Orange ambassadors The Re-Stoned recently did an Open Studio Session, and it’s all up on Youtube for us to enjoy. If you do have a penny or two to spare, they are gratefully accepting donations via Paypal: [email protected].
If you enjoy music, please support hard-working musicians whenever you can, buy their records & merch and spread the word! More info about the band via their website which you can find here.
Those of you who’ve registered your Orange gear in recent times will have seen the section where we give our customers the chance to suggest a charitable cause we donate to.
As we’ve grown as a company we’ve also built a big social media following, and we’d like to use our platform to shine a light on important causes (don’t worry, this won’t be on expense of our excellent amp content!) that are also close to our customers’ hearts.
Having gone through thousands of entries with different causes and charity suggestions, we’ve landed on ‘Habitat for Humanity‘ as our first one. We’ll give you the lowdown of their case and work in their own words:
“We build strength, stability and self-reliance through shelter. Housing poverty around the world is so widespread, that we need to engage in many ways to solve housing problems. Together with our partners and volunteers, we provide new housing solutions and opportunities for people in need of decent shelter.”
– Habitat for Humanity
To help us raise money for Habitat for Humanity, Orange ambassador Marcus King kindly signed one of our ‘amp in a pedal’ Terror Stamps, which is now up HERE on eBay for auction, where 100% of the proceeds will go directly to the charity. Auction runs through the 16th, so place your bid, spread the word, and remember to register your gear here to have a say in which case we support next.
From all of us at Orange Amplification, we would like to wish all our Grammy nominated Ambassadors good luck for the up and coming awards in January 2021.
Guitar phenom, Marcus King, has been nominated in the Best Americana Album category. The critically acclaimed ‘El Dorado’ establishes King as an innovative songwriter with a soulful voice and blistering solos. Fellow blues innovator, Fantastic Negrito, has been nominated for Best Contemporary Blues Album. His timely fourth album, ‘Have You Lost Your Mind Yet?’ is far reaching with hints of many musical genres and plenty of sonic colour. Plus, one of the fastest rising guitar pickers, Billy Strings has been nominated for Best Bluegrass Album with ‘Home’, a fresh exploration of this traditional music genre.
Other Orange Ambassador nominations include producer and guitarist Andrew Watt in the Producer of the Year (Non Classical), Album of the Year, and Best Pop Vocal Album categories. He produced, played guitar on and helped write Ozzy Osbourne’s album, ‘Ordinary Man’. Last, but not least, Code Orange, known for their exhilarating, unpredictable live shows have been nominated for Best Metal Performance.
There’s no secret that 2020’s been sort of a shitshow from the get-go, so when RIFFLORD sent us their music video from their latest single ‘Tumbleweed’ that went straight into the Top 5 moments of 2020. We’re still not sure what the other 4 are, but we do like to think that there’s been at least four other alright things that have happened this year.
Now, feast your eyes on one of the strongest Orange backlines we’ve ever seen. With the exception of Matt Pike, we’re not actually sure who could possibly top this… ‘Tumbleweed’, everyone!
Grandma’s Ashes, can we get a bit of background on the band?
Myriam: I first met with Eva on the internet and joined her punk-rock/noise band and we played with different drummers before we eventually decided we wanted to play heavier music. We started over and found Edith online. We jammed, and her math-rock influences took us in a more progressive direction. That’s how we ended up mixing heavy riffs, progressive parts and powerful melodies. We’ve been playing together for three years now.
Are most of your songs a result of jamming, or do you work from structured ideas?
Myriam: One of us will usually come up with with a riff or melody that suits a particular emotion, then we’ll jam it around and end up with different parts that we’ll put together.
Eva: I write a lot of voice melodies when I’m at home, and often come to rehearsal with voice lines and simple bass lines, then Myriam will find something to do with it, bring heavy riffs before Edith comes with her complex rhythmics.
Are there any artists in particular that have inspired you two as players, or someone that encouraged you to pick up your instruments to begin with?
Myriam: My dad plays guitar and taught me the basics of blues with Muddy Waters and Buddy Guy when I was 9. However, it wasn’t until discovered Led Zeppelin at the age of 13 I became obsessed with the guitar. I’d say Jimmy Page, Eddie Van Halen and Matt Bellamy were my early inspirations as a teenager. I later discovered QOTSA and Frank Zappa, which inspired the tones I use with the band and the modal scales I sometimes use when I improvise.
