Hi, my name’s Ben Parker and I’m here today looking at the wonderful Orange Acoustic Pre Twin Channel.
So, first of all what I was really impressed with is the overall sound – there’s definitely a higher fidelity thing going on when the sound comes through from both the DI and the mic feeds. In dialling up the heat knob on the DI there’s definitely a kind of nice vintage vive to how the DI sounds.
I think when I’m looking for an acoustic signal (I’m looking for) something that’s definitely very pure and the pick ups I use are really true to the woody nature of the sound of the acoustic and what the Acoustic Pre has done is just maximise that sound. It’s not drawn it further into the electronic, it’s just warmed it up, made it sound more natural and enhanced the sound that’s already there. I think because it’s got that warmth to it, I guess because of the tube in it, it really lends itself. I like acoustics that sound like they’ve come from old records and that’s what the tube element does to the sound.
Initially, I didn’t think it was the sort of thing I would use in the studio but actually, with us playing with it today and the way we’ve set it up with the DI straight in and the mic straight in but then both into the computer and the interface. It’s funny how the manipulation of the DI separate from the mic and being able to flick between the two – it’s almost like whenever I record an acoustic guitar I would use this to have a great DI signal – which I always want anyway – because you might want to distort that or treat it slightly differently. Then you can blend in the real mic and decide what you want to do with the two signals. On the road, another set up I have in one of my other acoustics is a split system that takes a mic output and a piezo pickup output from the pickup of the acoustic guitar. So this is great because I can plug the mic into the mic input, the piezo into the DI and then send front of house my particular choice blend of those two sounds with the ability to EQ both channels separately and add reverb if necessary.
The reverb is really nice. Again, I felt it was quite vintage like a lot of the old stuff Jimmy Page used to use on his acoustic picking stuff on those early Led Zep records. It had that flavour to it rather than being a synthetic digital sounding reverb, it felt like it was responding more to what it was being given, like those old fashioned reverbs.
I do a lot of writing with people but I also do a lot of basic tracking here and I work a lot on my own stuff. I compose for film and TV, so it’s interesting, the acoustic guitar sound is always very important in a lot of the things I do, so I’m always interested in seeing different ways of capturing that rather than it being in that environment of mouse click sliders. It’s great to go to the real knobs and turn them and hear the difference. Always. I love that, so it’s nice to have this unit there to manipulate the signal in that way.
Hi. I’m here at NAMM and we’re launching the Orange Valve Preamp. Very, very excited about this, I’ve been involved in this preamp for a number of years when I first met Dennis Marshall, who was doing some pioneering work really, on preamps (that is) valve preamps for acoustic guitars. We got together, and he showed me one of his preamps and I started to road test it. Every time I came back I’d say, “Yeah. This is fantastic.” Everywhere I went, sound engineers whether I was doing live concerts or in the studio would say, “Wow. What is that? Just sounds absolutely great.”
I then suggested a couple of things to Dennis about having a dual preamp so that we could have a valve and solid state channels. The valve to plug the guitar into and solid state for the microphone as well. That then moved onto the involvement with Orange and then it just went into another – it was already fantastic – it just went into another level again.
I started then road testing the Orange pre amp. I’ve been all over the world, touring in America, Far East, Europe the UK. It’s great, it means that wherever I go I’ve got this sound that’s been in my head for so many years. So it doesn’t matter where I am or what I’m plugging into, I’ve got this sound. The sound of my dreams really. It’s absolutely fantastic.
I’ve been playing the guitar since 1960/1961, I’ve toured all over the world. For 11 years I worked with Stephane Grappelli, the legendary jazz violinist, who along with Django Reinhardt formed The Hot Club of France, so for 11 years I sat in Django’s chair and working with Stephane. Then I started to pursue a solo career, I’ve got a Grammy nomination, I’ve got many music industry awards, guitar awards. I’ve been given two honorary doctorates and I was made an MBE by The Queen in 2002 for services to music. These were all nice little bonuses that have come along the way. All I’ve ever wanted to do is just play the guitar, but it means I have some things I can put on the shelf in my studio which is really, really nice too.
