. To set things straight, ‘Orange Matamp’ was never actually a company, however, it was a product, a very successful one, I might add, with some artists even using theirs this day to day (Wishbone Ash’s Andy Powell being one of them.) It didn’t take long before Orange was the talk of the town, and the company pretty much jet launching into oblivion with even the likes of BB King giving Orange a thumbs up!
Business was booming, and Cliff was keen to move production to larger premises to get on top of back-orders, as well as having this idea of ‘Cooper Mathias’ becoming a sub-contractor for other amplification manufacturers. Unfortunately, Mat Mathias had a different vision, and the two went their separate ways, while remaining friends until the passing of Mathias in 1989. As for Orange, the rest is, as they say, history. Filling you in on 50 years worth of history is quite the challenge, but if you wan’t to dig a little deeper we’ve got a whole series of ‘Building the Brand‘ on our blog – who said history couldn’t be fun?
https://orangeamps.com/wp-content/uploads/2018/03/Paul-Kossoff-Free.jpg23722711Ella Stormarkhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px.pngElla Stormark2019-11-04 06:00:142020-12-08 12:43:02Orange: A walk down Memory Lane
I’ve always considered eye-catching cars to be a very good and engaging way to promote and advertise your brand. The Orange Beach Buggy soon became a well known sight around London.
Beach buggies were very much the ‘in thing” in London around 1970. The idea originated in America, where they’re known as ‘Dune Buggies’. They were invented in the 1960s by a Californian boat builder named Bruce Meyers, who had pioneered the use of fibreglass for vessels. Meyers then had the idea of using the material to build a lightweight off-road car based on a Volkswagen chasis, and the Dune Buggy was born. I read about this at the time, and I was intrigued. It was a nice coincidence that the colour of the first dune buggy Bruce designed and began marketing in the mid-1960s – the ‘Meyers Manx’ – was a deep orange colour.
I found a company in East London that produced buggies in kit form and powered by a Volkswagen Beetle engine. I bought four and sold three. All three buyers kept the Orange logo on the bonnet. The one I had was loaned out to people such as rock stars and the English eccentric, Screaming Lord Sutch.
Screaming Lord Sutch
Peter Green and Danny Kirwan
I was a good friend of Screaming Lord Sutch and was more than happy to let him drive my buggy about town when he was campaigning to become a Member of Parliament. I also loaned the buggy to music papers such as NME and Record Mirror, who used them on their sales promotions. The Orange beach buggy did a lot to boost our brand awareness.
Looking back through the pages of The Book of Orange and Building the Brand, and recalling the many hours of interviews with Cliff Cooper that have provided that book’s structure as well as the detail, there is one main theme running through the company’s journey which is now in its sixth decade. Namely, that Orange have prospered when their products – and the inspiration that created them – took risks and broke new ground, but success was more limited when, on occasion, the company seemingly followed trends.
One fact about Orange’s fifty years in business that is not generally known is that they have produced amplifiers throughout all of that time. After the company closed in 1979, Orange amps continued to be made hand-built in very small numbers – throughout the 1980s. Cliff refers to this as the company’s “simmering” period.
It says a lot about the strength and staying power of the Orange brand worldwide, that in the mid-1990s the Gibson Corporation took up the opportunity to manufacture Orange’s classic mid-1970s product range under license. And yet, the Gibson/Orange “retro” years were only moderately successful. Why? Because Orange has never been a retro brand: its image and styling still clearly resonate with the psychedelic 1960s, but beginning with the “Pics Only” amplifier in 1971 the company’s perspective has always been about looking to technology of the future.
The launch in 1975 of the world’s first digitally programmable amplifier – the OMEC Digital – is another case in point. But, conversely, the introduction of the Series Two range of amplifiers in 1979 saw Orange uncharacteristically following amp styling trends of the late 1970s, and the range was not a great success.
Orange’s pioneering achievements in the first decade of this millennium started to happen very soon after Cliff returned to run the company in 1998. At the time he asked himself and his colleagues two vital questions – “what’s new, and what’s next?” The answer came in the shape of the AD Series, and with these award-winning amplifiers and combos Orange was firmly back to the future.
Since then, the company’s massive investment in transformer R&D, the styling and features of the Tiny Terror range and, most recently, the design of the Isobaric bass loudspeaker cabinets, are three very different products that resulted from one and the same approach: namely, that the brand Orange will always be about the future – and about the future viewed in a global context of manufacturing. The Voice of the World.