Eva: My father was my first inspiration, he’s a multi-instrumentalist and was playing in different bands within different genres when I was growing up up, jazz, rock, punk and blues. I was surrounded by instruments as a child and he’d teach me. When I was 11, I discovered The Stranglers and was instantly very interested by the incredible J.J Burnel’s heavy, slamming but fat bass sound! I started playing bass right after that. After that I discovered Flea, and Chris Squier from Yes, both with more complicated bass lines. That paired with my growing love for funk, I started to work on my sound because I wanted to achieve a mix between two iconic styles, the incisive and punk one, and the groovy, melodic tone of my prog rock idols.
You’re releasing your first EP ‘The Fates’ in January, what can you tell us about it?Myriam: We recorded ‘The Fates’ a year ago at “Ferber”, a famous French recording studio where Zappa and Black Sabbath used to come in the 70s. We decided to record everything live with no overdubs in order to try and catch the energy of our live performances. We worked with producer Mario Caladato Jr. (The Mars Volta, Beastie Boys etc) who helped us find a balance between the aerial atmospheres of the vocals and the heavier parts.
Eva: By recording it live we managed to capture the synergy we feel between the three of us while jamming. We wanted it to be as fluid as possible, and highlight the emotional involvement in each song when played live. We named it “The Fates” after the three Moirai in Greek mythology, known as the sisters who determine the origin of the world and human beings. One is giving life, by spinning the wool, one unwinding the thread and the last one cutting it, bringing death. We loved that very symbolical allegory of our roles in the band.
What’s your history and experience with Orange?
Myriam: My first ever encounter was whenI was looking for a tube amp that could be aggressive and round at the same time, and a friend of mine let me try their TH30, the sound was both crispy and round. I’m also really into the desert rock scene, and when I saw Sleep live with Matt Pike’s wall of Rockerverbs I thought that it was the deepest guitar sound ever!
Eva: I noticed Orange Amps at festivals and I very intrigued by the colourful design, and when Myriam bought one I immediately loved its power!
Myriam, I know you play the Dual Terror, why did you go for that one and what’s your thoughts on it?
Myriam: It’s the first amp I ever bought with my very first paycheck : I needed a two channel amp because we have some ethereal parts in our music where a nice clean sound is necessary. The tiny channel of the DT has that slamming clean tone. I mainly use the fat channel with the typical Orange crunch sound and add fuzz or overdrive to it. I also went for the Dual Terror because of its practicality. It doesn’t weigh that much and is also switchable from 30w to 15w, which is really useful in the studio or in rehearsal to push the tubes without sounding too loud.
How does your dream Orange riggs / stacks look like?
Myriam: I like to play with a dry/wet setup, so my dream Orange stack would be the Orange Rockerverb 50 MKIII paired with a PPC 412. Because it has an FX loop and two separate channels, it would allow me to have cleaner modulation effects such as phaser, delays etc. than I have currently on the DT. The other amp would be a Tiny terror on a PPC 212. I like it with a crunchy sound and a really light slap delay. It also works well with fuzzs and overdrives because of its narrow frequency response.
Eva: I’d like to split my sound on two cabs, and looking for the best one to fit with my Sunn O))) Concert Bass, so I would say an OBC410, or OBC212 and OBC115 paired with a Terror Bass. I secretly dream of a AD200B, but unfortunately it’s a little heavy to bring home after rehearsal on the Parisian subway…
If you could tour with any band or artist, who would it be, and why?
Monolord! We discovered them with their last album, No Comfort. Their riffs are so heavy, it’s truly a slap in the face listening to them play live. We’d like to tour with them because we are comfortable in the stoner rock scene generally, and people look really psyched at their gigs.
We are looking for a workshop technician for our UK Head Office in North London.
Your key duties will include:
* Providing Technical Support and dealing with Customer enquiries both via email and telephone.
* Managing the returns process from start to finish this includes, booking in, diagnosis and
repair to component level of both valve and transistor amplifiers, analysis of faults and
servicing of customer/artist stock.
* Ensuring loan stock is maintained and ready to go when required.
* QC of incoming goods.
* Ensuring stock levels in the workshop are managed efficiently.
* Maintaining the workshop to a high standard and take responsibility for Health and Safety as
per the Company Policy.
* Any other duties as requested by your line manager or another senior member of the
Company.