I cannot begin to tell you just how excited I am about this preamp, it’s a dream come true. I’m so pleased for Dennis Marshall who’s really the man who had this brainchild of doing this and we’ve managed to work with the best people in the business here at Orange.
https://orangeamps.com/wp-content/uploads/2017/01/Martin-Taylor.jpg16672500Neil Mitchellhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngNeil Mitchell2019-05-15 09:00:542019-07-01 15:03:06Martin Taylor & The Acoustic Pre
Session guitarists are the uber-talented pros who get booked to make the albums of the best musicians in the world sound even better. And though they’re a dime a dozen in Nashville, Buddy Woodward stills stands out among his peers.
We caught up with Buddy so he could check out the Orange Acoustic Pre, the world’s first stereo valve acoustic pre amp/active DI. Watch as Buddy demos the Pre using both a guitar and banjo.
https://orangeamps.com/wp-content/uploads/2019/05/Buddy-Woodward-Acoustic-Pre.jpg1080600Neil Mitchellhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngNeil Mitchell2019-05-15 09:00:342019-07-01 15:07:42Session Guitarist Buddy Woodward and the Orange Acoustic Pre
Robert: It’s a Swedish word, it’s pronounced Skraeckoedlan!
It’s actually spelt with the Swedish A and the two dots and the O but we spelled it more international and it hasn’t been to our advantage! Because no one can spell it or pronounce it! It’s a Swedish word and it translates to like the Horror Lizard, it’s like a Godzilla Reference.
Henrik: I think we had a name before the band was actually started, I think you came up with the name and sent me text. Do you want to play heavy doom rock fast rock and sing in Swedish and we will be called ‘Skraeckoedlan’.
Robert: That was the concept before we even rehearsed and its like a reference to the old 50’s horror movies and that sort of things Sci-Fi. Also the Blue Oyster Cult song ‘Godzilla’ of course!
Tell us about your new album?
Robert: I think it sounds the most of what we want to sound like now because you to rehearse at writing songs, you get better at writing songs. You have to write a lot of songs to know what you want to write. Also when you are younger, it was ten years ago when we started out and we were young kids and we wanted to play like your idols. Wanting to play metal and stuff we like. Now it has progressed into something more original now and I think we know that and i think when we write songs we want to write it for ourselves and not “cover” songs.
Henrik: That has become quite a natural progression, it’s not something we think conscientious about, it’s fun not to do the same songs and do something different.
Robert: This album ‘Earth’, our third album it is a concept album and we got the story behind the concept album written to us by a Sci-Fi author. We based the whole album on his story, so it was more of another take on songwriting, as we had to tell the story of this. The first needs to be more of an intro song and then we need to take it this way. It was a whole another way to write songs.
Henrik: It was a whole different approach that kind of shows up in the result as well.
Star Trek or Star Wars
Robert: Star Trek, Star Wars is not Sci-Fi, Star Wars is just a saga it is a fantasy! Just to clear it up.
What made you choose Orange?
Robert: It’s so connected to this genre and a lot of bands play Orange. When we started out that’s the thing you want, you want to play what your gods play. Then you try it out, it was so good for you and translated directly to you, we play a lot of pedals and the Orange amps really go well all the pedals. I think you had the TH100 first, that was the first one we had,
Henrik: Yes, then we wrote to Orange asking if we can have an Orange amps sponsorship and we would like these amps could you help us out!
Robert: I think it was 2014 we ordered Orange backline and we never looked back. I’m not so conscious about my sound, I think if it feels good and sounds good I’m satisfied and I don’t really know what I play. As long as it sounds great. I found that in the CR120 they are so convenient to have, they sound so great with pedals and don’t weigh anything and they don’t break down on tour. They are the best solid state amps they are the best I have played.
What gear are you using right now?