To underline this way of thinking, the final product featured in Building the Brand is the OPC – the world’s first computer/guitar amplifier designed specifically for the musician. Reading all about the OPC’s development from its initial concept to the production stage …here you have an idea and a product that is Orange to the core.
https://orangeamps.com/wp-content/uploads/2018/01/50th-Home-JAN-1.jpg10801980Neil Mitchellhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px.pngNeil Mitchell2018-07-04 12:56:312018-06-26 12:57:52Reflecting on 50 Years
Orange wins The Queen’s Award For Enterprise and International Trade 2006 and 2009 and once again in 2012
www.queensawards.org.uk, Nov 09
“The Queen’s Awards for Enterprise are the UK’s most prestigious awards for business performance. They recognise and reward outstanding achievement by UK companies. The Awards are made each year by the Queen, on the advice of the Prime Minister, who is assisted by an Advisory Committee that includes representatives from government, industry and commerce, and the trade unions.”
Queen’s Award Logo
Cliff Cooper – Founder & CEO on the 2006 Award
I felt very proud and honoured to have such an award conferred upon us. It is the highest accolade the country can award a business. On the day itself, the grandeur of Buckingham Palace made me reminisce forty years earlier when I was living in the office at the back of the Orange Shop where it all started.
Damon Waller – Former MD on the 2009 Award
Receiving the Queen’s Award for Enterprise in International Trade for the second time is a great achievement. We are the only company in the music industry in recent years to have won this award more than once. Sustained growth in international sales will remain a crucial part of our marketing strategy.
Cliff Cooper on the 2012 Award
In 2012 we received the Queen’s Award For Enterprise and International Trade for the third time in six years which is an unprecedented achievement. This is the UK’s most important business award and I am so proud of everyone at Orange for this amazing honour but equally important, I would like to thank all of our dealers, distributors and the millions of users around the world for making it possible.
2006, Cliff Cooper is presented to HM The Queen
2009 – Cliff Cooper, CEO, with Damon Waller, MD, are presented to HM The Queen and HRH Prince Philip
From left: Sam, Mark, Adrian, Cliff, Sir Simon Bowes-Lyon, Damon, Jane, Chloe and Lisa receive the award
The OPC was a computer designed and built for a specific purpose: just as you have PC’s for gamers – the OPC was a computer made for musicians by musicians.
Charlie Cooper – Marketing Director
I’ve always been interested in building computers and media centres. A few years ago my dad, (Charlie is Cliff’s youngest son) brought back some old 1970s Orange cabinets and we didn’t really know what to do with them. Then I came up with this idea of building an entire computer to be housed in an Orange cab, and putting a TV on top. When it was built everybody thought that it was a really nice looking media centre.
In 2007, I read that VIA Technologies had announced a new form factor called ‘Pico-ITX’ which enabled system builders to make much smaller computers. However, Pico-ITX was limiting in performance and expandability, so after lots of research, I decided on an ‘ITX form-factor motherboard’ which featured one of the first Intel Atom processors because, for me, they were the fastest processors you could easily get in a small motherboard at the time.
I made a proof-of-concept OPC whilst I was at university using a hammer, glue and a broken Orange Crush 10 amplifier. This OPC was simply a basic Intel Atom-based computer fitted inside a small Orange Crush cabinet. I then used it at my student house as a portable media centre hooked up to my TV . After that I showed people at Orange headquarters what I had done and what I now wanted to do.
The reaction of some staff at the time was hesitant because they felt that, as a product, the OPC was too different from what Orange do. And yet, others embraced the idea enthusiastically. But in general people wanted to see how this concept could be developed and so the OPC went though various revisions and improvements until we finally had an almost release-worthy prototype. We were excited about what we had created but we weren’t sure if we were getting excited about a product that the public just wouldn’t ‘get’- after all, why had no other company done this before?
We took the OPC along to the Musikmesse 2010 exhibition in Frankfurt where, in confidence, we showed it to people from the audio industry saying “we’ve made something different, what do you think?” The response was amazingly positive after showing various demos. Premier Guitar magazine managed to twist my arm into recording the OPC for YouTube and for their magazine. Previously, other magazines also wanted to film the OPC but we had said ‘no’ because we weren’t yet confident enough about the product to show it to the public. But by the end of the show we were amazed that people understood the product for what it was and loved it.
A few weeks later, the OPC video went out on the internet and became one of the most talked about gadgets from the Frankfurt show. So much so, that various companies including Intel got in touch wanting to help me put faster and better hardware inside the OPC.
