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Kirk: Hey i’m Kirk Windstein from the band Crowbar out of New Orleans.

I started using the Crush 120’s, I ran into Alex at a show in Atlanta and we kind of reconnected again. Because when I left “Down” I had always used Randall solid state with Crowbar from the 80’s, Dimebag turned me on to them when Phil Anselmo joined Pantera in 87′, I used them ever since with Crowbar.

He was like: “good to see you again”

When I sent him the email saying i was leaving “Down” and I wasn’t going to be using Orange but thank you for everything and I still love the product.

So he is like: “I’ve got something you might dig”

I’m like: “What’s that?”

He goes: “We make a solid state amp now, how about I send you one?”

I said: “Sure”

So I’m like I can’t wait to get this thing to the rehearsal room, so I got it there and within two or three minutes I was like this is definitely what I’m looking for.

The thing is, up and till, when Dime turned me on to the Randall was right around the time we started to drop tuning, about 1988 Crowbar were tuning to B standard or drop A, way before the seven string came into popularity. I couldn’t get a good tone out of any tube amp but the Randall solid state got the bottom end was so much tighter and wasn’t so broken up, so I was sold on the solid state thing. When I tried the Orange Crush 120 I was blown away by how much even with our tuning it sounds like a tube amp, its got warmth that a normal solid state amp doesn’t have, it’s a better version of what I have been looking for.

I’m very old school, I don’t use an effects loop or anything, I actually just use of course a tuner. I use, I know they suck, everybody always asks me why I use it, I use a metal zone but I use it as a clean boost. So my level is on ten, my overdrive is on zero, so I’m getting no saturation from it, the EQ is at 12 o’clock. So the pedal, I’m not really using any EQ or gain, it just kind of gives it a little clean boost, it tightens it up. As far as my settings, i’m still working them out, I have my bass on eight, my treble on about four and a half and my mids on about four. It’s still a work in progress!

For me using the Orange 4X12’s its the wood, the Baltic birch, the rear mounted vintage Celestion 30’s which is pretty much the only speaker I like to use. It’s the same idea as the Marshall and Boogie and everything else, I just think it is a better made cabinet. Even our sound guy in States was saying when we were talking about the Orange cabinets:

“Man, I should have never fucking got rid of mine, it’s like the best sounding cabinet!”

To me it just is, when you pick the cabinet up, you can just tell, it’s just fucking heavy, not just sounding no pun intended! But its just a lot heavier duty, the handles are metal, everything isn’t plastic and trying to cut corners. Its just a very well made product and that shows in the tone you get out of it.

 

 

 

Hank : Hey what’s up everybody I’m Hank, from Lionize, I play the bass.

Nate: I’m Nate from Lionize, I play the guitar, and we are here at our Black  Heart in Camden Town, London.

Hank: We are in our van, outside of that place.

Nate: We are in an alley in Camden.

Hank: We are in an alley in Camden, which is very homey!

Nate: It smells good.

Amp wise for me its two things and two things only. Its tone and reliability, if the amp sounds great but shits out every three gigs, its for the garbage pile.

Hank: And he is very good at that. Its very good at getting things, thinking they are going to be great and deciding they are awful.

Nate: One show even and soundcheck.

Hank: This my favourite amp ever and now i’m selling it!

Nate: But I have consistently had Orange as part of my rig since about 2011-2012.

My rig on this current tour, is the same rig as the home US tour, minus a speaker cabinet. Its an Orange OR50 going into a PPC112, thats AB’d with a 1976 Marshall JMP 212 Combo.

Hank: My rig on this run, I’m playing an Ampeg SVT Classic through the OB15 and OB410.

Nate: OBC!

Hank: OBC!

Nate: I always have an Orange cab in my rig, for specifically in guitar speaking for the low and mid. There is no low end resonance like an Orange 412, even the 112 is shockingly vibrant and resonant. They are quite heavy but I think once that wood connects with the floor, that’s how you get that sound. So gladly lug it up any set of stairs.

Hank: I go back to Orange simply because it adds an element of grit for me bass playing wise. Its add some dirt in a way that other cabs dont.