Robert: I have one of the CR120 Combos, the 1X12 and a 2X12 cabinet with a CR120 Head. I split the signal into two, so I play two amps, that’s my setup.
Henrik: I recently had the same head, the CR120 with a 412 stereo cabinet, I just recently bought the Rocker 32 stereo combo. So I haven’t really got a chance to try it out yet but i’m going to be experimenting with that in some form of Wet/Dry signal, so that’s going to be fun.
Robert: We like playing stereo so I think i’m going to buy that combo as well, it’s so convenient to have a stereo combo and not have to carry two big rigs. Tonight i’m not quite sure actually, our drummer is the one that is the most interested in those things. He wrote what we should have!
Henrik: He is the best at organising all of that sort of admin.
Robert: So we are just happy, we don’t know so much!
Corey: After being a band for a few years, when James, Andrew and I sat down to start writing music the stuff we were coming up with was just more of a punk influence. All of us have been huge punk fans since we were all younger so it was kind of a natural progression and kind of just go back to that. But we still also kept a lot of the heavy end stuff in.
Scary: I just joined the band after this record came out because they did a lot of second guitar stuff and they wanted to do it live. I’ve been friends with the band since they started, I did pre production for a lot of the older records, ‘taste of sin’, ‘set the dial.’ I would go to their space and record it and then send it off to their engineer that were actually going to produce the record. So i’ve known the band for a long time and they asked me to play after the record was done and i’ve been playing in cover bands with Andrew and James since i moved to Savannah so it’s been fun, i’ve known the guys for a long time.
Corey: So we we’ve been working with the company maybe two years but prior to that i’ve used a lot of Orange stuff when we would come to Europe and we would rent a backline. The bass stuff was generally an Orange and that’s what started my interest in using the amps.
Scary: I started using the Orange back in 2009 or 2010, I got the Rockerverb MKI and i bought it because I had seen so many great bands using it. I bought it on a whim and its been my tone ever since, in history!! I’ve had the Rockerverb MKI, MKII, MKIII and they just keep getting better, the MKIII is just awesome, I love it! Corey: NERD! Scary: I know! The stepped attenuators are fantastic!!
Corey: I like with bass something that has some kind of drive section and that is not just a clean, I definitely like tube and bit of a lower wattage than the big SVT type things, 200 is quite a good match. You can push the amp a bit more and retain a lot of that good EQ sound without turning it to one of five.
Scarey: Overdrive and the preamp section is really big for me because its like there are a lot of amps that have really good overdrive but then they sound a little fizzy. The gain on the Rockerverb has always been really nice in my ear and the reverb on the new MKIII’s are amazing, totally usable and then the clean is amazing for pushing pedals. The overdrive though has been something that has won me over for years, haven’t been able to find something like that, for something that fits my ear in years.
Corey: I have the AD200 and also the Two Stroke pedal and the OB1 as my backup amplifier. I’m using the Two Stroke as more of an overdrive pedal, not throughout the entire set or song. I always like a more treble sound like the old Jesus Lizard stuff, that kind of stuff has to have the midrange boost to kind of overdrive the amp nicely.
I
appreciate the story of how I became an Orange user because it embodies my “put
up or shut up” philosophy of rock music.
Before I moved to America to join our band, Hero Jr., I lived in London,
where I worked mostly as a songwriter, producer and studio musician. My main amps were vintage Marshall JMP 50
watt 2×12 combos from the late 60s and early 70s. Being a Jimmy Page and 70s rock fanatic I was
religiously partial to the Les Paul / Marshall sound. There was something about the raunch, honk,
and presence through that rig that inspired my playing. I am not really a “technical musician” and
I’m extremely sensitive to what instrument and amp I’m playing through. I’m not the dude that can pick up anyone’s
guitar, plug into any amp, and just start shredding. If it doesn’t feel right it’s not happening
for me. I’ve always been that way! For the majority of my work I’ve played the
same 1972 Les Paul for over 20 years.
