Yo, its Tyler from Tyler Bryant and the Shakedown and I play Orange Amps.

So I heard the music of Elvis Presley when i was in first grade and that was that pivotal moment where I became obsessed with music. When I was eleven I went into a guitar shop and I heard this guy called Roosevelt Twitty playing and he asked me if I liked the blues and I said “what’s the blues?”. He said; “it’s what I’m playing” and I said; “well then I love the blues!” I ran into him again and again, long story short, I put a dirtbike that I had on layaway and got an electric guitar and it’s been downhill ever since!

Blues lead me to guys like Johnny Winter and Jimi Hendrix, which lead me to the Black Crowes and Tom Petty and the Heartbreakers. So the blues led me to Rock n Roll which inspired me to get out of high school when I was seventeen and move to Nashville. There I started focusing on songwriting and forming a band, and I ended up with a band called the Shakedown. That’s kind of how it all played out.

I was actually riding around Nashville, with Graham Whitford who is also in the Shakedown and he said i’m going to stop into the Orange amps office and try some amps. So I said I will go with you and plugged into a Rockerverb. I wanted something I could get a lot of sustain out of and I tried the Rockerverb and got one, I loved it so much. I just use one channel on the Rockerverb, the clean channel and I drive it hard and I use the attenuator to set the volume and its as simple as that. I just love how much sustain I can get out of that amp. I just happened to rolling around with Graham in Nashville and played one and here we are.

So I always want an amp that has a good clean channel but also sounds big, if I don’t have a pedal on. But I don’t want an amp that is so distorted that I can’t have some control at my pedal board. So it’s this fine balance of an amp that’s big and full and that’s almost on the edge of being crunchy but still clean and precise. I like to hear, it’s hard to explain, I want the amp to sound glassy, like I want to hear the tubes and feel that play between the guitar and the amp.



Hey this is Graham Whitford with Tyler Bryant and the Shakedown.

I just kind of naturally started picking up the guitar, I don’t know what exactly it was but I just started looking at them and I kind of went that thing looks kind of cool, maybe I should play that. I started picking it up and just naturally started practicing all the time. Any time there is a guitar in the room or a drum set for that matter, I still have the horrible “Oh god, I need to play that right now!” It’s like I’m an addict or something!

Well Orange I actually started playing pretty recently, within the last year. I plugged into the Dual Dark 50 and I was blown away by how good it sounded. It had this really beautiful mid range, punchy, fat sound to it.

I just love the sound of tube saturation and a little bit of gain but not too much gain, just enough. I’ve always been fascinated by that bell tone that you get, Orange does that great. They are workhorses, they are really sturdy, we haven’t had any problems with them breaking down, that happens on the road when you are moving around so much.

I would say tone, first and foremost but also reliability, cuz they are really reliable, they are built like tanks. They sound really good, i’ve always heard about Orange over the years but never got a chance to really check one out and especially check one out in a live setting. They just sound really good and they look cool!

I’m Noah Denney bass player and singer of all the high parts in Tyler Bryant and the Shakedown.

It was about a year ago we did Ramblin’ Man Fair, for that particular festival they had Orange amps available, I had a pair of Orange AD200 and a pair of 8×10’s. I had actually never played them before and I said I would love to try those out. I loved them! It was awesome, I plugged them in and turned them on, I didn’t have to fiddle with any of the EQ it just sounded good right off the bat. It was kind of like  “Man this is like how easy I wish every bass amp would be”, I just plugged it in and sounded great, I didn’t have to do anything.

I’d say probably a tie between reliability and tone are what’s most important to me. In order to stay up there with the two guitar players in the band,  I’ve got to ride the amps pretty hard. I need something that can take a beating, I’ve pretty much destroyed lots and lots of amplifiers over the past six or seven years. I have never had a single problem with the Orange, another reason I love it they are built like tanks. They can take everything I throw at it and like I said that tone, it’s there I didn’t even have to look for it, I turned it on and it sounded great.

Its really cool to have the support of Orange amps, with everybody that’s made their name playing with those right behind them. I never really expected it to be something that happened to me, its an honour to have such a renowned brand be into what we are doing and supporting us. We are very grateful of that.


Hey it’s Becky from Milk Teeth, I play bass and sing.