Nate: Different bands measure success on a spectrum, for some its money. Some its…

Hank: Lobster and hookers.

Nate: Lobster and hookers. But I think for a band like us because we are such fans of music and looking at the web site and seeing our name on same list as Stevie Wonder and Jimmy Page and Geddy Lee and Billy Gibbons. We are going to go along and say that’s a pretty nice notch on the old success…

Hank: Belt?

Nate: Belt!

Hank: Headboard?

Nate: Headboard! We measure success in headboard notches! Thats one of them! And Lobsters and Hookers!

 

 

Tim Sult: Tim Sult from Clutch here, i don’t remember the first time I saw an Orange amp but I definitely remember the first time I heard an Orange amp. That was when I saw Sleep play live, when we were recording our first album, that would have been in 1993.

When we were on tour, probably the year after that in 1994, I found an old Orange amp, in a music store in Colorado for $600, so I bought that. It was an old OR120, I was just using it for everything, I just used to turn it up as loud as it would go, that was all I did with it for a while, until I blew it up! Which happened many times!

We have different gear over here in Europe than we do in the U.S. but over here I have got a 40th anniversary OR50 up on stage, I love that thing. At home I found two, old Orange combos, two 70’s combos. I believe they are both OR120 overdrive combos and I have been playing those in the U.S. and those are phenomenal, it would be great if you could clone those old Oranges.

For me I like a clean tone, with just a little bit extra, I don’t really have much luck going with a really overdrivey tone. I usually think it sounds a bit better, more Clutch like if it is a little more clean. So thats what I like about the OR’s they have a big, clean sound, that you can add overdrive into.

For some reason the Orange cabs always seem like they have a little more life than any other cabs that I own, so that is definitely my favourite part about the Orange cabinets. They seem to have more top end and more bottom end, than any of the other cabinets I have.

I usually don’t use a huge amount of effects, I use a phaser, I have a Electro Harmonix Micro Pog, octave thing I always like to use, and I use a wah.  I always run my effects through the front of the amp, I have never used any kind of effects loop. If you have a good sounding amp, thats 95% of the battle right there, I think my thing with Orange is to let the amp itself make the tone and not make the pedals themselves make the tone.

With the next album, we have been writing for a good long time, I am definitely going to be trying to work in as much Orange stuff as humanly possible!

First of all, can you tell us a bit about your band Jaws?
I think we initially got together in 2012. I was writing demos and decided I wanted to form a band, as we were all at the same college it came together pretty easily, and here we are 5 years later!

You’ve got your dad managing the band, does music run in the family?
Kind of,  yeah. My Grandad was a drummer and that’s how I properly got into music. My parents would always play me good music when I was growing up, but it wasn’t until my granddad gave me a drum one day my interest properly peaked. What a great day that was!

You’re born and raised in the 90s, and your music has somewhat of a nostalgic feel to it, is that a decade that influenced you musically?
I think so, yeah, subconsciously. That’s the music we all grew up listening to, and it’s always in the back of your head. That said, we never make an effort to sound like a nostalgic band, or anything or anyone else, not on purpose.

What’s your relationship and history with Orange Amps?
Something always pushed me towards Orange Amps – I guess it was the colour. Pretty much all amp companies only make black amps or ones with a tweed finish, it wasn’t until i went to Orange HQ that i realised how good the amps actually sounded as well, and that’s when I knew I needed one. I use a TH30 Head with a 2×12 Cab and play it stereo with a Roland JC40, and they compliment each other incredibly well, quite a nice rounded, warm sound with the perfect punch of high end that you need when you’re playing more picky riffs.

What do you look for in an amp and what’s your current set up?
A nice clean is all I’m after to be honest, nice and simple. All my effects come from my pedal board so along as the clean is great its all good!

How does your dream rig look like?
Basically what i have now but with about 60 cabs or so.

Any last words of wisdom?
Stay in School, buy a guitar .