Enter
Orange. To make a long story short,
seven years ago I had finished co-writing and producing an album with my
friends in the Indianapolis, Indiana rock band Hero Jr. The band’s singer, Evan Haughey, and I wrote
the songs for that album via SKYPE. We
had such a good connection that the hook-up between my studio in London and the
studio in Indiana felt like one living room.
We ended up recording the record back and forth between the two
studios. In June 2012 I was invited to
the Hero Jr. album release event in Indianapolis. The plan was to rehearse for a couple days
and play the new songs that we had all recorded together. I came over to America to do that show and
the vibes were so cool I never went back to London and joined the band. When the music feels that right there is no need
to think about it!
From
that day the never-ending Hero Jr. tour started. All my gear, except a couple guitars and
pedals, was in London and the vintage amp I was borrowing on tour was melting
down by the end of each set so I needed a rig.
A friend, and Orange user in London, suggested I talk to her artist
representative about potential touring rigs.
She said that the new Orange gear was killing it and that the artist
support system at the company was amazing.
She was right. The dudes at
Orange were very cool and really wanted me to find the right amp for my
style. They said I would not be
disappointed by Orange and that I would probably not want to go back to my
Marshalls. They were right. A week later I became an Orange Ambassador
and was touring with my first Orange rig, an OR50 and PPC-212 closed back
cabinet. From the get go I was
floored. Not only did I feel that
“connection” that I needed to be inspired, but the fans and technical staff at
the venues we played all mentioned the clarity and balls of my sound and were
impressed. I was really in love with my
amp and spent the next 6 years and over 700 shows playing that OR50.
I
got my Rockerverb 50 Mk. III last year to take on a short spring tour
supporting John 5 And The Creatures. My
relationship with the RV had an auspicious start as it arrived just a few days
before the tour started, and being such a picky creature of habit with my gear,
and having limited gear space on tour, I wussed out and left the RV 50 at home. My initial opinion was…great amp but not as
vibey as my OR50. As soon as I got back
from the tour I realized I was very wrong!
A couple things happened. First,
my OR50 went down and wouldn’t be repaired in time for a short string of
shows. I rehearsed for a few days with
it and still felt that homesick (ampsickness!!) longing for my OR50.
Once
we started playing I began to get used to the RV and noticed that it was
ballsy, yet clean, and cut really well.
It fit. I usually use one setting and control the tone with my volume on
the guitar. With the RV I could crank
the gain but when I rolled off my volume I got the vintage cleanish sound I am
used to. That amp killed it. Like I said I’m not a technician, but the RV
felt like it had headroom for days. Most
importantly I felt it the RV catered to my style of playing and to the
band. Evan and I have a cool dual guitar
style together. We groove so intuitively
that it almost sounds like one big guitar.
The RV fit right into that.
The
second bonding experience I had with the RV was in the studio playing guitar on
a few outside non-rock recording projects.
The versatility of the RV was amazing.
On one session, which was ambient alternative, like Sigur Rós, I used
the clean channel as my basic setup and ran a lot of effects. The RV takes effects really well. The front end is very tight and balanced and
the amp was as true to my vintage effects as it was to the modern gear. I didn’t have to change settings once on that
gig. In addition to a killer gain
channel the amp sounds great using a combination of the clean volume and
attenuator to get a bluesier, natural overdrive sound. The RV rocked in the
studio on all styles of music. Whether
it was vintage soul/funk with a Strat or Tele, Blues, or Hip Hop, all my
sessions were great and I have used the RV50 as my number one studio amp ever
since. Even through a PPC112 the RV has
amazing range and depth.
The
third bonding session with my RV happened during the shooting of the three
videos Orange will be releasing, where I played a Strat, Telecaster, and Les
Paul, through it in order to show how the RV played true to the characteristics
of each guitar and the effects I used.
Prior to the shooting I used the amp for a short road trip and on some
studio sessions and although I was sold on the amp I didn’t really use a lot of
different settings. When it came time to
shoot the videos I was kind of winging the settings to show the versatility of
the amp with each of the three guitars.