I used to go to Hevy Fest a lot, that was one of my first “ins”. I always loved the gear, I like the classic way that it looks, you know an Orange from a mile off, you could be stood at the back of crowd and you will know the cab.

I want something that has the basics, you have good tone, tone is really essential. Does like a decent job but at the same time I like to have some versatility so you can change your sound and stuff. I tend to play quite bass heavy, a little bit of treble, I just like something punchy.

My current rig is the OB1 head by Orange and i’ve got the 8×10 cab which is great, it weighs more than i do, I googled it! I’m not using much gain on it, as I tend to get most of my gain from the RAT pedal. I tend to use it more as a clean, like I said I have the bass really high, I like it to sound deep and bassy. The mids are like eleven o’clock, the treble is actually down I used to turn it up but it’s now down a bit. Its more like ten o’clock but I think it sounds great as it is.

I’m after the next amp up, the AD200 thats on the wish list. But I think for the money the OB1 series is great, it’s just as good, it sounds way more expensive than it is.

Its really cool that Orange has taken me on as part of the roster. I think its really great that someone has put faith in a girl playing bass because some companies not all may be a bit wary, so that is refreshing. I’m surrounded by a host of other great musicians, its just really nice, I mean we are out with Good Charlotte at the moment and they are also playing Orange. So that’s cool, we are matching!


So you’ve heard these questions before but when did you start playing guitar?
Well my grandfather was a guitar player and my father is as well. My great grandfather played the fiddle. I just grew up playing music.

So, your father played professionally?
Yeah. He still does. He was on the road his entire life.

Does he play a similar type of music to you? I mean has your music evolved out of what you heard from him?
Yes and no. It’s like a lot of it’s from my grandfather. He played a lot of Country Western, and like Chuck Berry and the Ventures. My dad played stuff like Allman Brothers, Foghat and Wishbone Ash.

Like what we now call Classic Rock?
Yeah, and he was into those bands in the early 70s late 70s and he also played in some country bands in the 80s and 90s as well. So there was a lot of that influence. My dad is also a big blues nut, so I used to go through his blues collection at the house and he would always be teaching me, you know.

So, did you cop any of your guitar style maybe from some of those records?
Well, I was digging through anything I could find. I would say my guitar style is mostly attributed to fact that don’t listen to guitar players specifically. I stopped listening to guitar players consciously at a young age so I could focus on trying to have a different sound and not sound like a watered down version of someone else.

Well, you’ve got that…
Thank you. What I would mainly listen to was like pedal steel players and I listened to a lot of tenor saxophone players, because that’s really similar sonically, in my opinion, to the guitar. I mean you can emulate some of the saxophone sounds and some of the runs that they were doing, they had to breathe, you know. So that taught me to, kind of take a breath in between phrasings and not just ramble on. And a lot of organ players as well. I would listen to Jimmy Smith and to Chester Thompson. I Was all over the map, but I was really into it.

For someone your age you have not only the physical ability and dexterity but a very deep musical well to draw from. I just don’t know how to describe your playing. Anyway so you’re recording a new album. What can you tell me about it?
Yeah, the record is called Carolina Confessions and it’s kind of a thematic record looking for some absolution. It’s kind of the concept of the record, it’s taking the concept of confessing your sins and getting them off your conscience.

There’s an element of that in a lot of blues music. So that’s pretty heavy stuff. So, you worked with a new producer on this album?
His name is Dave Cobb and that was a really great experience because Dave’s really got his thing going on and it was great to work with him.

So when did you discover Orange Amps and what turned you on about them?
One of the first times I heard an Orange Amp it was an AD30. I heard my friend playing through it and I couldn’t understand how this much sound was coming through such a small cabinet. That’s when I really fell in love with the Orange sound. My dad, same story, he used to talk about Orange amplifiers when I was a kid. He still loves that little AD30 combo. I think Wishbone Ash used Orange, didn’t they? Anyway he used to say that one day maybe you’ll get yourself an Orange amplifier, that’s insane.

So you’re currently playing a Rockerverb 50 MKIII. How do you like the sound of that?
Love it man. I love reverb. I’m a reverb nut. I’ve gotta have it. So when the Rockerverb 50 MKIII came along and you introduced me to it I was like wow this is like, this is it. This is my bag so, it has worked out really great!