Based on the Orange Music Electronic Company Values we are looking for people to join the team who:
* Have a proven track record of Deliver the Highest Standards and understand what
excellence looks like.
* Have strong communication and influencing skills to develop Partnerships and Teamwork
and to ensure they are positive working relationships to achieve the best outcome.
* Someone who is constantly striving to Improve Performance for themselves, their team and
the Company.
* Are proactive and solution focussed with the mindset to take Ownership and Responsibility
for their own and their team’s part in seeing everything through to the best possible
conclusion.
Key Responsibilities
* Technical Support (First Line).
* Managing the returns process ensuring items are dealt with promptly.
* Inputting systems and procedures to improve the workload.
Skills Required
* Ability to fault find and repair both valve and transistor amplifiers.
* Planning, prioritising and organising tasks and activities, time management, self and team.
* Communication skills, building trust, empathy and mutual understanding.
* Effective use of IT and equipment, esp. communication, planning and reporting systems.
* Managing relationships, inter-department, peers, upwards, obtaining approval for projects,
changes etc.
* Administration; monitoring, maintaining and developing reporting systems.
* Quality awareness.
* Environmental and duty of care awareness and managing according to standards and
procedures.
* Outstanding customer service – external and internal.
* Self-development, self-control, seeking responsibility and personal growth.
Experience
* Minimum 5 Years’ Experience in a similar role within Industry is essential.
* Minimum 5 years’ experience in fault finding and repair (experience must include Valve
Amp repair and service).
* IT skills including outlook, word and excel desirable but not essential.
* Exceptional communication skills and the ability to communicate appropriately at all levels
of the organisation; this includes written and verbal communications.
* Experience of working in a high pressured environment.
* The ability to deliver excellent customer service.
* Brand awareness would be desirable but not essential.
* Experience of meeting deadlines and key performance indicators.
* Preferable you will hold a degree the minimum education requirement for this role is A-
Level.
Please submit your CV with covering letter and salary expectations to [email protected]
EDIT! This competition has now closed and a winner has been contacted. Keep up to date on future competitions by following us on Facebook, Instagram & Twitter.
Celebrating the reissue of Boris’ iconic ‘Absolutego’ & ‘Amplifier Worship’ albums, we have teamed up with Third Man Records to give away a blood moon red copy of ‘Absolutego’, a tree frog green copy of ‘Amplifier Worship’ and a set of our wireless Crest Edition Headphones.
Enter our social competition here.
Alternatively, if you don’t have Instagram you can enter once by emailing us here with “Orange x Third Man Records Boris Competition” in the subject.
Our followers and fans will already be familiar with you through your previous work in Deep Purple, Trapeze, California Breed (the list goes on and on…) and solo career, but they might not all know The Dead Daisies, can we get a bit of an introduction of the band?
Glenn: The Dead Daisies are a musical collective, a family if you will. I’ve been aware of the band for a long time, we had been on a similar circuit around Europe. I was contacted by their management in 2019 in regard to getting together with the guys in NYC to have a little “jam session”. We clicked right away. Of course, I had toured with Doug Aldrich (guitarist in The Dead Daisies) previously as he was a member of my touring band in 2016 – so that was already set it stone. David Lowy is a solid guitarist and Deen Castronovo is a fantastic drummer with lots of flare. It was a natural progression to write together and go into the studio to record.
You just released your single “Bustle and Flow”, what can you tell us about it?
Glenn: We were recording at La Fabrique studios in the south of France, Dec 2019. The studio is an old Chateau set in a beautiful part of the countryside. We had recorded the music and I had most of the lyrics written. The setting of the studio was very inspiring, I could not fail to be influenced whilst living and working there. Find it here.
This year has been quite a bumpy road for most people, how have you adjusted to the ‘new normal’, and how do you stay creative and inspired during tough times?
Glenn: I have tried to maintain my own daily routines and rituals as much as possible. I meditate when I wake up, I like to walk, drink lots of water and read a lot. So personally, I have been able to stay creative within my own inner sanctuary.
Of course, in an Orange interview we gotta do some gear talk! You’ve been using Orange for quite some time, what’s your history and experience with our amps?
Glenn: I was using the AD200 heads live and, in the studio, but for the last 18 months I’ve been using the Terror Bass heads. They really sound amazing. I run 2 at the same time via the Orange ‘Amp Detonator’ pedal. I don’t use any distortion pedals, I use the gain structure of the amps, this allows me to get a far more natural crunch..