I’m sure that Derik, my videographer, caught me saying, “Fuck, this amp
is really the shit” more than a few times.
During
the shooting of this video is when I realized the RV is one of the best new
amps on the market. It can do everything
I need in any situation I have been in, live and studio. I am so impressed that, besides being a
monster rock amp, there is so much versatility in the RV. Both channels have different clean and
overdriven possibilities, the EQ is musical and the attenuator really does its
job if you need to play soft. Set up
with the gain just right I can even get my Page on!! After getting to know my RV50 in so many ways
I have decided to get and ABY and see what it’s like in my touring rig with the
OR50. I’ve been using Orange amps and
pedals for a while now and one thing is for sure. From the Mini crush all the way up to the RV
and OR, Orange has a sound and personality that is perfect for the music I
make. The build quality and
harmonic/tonal consistency is awesome. I
don’t use reverb, as I prefer room ambience, but the built in reverb is an
added bones for anyone that needs on board verb. I never use the effects loop so I cant
comment on that. Orange has been my only
amp since 2012 and I’ve never thought to change or try others. Great dudes.
Great gear. “Put up or shut up!!”
On
my music…
I
love all kinds of music but I have always had a special thing for 60s and 70s
guitar rock. Maybe it’s because the
genre evolved from Soul, R&B, Blues, and improvisational Jazz and has few
boundaries. Bring on the 60s and 70s,
add volume and fuzz to the mix and it’s just right. I favor pre-80s music because, in my opinion,
talent, craft and vibe were as important aspects of the business as the need to
sell records and many of the “corporate” record people had their roots in
music. They hung out with the artists
and bands and released records that, for the most part, touched them, and in
turn resonated with the public.
I
grew up as a songwriter and always wrote my own tunes. My favorite artists have always been
Zeppelin, Hendrix, Sly and the Family Stone, Neil Young, The 3 Kings, Miles,
and too many more to mention. The
mixture of raw rock power and good songwriting is important to me. When Evan and I sit down to write a Hero Jr.
album we usually start on acoustic guitars.
A typical session starts with a lyrical concept or a lick. Evan and I are very in tune with each other
and we share our ideas freely, trusting that we will always get where we are
going. So far it’s worked like a
charm. We always have an abundance of
ideas and work well as a selfless team with one goal, getting the best out of
each other during the initial creative phase of developing ideas. We generally write from our social
observations and from the obstacles we encounter in our lives and how we
grow. Our songs always come out having
multiple meanings to our listeners.
Evan
and I are different people so each song means something different to him than it
does to me. Even before people hear a
song it usually has two meanings coming from two different places. Before we bring a song into the band we have
a finished melody, lyric, and song outline with the main licks and an
arrangement in place. From that basis we
start rehearsing and after pushing, pulling and trying many variations of
dynamics and parts the song comes out Hero Jr.
This process is so important and is a big part of who we are as a band. We know when we are finished with a song that
we have tried every possible combination of ideas and that we all agree it is
“airtight”. We are very lucky to have
our four man family and a creative check and balance system that actually
works.
Both
on and off stage we are a band. I do not
think I could have given up my writing and producing career if I didn’t feel
this bond and team energy. My one music
biz dream has always been to be in a band that could carry on the tradition of
my heroes and stand the test of time. I
think we all feel that way and that’s one reason Hero Jr. has been able to slug
it out for seven years of ups and downs on the path to wherever it is we are
headed. We love what we create and I
believe rock fans, besides loving the music, react to the “brotherhood” and
vibe of a band that is not only talented but scrappy. Before we go into the studio to record, we
take the songs on the road to see how they work in front of people. We are a live band first and we want to get
that feel in the studio. We have
recorded our last three albums and EPs live, with no overdubs.