 

David Sullivan –  Hi I’m David from the band Red Fang and I play guitar. The first time I saw an Orange amp that I can remember, was a band called “Das Damen” sometime in the 90’s and it was in a small club, and they were really loud, sounded amazing. I remember the guitar player reaching back to his amp, I think it was an OR series amp, an older one, and he turned a switch and then it became even more amazing sounding and I didn’t really know much about amps at the time. I mean I was playing amps at the time but it just sounded amazing and the Orange always stuck in my head, and I always remembered the symbols that you guys use for the controls. That was probably the first time in the 90’s, when I saw “Das Damen” and it blew my mind!

What do I look for in terms of an amp? Well I like a nice, you know I want everything to be articulate, so I want to hear everything, the low notes and the high notes all at the same time. I like some beef to it, some “oomph” to it, basically that, articulate but have that growl!

When I first played an Orange it was probably playing a friends Orange, just messing around. But the first Orange I got was the Tiny Terror, the 15 Watt, I love it. Actually on our album “Murder the Mountains” the recordings were done with some different amps but all the overdubs were done with the Tiny Terror. Now I have a Dual Terror, which I love, that’s my main amp I practice on at home. Now I have the CR120, which is the newest amp that I’m playing, I’m used to solid state amps, we have been using the Sunn Beta Leads for years and not that this is the same but it sounds awesome. I know a lot of people are like tubes over solid state, you’ve got to have tubes but I think solid state amps can sound amazing and this definitely sounds amazing.

It just so happened, that our bass player had three or four beta leads and we were all at practice one day and we all said lets see what it sounds like if we all play the same amp. So for Red Fang it’s always been solid state, the solid states are great for traveling as they are rugged, there are no tubes to break but I really like the sound of nice tubes but thats what I love about this, it sounds like a fuckin’ tube amp, it sounds great! I like all kinds of amps, I don’t have to have solid state, I’m not like no tubes at all but I know that a lot of people don’t realise that solid state can sound really good. I feel that there are people who think it can’t be as good as tube amp but it definitely can be.

I like the Orange because it has a nice, little mid bump, it’s just perfect and as I was saying I like it to be articulate, so I like a little extra mids. Well to be honest I don’t have much experience with different cabs, so when I got the Oranges, it was like “there it is”. They sound great, really nice and they are rugged. Oranges has been great to us, Orange is like legendary, especially in like our, I don’t want to put a label on us but in the stoner rock, doom. I consider us hard rock but its great to be representing Orange!

Photo courtesy of Fluffer Pit Parties.

You released your latest album ‘Near to the Wild Heart of Life’ in January, a record I find – not necessarily more tidy, but more polished than a lot of your previous stuff.
I feel like when we started the band we wanted to be one kind of band and make one style of music, and that’s kind of what we did. We’d write a certain kind of song, record it a certain kind of way, play a certain kind of show, and we did that for several years, two records and about 500 shows. I think by the time we finished that we were both older and had been doing it for a while, and we’d discovered new music and kind of just began to be interested in doing things a bit differently. We were looking for a way to keep the band going, but also to keep ourselves very excited and interested in it. It’s easy, when you find success with a certain sound or certain kind of song to continue to do that indefinitely. Most people are glad The Ramones or AC/DC never drastically changed their songs or style of playing, as they’re both bands that do what they do incredibly well, that you don’t want them to stray from that, then there’s other bands that are equally as great, where part of their greatness comes from them deciding to switch things up and explore sonic territory with different kinds of songs, and those bands wouldn’t be as great if they didn’t do that. David Bowie wouldn’t be who he was, if he continued making the same record for 40 years. There’s that adventurous and rebellious nature in making music that can lead to spectacular failures, but also spectacular success, and I think we kind of looked at ourselves and the band and decided that for the third record, we could be going into either of those directions, but we had been in the game long enough to feel comfortable taking that risk.

Things that never used to interest us we began to find very interesting, changing the way we write songs, how we record them – just experiment more. Try to break out of our comfort zones. It’s our third record but in many ways it feels like our first record all over again, because we kind of just decided to ignore our past and do whatever we thought felt good, sounded good and what we were interested in, and in that process there was a lot of learnings both good and bad, but I think that’s what kept it interesting for us. Now that we’ve got that one record where we’ve started drifting away from what we were doing before, now it’s ok to explore some more. We play in a two piece band, and when a lot of people think of two piece bands, I think they typically think of minimalism, that the songs and recording will be done in a very minimal manner, and I think we’ve always had that opposite attitude where we’ve always wanted to see how big we could make everything sound, even if it was just the two of us, and I think that’s where we’re at now, with how we record those songs now. We did the minimal and lo-fi thing for a while and it was great, but for us there was no more adventure left in that. We know how to do that, and there’s no risk.