You’ve been in the game for a long time, and you’ve influenced a lot of people and musicians along the way. Was there anyone in specific who’s style of playing, way of writing or performing that inspired, of keeps inspiring you as an artist?
Glenn: I think like many people of my generation, The Beatles were a big influence in my youth. Their song writing is still hard to beat all these years later. As for bass playing, my roots are very much set in the early Motown recordings, James Jameson really was the benchmark for groove playing. Of course, more local to home we had guys like Andy Fraser who was an incredibly soulful bassist, he knew when to leave a space or two. I also read a lot of books and one of my favourite authors at the moment is Eckhart Tolle. I always have 1 or 2 of his books with me when travelling.
What would your advice be to aspiring musicians who’s just getting into playing?
Glenn: My advice would be to love what you’re doing, enjoy every moment and don’t take anything for granted. You need to dedicate your time to learning your craft and being the best, you can be. Walk through the fear.
In 2009, during “The Great Recession,” I found myself at a crossroads. I’d been at Orange for two years and was, for the first time, worried about my job. We were experiencing the worst downturn in the economy my generation had ever witnessed. Job safety was a huge concern. Orange had been absolutely crushing it until that point yet I found myself unsure about the future.
In response, I created Orange’s Facebook, Twitter, and Instagram. It was my way of saying “I won’t go silently into the night.” In fact, I essentially created a new position for myself: Social Media Manager. More than a decade later and we have an entire team serving this role. I’m incredibly proud of what we have accomplished.
Enter 2020: the worst year ever. If this year was a fart it would be the kind that only happens on a blind date and you’re sitting on a white chair and it seeps through your pants and you can’t decide if you should get up and go to the bathroom because if you do you won’t be able to come back because the chair will be shit-stained and your date will post about it to their TikTok and no one will ever love you again.
2020 is garbage. So how do we make the best of it? Some of us have taken up a new hobby. Others have focused on making their big “pivot” to another line of work. But a small number of people, certainly the ones who are rife with self-absorption, have gone the way of livestreaming interviews. I count myself among this group.
Here’s a sampling of my favorite “Artist Relations Corner” interviews thus far. Yes, that’s the name I chose. It was a mistake but now the SEO has gone too far for me to change it. Now I get to live this shame forever. Enjoy, and for all of the Artist Relations Corners click here!
Episode #1: An introduction to who I am, what an AR Manager does, and commentary about the original “funny” Orange video, which featured Troy Sanders of Mastodon starring opposite a dog.
Episode #5: An interview with VMAN of Slipknot featuring his tech, Darren Sanders (yep, the brother of Troy from Mastodon and Kyle from HELL YEAH)
Episode #6: Thomas Jager of Monolord. There’s nothing better than talking stoner doom with a sarcastic Swede!
Episode #7: Rekti Yoewono of THE SIGIT and Mooner. This episode helped me discover a whole world of psychedelic rock from Indonesia that I never knew existed. Also, it features live jams!
Episode #9: Kellindo Parker is the guitarist for Janelle Monae and an accomplished solo artist. That’s not all though. He also has rad stories about Prince.
Episode #15: I interviewed legendary producer and engineer, the man who is considered “the 5th Ramone,” Mr. Eddie Stasium. His stories are incredible.
Episode #16: Brian Diaz is a mildly famous guitar tech…and one of my favorite people in the industry. He’s worked with Fall Out Boy, Primus, and Guns N Roses (to name a few). This episode is dear to me mainly because of how much we make each other laugh while being total buttholes to each other.
My parents started me off by playing classical piano and traditional Irish music from an early age, then in my later teens, I started playing bass in rock bands. When I finished my first course in college (Computer Programming), I decided to focus on music. I had been playing with a lot of different bands and doing a lot of session work with independent Irish artists, playing bass and keyboards/synths. I developed a keen interest in recording and studio life. Lots of the albums I was playing on were being recorded in bedroom studios, so I decided to buy an audio interface and just started demoing ideas in my bedroom! I went back to college and did a night course in Sound Engineering to get some basic skills in engineering & recording.