To
get the songs right it’s important to play the new tunes out live in front of
an audience. Classic rock fans are
relentless and you know when they are not into a tune. It’s what we love about the genre! We usually record all our rehearsals and
shows to hear what works, as the feeling on stage is totally different when you
listen back to a show a week later. When
we all agree we are ready, we set up in a studio facing each other in a semi-circle
and start recording. We separate the
amps a little but are not afraid of amp bleed as it acts like glue. Letting the bass bleed into the drum
overheads allows for a “surrounding” bottom end that anchors the whole
song. We play each song a few times and
usually have a good take in three tries.
If we don’t we move on to another song.
Keeping
it fresh and “unrehearsed” is important in the studio. We are never stressed out and we really do
trust each other on such a level that we all end up being one when the take is
right. I’d say 80% of our last three
recordings are from the first three takes.
For me there is no better musical feeling than being in a well-oiled
touring rock band. It’s what got me into
this when I was 13. The vibration of
“real” rock music touches every part of me.
I’m grateful for music, creativity, my bandmates, and for Orange. Seriously. I use all the products I endorse
and there are no better rock tools for me than my Orange gear. “Put up or shut up!”
https://orangeamps.com/wp-content/uploads/2013/02/Ken-Rose_Orange_1.jpg400605alexhttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngalex2019-05-09 16:13:352019-07-01 14:46:53Ambassador Ken Rose of Hero Jr.: Orange Is A “Put Up Or Shut Up” Amp
As a few days have passed and the hangover had time to wear off, it’s time to reflect on yet another spectacular Desertfest London. We kickstarted the weekend at The Black Heart at 2pm on the Friday for Israel’s ‘The Great Machine’, who totally kicked ass, by the way, before venturing out in the rain heading towards Electric Ballroom where Old Empire had curated the stage for the day. We caught soothing Jaye Jayle who were a nice little ‘calm before the storm’, as we knew we were about to get our ears blown out over the course of the next 48 hours.
Ben McLeod, All Them Witches
After a Black Heart pit stop for a rum and coke, it was time to interview Swedish ‘Skraeckoedlan’ where our first questions were “HOW DO YOU PRONOUNCE YOUR NAME WHAT DOES IT MEAN WHERE DOES IT COME FROM AND WHY DID YOU PICK IT?” We’d tell you the answers to all of the above, but we’d rather keep ya hanging so you’ll watch the interview we did with them once we release it in about four years time. We can tell you this though, they shared their thoughts on it perhaps not being the most beneficial name when it comes to world domination and reaching an international audience – no shit. Still, lovely guys and killer musicians, and totally cool with getting interviewed outside in the freezing rain, gotta love viking Scandis.
Over at the Underworld L.A record label Riding Easy was showcasing a selection of it’s bands, and we caught heavy rock band R.I.P which catered for those wanting fast and heavy rock ‘n’ roll. Later on in the evening saw OM headline Electric Ballroom, Electric Citizen the Underworld and Skraeckoedlan The Black Heart, before The Shrine played Electric Ballroom’s midnight afterparty, which was their first London show with bassist Corey Parks.
From previous year’s we’ve been pretty spoiled with sunshine and summer during Desertfest, something we had to pay for during the Saturday as we had thunderstorms, rain and hail all at once, which also called for yet another great outside interview with Savanna’s swamp metal band Black Tusk who were headlining the Black Heart later on in the evening. The Saturday consisted mostly of legging it between venues to catch as many bands as possible, all while not becoming a soaked mess while doing so.
Isaiah Mitchell, Earthless
Sunday was the grand finale, where we headed early to catch up with Earthless before their show, followed by Witch, All Them Witches and Fu Manchu. Once the Roundhouse headliner finishes everyone knows it’s do or die to get into the Black Heart, where we miraculously landed a table and spent the rest of the evening people watching and drinking until closing time at 3am, which then again calls for another half an hour (at least) lingering outside in the street hoping that somewhere else to party will somehow appear – it did. Fast forward two more hours to dehydration and a headache, and it was time to realise Desertfest London was over, for this time.