And then you’re off to Europe, well after you finish tonight at Red Rocks with the Tedeschi/Trucks Band. But you are back to Europe at some point this fall, right?
In October we’ll be going back to Europe for the third time this year.

Well, I know that our friends in Europe and across the US are looking forward to hearing you. Thanks For your time Marcus, all the best.

Check out Marcus King online

Interview by Pat Foley, Orange Nashville Artist Rep

Header photo by: TLBrooker Imagery

With a booming heat record of 32 degrees in big ol’ smoky London town, we made our way to Brixton Academy to chat to The XCERTS frontman Murray Macleod before their show with Goo Goo Dolls.

Were you always into music growing up as a kid?
Murray: Starting it all off and sparking the interest was definitely the household I grew up in, both my parents and older sister was very into music. My dad in particular is pretty much a rock ’n’ roll historical – not as a profession or a job, but for as long as I can remember he’s just always had this encyclopaedic knowledge about dates, record companies, releases, band members and tours, and he has this amazing vinyl collection that I’d go through as a kid, pick albums to listen to based on their covers and end up with bands such as KISS and The Monkees, but it wasn’t until he played me The Beatles everything changed; I even remember the day and exactly where we were, sat in our car parked up waiting for my sister, and he played me live at the BBC by The Beatles, and I think I must have been about six or seven, I was really young, but it just felt like real life magic.

After your Dad sent you onto the righteous path of music, what were the first sorts of bands you discovered for yourself?
Murray: As I got older, I started finding my own way of finding music and discovered Nirvana, and their Unplugged session was actually what inspired me to start writing songs, it was unreal. We had this crappy Spanish guitar around the house, so I ended up trying to write Nirvana-sounding songs which were just awful. There was something so fascinating about Kurt Cobain as well, he was this beautiful and intricate, as well as steeped in myth, I was just so fascinated about him, as if he were sent from above. I also got heavily into Marilyn Manson around the same time, which was just polar opposites to Kurt Cobain, but obviously at the same time, incredibly fascinating. I also just have to thank my parents for keep pushing me to pursue a career in music.

Also, I have to mention the whole pop-punk explosion in the early 2000’s with Blink 182, The Offspring and New Found Glory.

Now, let’s get down to business and talk Orange – what is your history and experience with the brand? Do you remember the first time you ever saw someone play an Orange?
Murray: The very first time I had that epiphany of ‘Oh man I HAVE to play Orange!’ was when we opened for Cage the Elephant around 2009, we hadn’t even released a record at this point and it was before they blew up. I can’t remember what amp I was using at the show, but they were using Orange and they just sounded so incredibly good – I remember being completely blown away by their tone, and also noticed that the wood used in the amps by Orange was way thicker which made them so much sturdier than the amps I were using. They sounded so good, but for the longest time I couldn’t afford one, and we weren’t big enough to speak to the company about getting a loan one.

How did you eventually end up playing one?
Murray: Our manager Dan Hipgrave (Toploader guitarist) was selling a 4×12 cab and I tried it and ended up having to get it. I was using a different head at the time, but I still knew that the cab just sounded so good. I ended up trying the AD30 and it just sounded so good, it was absolutely perfect – that cab and head was all I needed. I’ve been using a full Orange rig for about a year now and it just sounds amazing.

It’s nice to have you guys from Orange coming down to our show, as I haven’t really been able to thank you for all your support, so thank you!

Hi. My name’s Will, I’m the bassist from Puppy and I’m here at Desertfest 2018.

When I started playing bass, I was actually a guitarist and probably like most guitarists, nobody else wanted to pick up the bass. So I was like, “I’ll do it.”

It’s been a bit of a journey trying to find the right kind of raucous, rumbling low end but something where you can pick out the melody as well. I don’t want just sub  – something that bites through. That’s what I look for.

I’ve always looked up to bassists that really stood out – I love Cliff Burton. I love the way he played the bass like it was a guitar. That approach, not just being “just” the rhythm section. I think that – and a lot of three pieces were always my favourite bassists as they had a third of the job to carry. You couldn’t be a wallflower bassist in a three piece. Al from Sleep, for me is a massive influence – I play a Rickenbacker too. Cliff and Al are probably my two favourite bassists of all time.