From time to time, you might well hear about the various ‘music computers’ out there. But the interesting thing is that they don’t seem that much different from your average computer, well… compared to what we’ve done. The exciting thing about the OPC is that it actually looks like it’s geared for music – which it is – and you really do have more fun making music with it, because there’s no worry or hassle over desktop space, interface configuration, speakers, software, plug-ins and so on… for the first time ever this was all sorted out and available in the same box.
Doug Doppler demos the OPC at NAMM 2011
Cliff Cooper – Founder & CEO
Intel approached us to use our OPC to demonstrate their latest generation of processors – code-named ‘Sandy Bridge’ – at their booth at the CES 2011 show in Las Vegas. We decided it would be a great opportunity to demonstrate the low latencies and high performance of the OPC by inviting Orange endorsee, Tiago Della Vega, to break his own world record in the Guinness Book of Records as the fastest guitarist in the world. He did this at the Intel booth by playing ‘Flight of the Bumble Bee’ by Rimsky-Korsakov at 340 BPM [Beats Per Minute] using the OPC. It was amazing to watch and so successful.
Tiago Della Vega sets a new world record at CES 2011
Designer, Charlie Cooper, demonstrates the Orange OPC to Will.i.am of Black Eyed Peas at the Intel Booth: CES 2011, Las Vegas, USA
ORANGE UK In 2009 Orange moved their headquarters to a much larger facility and office complex in the UK located in Borehamwood in Hertfordshire.
It is the home of the Orange Custom Shop where we pioneered and developed the Tiny Terror amplifiers and Isobaric bass cabinet design. There is a separate department dedicated to transformer design and the study of wave forms and sound propagation. The OPC musicians personal computer was also developed here and researched through to production.
ORANGE CHINA The shift of some production to mainland China in 2006 proved to be the right move for Orange; a fact that was highlighted by the incredible success of the Crush and Tiny Terror ranges. It showed that with strict quality control and good product management, solid state and valve amplifiers can be manufactured in China with stunning build results.
In the latter part of 2010 Orange made a major investment and purchased a superb new office complex and manufacturing facility in Jiashan, County Zhejiang Province near Shanghai. Apart from our regular management team visits, many of our international staff are multi-lingual and keep in touch through instant messaging and video conference calls.
ORANGE USA has grown into a major company over the last ten years and plays a crucial role in Orange’s global business operations. Some fine quality Orange products are now also manufactured in the US and we have a team of bright young people dedicated to taking the company forward.
From left: Mr Lim, Cliff Cooper, Damon Waller and Luke Zollinger celebrate the opening of the China office complex and manufacturing facility, October 2010
One day in 1978 – without giving any notice – building contractors appeared on the scene, closed off New Compton Street and prepared for demolition work of all the shops… including ours. Customers and suppliers could not enter the street and the shops couldn’t trade.
A good friend of mine, Nigel Benjamin (ex – Mott the Hoople’s front man), suggested I contact his father, Ben, who was a barrister. After explaining our situation, Ben told us that the builders were totally out of order. His advice was simple: I needed to ‘move a judge’ and persuade him to issue an injunction against the developers. An injunction would immediately stop all construction work and would be extremely costly to them.
As we had not been given proper and formal notice Ben was able to persuade a judge to issue an injunction. He believed the developers would be unlikely to sue, and each day that passed would have cost them a small fortune by holding up the development.
On the same day the judge issued the injunction, I received a frantic phone-call from the property developers who asked me if I would attend a meeting at their offices in London’s Pall Mall.
I arrived at their prestigious offices and was directed to the boardroom. Inside, four well-dressed gentlemen asked me how much money I would accept to remove the injunction and allow building work to continue. I held my breath for a moment and said £100,000. They immediately called in their secretary and dictated a short letter requesting a cheque for that sum to be drawn in my favour. I was delighted with the outcome – although I couldn’t help thinking that I could have asked for more. Nevertheless, I was very happy with the outcome. The pay-out bankrolled our move to new offices at Mason’s Yard in St James’s London. It did mean that we had to close the Orange Shops for good, to make way for the bulldozers. Their closure marked the end of an era. I think that almost everyone who worked for Orange back then has at some time made contact with me and said how much they miss those days.
Those days were so exciting, every day bringing new problems and new opportunities, and it never ceases to amaze me how after closing the shop, some forty or so years later, I am once again doing what I loved doing then, back working with Orange, but as a truly global company.