Around this time, an electronic/rock band called Ilya K that I was playing in won a €10,000 prize in a Battle of the Bands. Instead of spending all this money in a recording studio recording our debut album, we decided to set up our own studio and invested it in recording equipment. We rented a house in the Cork countryside and set up a makeshift studio. Our living room was the live room and my bedroom was the control room; Here we produced our only album, as the band split up shortly after. The album did ok, and we started to get enquiries from bands about us recording them, and Guerrilla Studios kinda took off from there. I wanted to develop my production and arrangement skills so I went back to college and studied a classical music degree. I bought a portable recording setup and started to experiment with recording orchestras and ensembles in the college’s concert hall. I also used this portable setup to record bands in a variety of different spaces, from venues to rehearsal studios, through to squats.
I first worked with Lankum when they performed on the first episode of a music show called The Parlour. Guerrilla Studios got the audio contract for the recording and mix. I knew they were a trad/folk band but I hadn’t heard any of their material, so I think I was kind of expecting a diddly-eye band. When we started soundchecking, they blew my mind. So dark, and slow, and organic. They performed a few tracks on the show but their performance of Rosie Reilly got my brain spinning. I had been experimenting with bass and sub manipulation on the Katie Kim ‘Salt‘ album, so when I started mixing their live performance I couldn’t help but use similar processing to see what would happen. The result was very interesting. I was basically able to add subtle elements of sludge, drone and noise to their sound, while still retaining their acoustic and live-sounding qualities. As soon as the band heard the mix, they got in touch to see if I would be interested in working with them.
Lankum had been having a lot of difficulty with their sound on tour; Lots of acoustic instruments needing individual mics with specific EQs. I took them up on their offer and went on the road with them. I hadn’t done live sound in years, and was looking forward to challenging myself in front of a PA again. It immediately worked, both personally and professionally. They really liked the manipulation I was doing with their sound and have trusted me to experiment with their sound ever since. Around then, they had been recording their second album ‘Between the Earth and Sky’. Again, they had run into trouble with the mixes, so they asked me to see what I could do with the tracks. It was recorded live and there was a lot of spill on all the mics, so we needed lots and lots of EQ. We also ended up doing a lot more production on top of the initial recording to add some dimension to the album. I re-amped the uilleann pipe drones and harmonium drones in a church for some large live reverb, and we also recorded some extra textural sounds to build up some ambience, harmonics, noises and weird sounds.
Coming towards the album deadline, the band came up with an arrangement for their song ‘The Granite Gaze’, and we recorded it in Guerrilla Studios. That was the first time we had worked together in this capacity, and again it really worked. Due to deadline pressures, it was mixed and produced in about a week in the middle of a heavy touring schedule. It went onto win an award in the BBC Folk Awards, which is kind of hilarious, considering a train went overhead in the take that we ended up using!
For their most recent album, ‘The Livelong Day’, there was a lot of pre-production. The band wrote and demoed for months. We did some experimental recording in Guerrilla to see how we could expand on individual sounds. Also, because of our heavy touring schedule, we spend a lot of time together in a van. Here, we all contribute to the sounds we listen to while travelling, so we had been discussing elements we liked and disliked from a huge amount of genres. This helped everyone’s different tastes become more normalised and put us all on the same page before recording. We also spent a huge amount of time on tour discussing the possibilities of what we could do with the sound palette. All the tracks on the album were recorded in a 10 day session in a studio in the Wicklow mountains called The Meadow, which is a beautiful studio in the countryside with lots of windows looking out at the Irish countryside and manic weather. There was a great energy from the very start, and the initial tracking was very productive. We did a lot more production work in Guerrilla Studios over the next few months. The deadline again was very tight. I actually remember walking home from the studio at 8am on the day of the cutoff point and uploading the final mixes for master.
Regarding the Orange amp wall/monolith, I came up with that when we were on tour in Canada. I was listening to a lot of drone at the time (mainly Stephen O’Malley) and during one sleep-deprived night in the hotel, I started thinking about re-amping the drones from Lankum and putting them through a wall of amps to add texture and depth to their live performance. I got in touch with Nigel in Musicmaker in Dublin to see if I could get a loan of some gear to do some tests, and he put me in contact with Neil in Orange.
After finishing college in Cork School of Music, I moved to Dublin to set up a studio in an art space. Up until this, I was a portable/guerrilla style recording engineer using various rooms, from churches to abandoned buildings using a rack of preamps and a Macbook Pro. Unfortunately, within 4 weeks of my arrival in Dublin, the space closed and I was studioless again. I got together with some friends and bandmates (Katie Kim and Percolator) to rent a space and set up a studio/practice room. Our budget was very low and there was basically only one commercial lease we could go for – an arch under a railway line. A very bad space to set up a studio, but there was no other choice with our budget. It was a dirty, empty shell, and we had to strip everything out and build it ourselves with the help of a carpenter. It was a small enough space, so we had to build wooden walls filled with sand to provide some sound separation between the control room and the live room.