“There’s that adventurous and rebellious nature in making music that can lead to spectacular failures, but also spectacular success, and I think we kind of looked at ourselves and the band and decided that for the third record, we could be going into either of those directions, but we had been in the game long enough to feel comfortable taking that risk.”
Brian King, Japandroids


With this album we knew that it would alienate some people who were really into the old records, but at the same time, most great artists alienate people along the way. That’s just what makes their careers as a whole so great, that they’re bold and adventurous artists, and that’s the sort of the company we want to be in. I think my point is, that we don’t want to be that sort of band where you can reduce our sound to one simple song or record. As I mentioned before with David Bowie, not that I’m comparing us to him in any way, but with him – you cant just play someone a song and say ‘this is David Bowie’, you have to play them at least twenty songs as he covered a lot of ground.

You mention exploring new musical territory – I know you recently played a show with At the Drive In, a band which sound is pretty different from yours, is that one of those newly found sounds or someone you’ve been listening to for a while?
At The Drive In is a band Dave and I was really into ages ago when they first were around, so to get to play with them was really cool as they were a band we’ve always looked up to and idolized. Even though our music is very different from theirs, we share a similar ideology behind the music and how we play it. Both bands go out on stage and try to perform as intensely as possible. Dave and I always go on stage and try to give everything we have to give, and those guys do the same thing, the difference is that there’s five of them, and when you have five guys giving their all to their instrument, and giving it as tight as those guys do, it’s pretty fucking spectacular. There’s some sort of release that goes on when they play, they physically let go and give their entire body to perform that song and that set, and that’s what we have in common with them.

Photo by Joao Machado via Fluffer Pit Parties

With you guys only being a two piece, there is a lot of pressure on you as a guitarist – what do you look for when selecting your amps, and what do you take into consideration?
When we first started playing together we had drums, one guitar and one amp and double microphones, very minimalistic, but that’s sort of all you really need. The White Stripes proved that you can be very minimal but still write great songs and put on a great show, and become one of the biggest bands i the world in their time, and that’s how we started. As I mentioned earlier though with us changing up our sound and what we do, we decided that instead of embracing that minimalism, we wanted to sound bigger than we really were capable of sounding. First, we added a second amp, and then a bass amp. After that, a third amp. What you start doing is creating this Frankenstein monster of amplifiers, and the idea is that each one is creating a different sound that on it’s own, necessarily isn’t anything special, but as a whole becomes something really big, really massive. Another thing we take into consideration is if the amps can actually survive to be an tour with us, as we treat our gear pretty rough. We’ve been using Orange cabs for quite some time now and they sure can take a beating.

In a few hours, you’re about to play one of the Fluffer Pit Parties, as show that’s set up completely different than a normal gig, with the stage and band in the middle of the room and the crowd 360, how is your approach to that?
99,99999% of the shows we play this year, we’ll be facing the crowd, so the fact that we have to re-think the way we set up, and the way we perform means that it wont be a typical show. There will be people here who’ve never seen us before and might not ever get the chance to do so ever again, so we’ll be trying to bring our ‘normal’ and proper Japandroids experience, then there’s people who might see us every time we’re in town, so we also want to give them a different experience than what they’ve seen from us in the past. We’re gonna set the amps up on the floor and have the stage pretty clear, which is very untypical for us as it’s normally pretty tight and we’re a bit boxed in, so I guess there will be a lot more room for me to spin around and play. Just given the set up and the fact that we’ve never actually played this way, I cant say how it’s going to go. I think it will very much be one of those ‘in the moment’ situations where you just get up there and get on with it and see where the vibe takes you and lay the land as you go along.

 


 

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!

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.

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.

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.