My interest in Orange came, really young actually –  before I was in any bands. I used to love Oasis as a kid. I remember seeing them playing and they had an all Orange back line. Black Sabbath too on some German performance, I remember seeing they all had a full Orange back line. I was like. “That’s just the coolest thing I’ve ever seen.” Then I learned a bit more about the history of the company. I got the Orange book and I was reading about the shop they used to have on Carnaby Street (Ed’s note: It was New Compton Street.) Which was so cool and the old logo, the tree growing off the world – the Voice of the World logo. I thought it would make a great tattoo, so I’ve got it there. (On his left bicep.) Yeah – that’s about it, man. I’m a bit of a loyalist to the brand and I was super stoked to asked to use their equipment. I would be using it anyway, so yeah. You’ve got a fan for life in me basically.

My first stack was an Orange AD200 with two OBC410s and I was super proud to have that onstage. We would play the tiniest venues and I’d never go without the full stack even if it meant piling it into a cab and pissing off cab drivers. So yeah, it feels amazing to be asked to use their equipment because I spent so long drooling over pictures of musicians I adored, like Prince and Al from Sleep and all of these people I thought were super cool using their gear and I obviously just wanted to be like them. That’s why I was using the gear in the first place so it feels great to be an ambassador for the brand. It’s awesome.


You recently released a single ‘Dropout’, can you tell us a bit about it?
Adult Swim approached us about doing a song for their singles series, and since we are all longtime fans of AS, we couldn’t really say no. Historically, Pallbearer has mostly been an album focused band, but this gave us an opportunity to work on something that didn’t have to fit within the context of a full album, which was liberating in a way. Dropout was written, recorded, and mixed rather quickly in comparison to much of our other work, and we’re really happy with the results.

You did a live recording of it at Bohemian National Cemetery in Chicago, how was that whole experience, and how did it come about?
Though it was initially tracked at Fellowship  Hall Sound in Little Rock, Audiotree hit us up about wanting to collaborate on something after our then upcoming show in Chicago. As per usual, we’d celebrated rather heavily the night before with some old friends, so when we rolled up to this old Polish cemetery at 10 am with the task of recording two live tracks, there was a definite heavy feeling in the air. Ultimately, with the help of coffee and whatever else was floating around the cemetery that morning, we pulled it off. It’s easily one of the more interesting places we’ve ever played, and I’m stoked that they reached out to us.

What’s your own musical background, earlier and current influences?
The first band I ever fell in love with was Nirvana. I remember reading about Kurt early on, and discovered that he’d loved both the Beatles and Black Sabbath. So I checked them out, and ended up sharing his admiration for both. It was around this time that I first picked up a guitar, and it’s been a wild ride since then. In the last few years, I find myself spending most of my time listening to jazz and country records from the 60’s and 70’s. There’s a lot of prog from that era in the mix, as well. I’m not stuck in the past or anything, and I believe there is a ton of great current music out there, but at the same time, it’s virtually impossible to beat an old Coltrane or Miles record.

What’s your history and experience with Orange?
I wanted an Orange amp the first time I saw one. I remember watching Tony Iommi playing a stack in this old Sabbath video, and I was immediately drawn to it. Years later, when I was finally able to actually try one out, I fell in love. I’ve played about every kind of amp that’s out there, and as the years have passed, I’ve come to realize that there really is nothing that scratches the itch like a cranked Orange. I’m a big fan of the cleans too, especially on the Rockerverb MKIII. In the studio, or a live setting, as long as I’ve got an Orange around, I know I have the best tonal foundation imaginable for what I’m looking for in an amp. I’m an unabashed fanboy.

What’s your current set up?
Currently I run both a MKII and a MKIII Rockerverb simultaneously through a ppc412 and a ppc212. This allows me blend two different amp tones, which to my ears is the best way to achieve a full, interesting sound. It has all the volume I ever really need, and I have used this setup for some time now. Oranges are built like tanks, and they are absolute workhorses, which is an absolute must when you tour as much as we do.

Photo by Johnny Hubbard via ESP guitars.


Each Christmas we have a competition called ‘Wish Granted’ where Orange fans could wish for the gear of their dreams – if you could pick any Orange gear, what would it be, and why?I’ve never had the opportunity to play any of Orange’s hand wired/custom shop stuff, and I’m sure they are amazing, so I’d have to go with one of those. Maybe the OR50, or something based off the old OR80’s.