The live room has an arched brick ceiling that is 4 meters high in the centre. It has a very unique sound, and kind of behaves like a bit of an amplifier. Initially it was very difficult to control, but 8 years later, we know how to make it work. The control room is treated, but small, and can get a bit crowded when bands are in for mixing sessions, but we make it work. When we initially moved in, I was having panic attacks thinking about how much of a nightmare the trains were gonna be, but again we figured it out. Initially we were recording loud bands, so the trains weren’t a problem because the room is so loud. That said, recording vocals and acoustic instruments requires a lot of patience, but we have ways of making it work. The timetable is fairly random, but there are times of the day and night when it’s not very busy.
The studio is based around a pair of UAD Apollo 16’s, Adam A77X monitors, with a Mac Pro running Cubase 9.5. Preamp-wise, we’ve got some Jaytronics, Seventh Circle Audio N72’s, GAP Pre 73’s. We also use a TAC Scorpion 2 with Langley modded pre’s. It’s a strange desk to have, but I love it. The gain is great.
Mic-wise, we’ve got some interesting ones. Because the studio is so live we’ve bought a lot of dynamics to use on loud sources. As well as all the classic Shure stuff, we’ve got some great Heils (PR30, PR40, PR48, PR20), SM7s, Beyer M201s, Telefunken M80s, an MBHO MBD 219 SC and Ian recently bought a 1972 Electro-Voice 635a. My prized possessions, mic-wise, are my Advanced Audio CM47 and my Royer R121. I also recently purchased a weird XY mic 12 Gauge Microphones Black 212 – it’s sounding really cool on everything I’ve experimented with it on so far.
Compressor-wise, I’ve got a Distressor, a set of KTLA’s and an Overstayer VCA
We’ve got a selection of guitars and basses, lots of Fender Jazzmasters, a 60s Mustang, a 70s Rickenbacker 4001, a 70’s Kramer 450B, a Jazz Bass, as well as a 70’s Ludwig kit that Ian knows inside out. Ian has been with me from the start and is my right hand man in many ways. Apart from being an excellent engineer and producer, Ian also has a great knowledge of electronics and has built several amps for the studio.
I also have a Roland 201 & 501 space echos, which get used on nearly everything. We also have the frame of a baby grand piano set up as a weird resonance/reverb chamber. We generally try to experiment with every record we do. We’re constantly changing the room around and micing things differently to keep ourselves interested, and have worked with many artists over the years: The Jimmy Cake, Woven Skull, The September Girls, Hands Up Who Wants To Die, Katie Kim, 7.10, Percolator, to name a few. I’ve also worked on lots of free jazz records for the likes of Evan Parker, Peter Brotzmann, Paul G Smyth. More recently, a lot of folk music has started coming through and since Lankum, I’ve worked with folk acts like Ye Vagabonds, John Francis Flynn and Varo. Currently, I’m mixing an album for Rough Trades new signing Caroline
It’s been so great working with Zac, Neil and Mikko at Orange. They’ve been so enthusiastic since I initially put the Lankum amp stack idea to them, and have been very helpful and informative throughout. Getting to go to the Orange factory and try out the entire range of amps and speakers was amazing. It really helped with getting the amps I needed for Lankum and Percolator. For the amp stack I’ve used several varieties, in bigger venues I’ll use 2 Rockerverbs with 8×10 cabs. In smaller rooms I’m using the Rocker 15 Terror and OR15. The gain is awesome on these guys and I can get some interesting tones to blend behind the band.
I’ve only recently started using Orange with my band Percolator. In this band I play bass and synth, I use a 1979 Rickenbacker 4001 and a Moog Little Phatty. I was using an Ampeg solid state to get a driven sound, but I recently started using the OR15 when recording bass and have been blown away. It works so well. I also use an Orange 4 Stroke to send the Moog through. The 4 band adjustable EQ makes it so easy to get rid of amp/room resonances, and the compressor is great for softening the attack. For the next Lankum album we’ll be experimenting a lot with the OR15 and Rocker 15 Terror trying to achieve some organic, gainy, acoustic drone.