Joe: I was 16, maybe 17, my old punk band was playing a show in this dude’s kitchen and the touring band let us use all of their backline, as we didn’t have any. I plugged into the Orange, I played bass and it was the loudest fuckin’ thing I had ever heard and it left a real big impression on me.

I think [it’s about] the quality mainly. I like the simplicity of it. Like I said I’m not the biggest tech guy, so I feel with most of the [Orange] amps they have really simple EQ settings and the straight forward balls-to-the-wall sound. It’s good for me and works really well for me and I’ve always felt it is a really dynamic and really ferocious sound.

Right now I’m playing the OB1-500, I was introduced to that by Sergio from Deftones when we toured with them. It was right before those amps were on the market and I was looking at his rig one day and he had six of them all stacked up. I was just asking him about them and he was schooling me on the new distortion technology and the A/B shit. I was like I guess I have to fuckin’ buy one now!

What I like about that amp is probably the sound is the most diverse out of the Orange stuff. It’s so clear, so when I do shit for our sound, like put loads of distortion over it, that signal is so clear. There is so much grit and bass underneath it, it doesn’t sound like a guitar, if you know what I mean. Not like a low tuned guitar, it sounds like distorted-ass bass! That’s what I really like about that and what compliments the Code Orange sound really well.

Go to Joe’s Ambassador page on Orangeamps.com.

Let’s dive straight into this – Orange, can you tell us about your history with the company?
Brad: Basically, I had an Ampeg deal back in the day so that’s where I started while Ken and Joby were the ones always using Orange cabs, and Joby having some sort of Orange connection. I always liked Orange, but I never had a deal, and the stuff I wanted was always a bit out of my price range, so it’s more in recent years I’ve gotten in on it as well. Joby reconnected with Orange recently and we did a bit of a revamp of our gear in the States and got some all blacked out Orange cabinets, and I got a 4 Stroke over there which I love.

Have you got the same set up for this UK and Europe tour?
Brad: On this tour I’ve got the AD200 which is a monster of an amp, it’s just such a simple set up but exactly what it needs to be. I hate when all these amps have all these annoying tweaks on them as there’s just a few things you really need. As long as there is gain I’m pretty much good to go – you set it up in like two seconds and then you’re just there like: “Well, that’s the best sound I’ve ever heard!” 

Any other Orange favourites…?
Brad: Definitely the It’s the Terror Bass which you guys don’t make anymore but should totally bring back! I still have the habit of bringing a spare amp with me on the road, but from my experiences with Orange I’ll probably never need it, but then again, you can never be too safe, right? It’s so great it could easily be your main amp as well, i
t’s just amazing that something that small can sound so good, that goes for the guitar one as well. Obviously as a bassist it’s driving mad that you’ve gotten rid of the bass one! When I got mine it was broken, and you cant really get the parts to fix it anywhere in the states. Luckily, my Orange guys in the states let me send it back here to the UK to get fixed. Everyone at Orange is so nice that it was the easiest thing to do ever.

With The Bronx we’ve also got Mariachi El Bronx, which is two bands from completely different sides of the spectrum – punk and mariachi, you must have a pretty wide musical background?
Brad: It’s interesting with me, I actually play trumpet in our other band, and that’s my main – or I guess I don’t really have a main instrument anymore, but you know, main instrument.  I started playing horn in 4th grade and did pretty well at it. It was never my intentions for that to become my life, or such a big deal, especially not that early on, I was kind of just doing my thing until it snowballed and it took me to college. Early on, I was more of a classical guy, and my mum was really into classical music as well, and I was a classical trumpet player.

Somewhere in middle school I discovered rock ‘n’ roll, started a band and went down the line of straight up old school rock like Stones, AC/DC and that sorta stuff, then that went into a punk fase. I’ve always been into a lot of stuff, and blues might be one of my favourite genres. What’s interesting to me, is that there’s actually quite a few musicians where bass and trumpet is the combo, Flea’s one of them. Obviously I can’t remember anyone else now, but oddly enough there is at least another 4-5 big musicians where that is the combo, which to me seems like the weirdest thing ever, and every time I hear about some other guy with that combo I’m just like ‘How did that even happen?’ For me it was just circumstances, I dabbled a bit between everything, guitar and drums as well – I could play them all but not well, and only ended up playing bass as the band I was in at high school needed a bassist, and here I am, years later.