*This interview was conducted by Danny Gomez from Orange Amps. A spanish translation is available at the end of this post.
What’s your story? How do you get where you are today? I was born in a small town in Extremadura (Plasencia) and I grew up in the next town (Malpartida de Plasencia). Since I was very young I felt always very attracted to music and painting and as I was growing up I was more inclined towards the first. But growing up in the eighties in a village did not help me much … I did not have the same things available to me if I had grown up in Madrid, for example. So when I finished high school I started working to save some money and go to Madrid to learn music.
In my town I already played in a self-taught way but I wanted to understand music in a more intellectual or mathematical way (I was convinced that it could not be an inspiration only). And before we did not have the luck to have all kinds of information within reach of a click sitting in your room. So, I came to Madrid and my teacher (Pedro Noda) taught me theory and composition and I worked on the guitar on my own, listening to everything I liked and analyzing scores (things that I will always do). Over time you will meet people who give you an opportunity to play in a group, band, artist and do it with respect and love for the music you have to play (whatever it is, everything is learned). And in that I am, in continuing studying and learning to play as the music deserves.
References and influences. What can we find in your music? Each age or age has some influences, there are always. When I was a teenager it was heavy metal and over time my taste has softened (although if I listen to my bands or guitarists back then I remember it with love, I do not deny it at all). Discovering jazz was magnificent and what most identifies my way of playing (I think) is usually what I play. My biggest influence for a long time was the pianist, Keith Jarrett. But what my heart marries is classical music. There is nothing that I like more and my compositions are much more classic than anything else.
Mythical great, those instruments, samplers, amplifiers, mythical effects. Although I have old guitars and old amps, I’m not thinking that everything that happened was better. The new thing is great too, although an 82 Taurus pedal would not be bad to have.
New versus Second hand. It is clear that the new has its advantages and as I said before the new cool, but it is true that in the world of music, the vast majority take good care of your equipment and find cool second-hand things in very good condition.
New technologies, what is the best thing you’ve tried lately? The OMEC Teleport.It is amazing what you can do with that little bit and a computer (or tablet or smartphone).
Equipment to take you on a trip or to work on the road? The OMEC Teleport.
What do you use Backup in case everything fails? For now nothing … cross fingers … hehehe
The studio is burning down … instrument / equipment that you would save? My PRS Hollowbody II. My favorite guitar by far. Along with the PRS DGT was love as soon as you put your hands on the fretboard, I couldn’t believe it.
What is your experience with Orange Amplifiers? I have tried the Acoustic PRE recently.
First impressions about the new Acoustic PRE Well it has been a pleasant surprise. I plugged the acoustic guitar and I was blown away. The two channels make the guitar have a different life. I loved the sound it brings and the possible combinations. A channel with a tube !! The best I’ve heard for acoustics. Let’s see if we can arrange to take it with me on tour this year.
What are your plans for the future? I’ve been playing with Melendi for many years and I start this year’s tour in May in America. Starting in June we will be touring Spain until the end of the year. In June I will record an album with the best singer in the world (for me), Verónica Ferreiro (https://youtu.be/YlEV-K3uAfs). We have a project both with original themes and we are looking forward to recording it and showing it to the world. We will also record another album this year with MENIL (https://youtu.be/uDHc2WYLO2U), a group of manouche (gypsy jazz) that I have with some good friends, and maybe some other surprises.
Tips for readers? Take advantage of time, love the music and your instrument. Thanks, Danny, for the interview and the readers for taking a moment to read it.
Cuál es tu historia? Cómo llegas hasta dónde estás hoy? Nací en una pequeña ciudad extremeña (Plasencia) y me crié en el pueblo de al lado (Malpartida de Plasencia). Desde pequeño siempre me atrajo mucho la música y la pintura y según fui creciendo me decantaba más por lo primero. Pero crecer en los ochenta en un pueblo no me ayudaba mucho… no tenía las mismas cosas al alcance que si hubiese crecido en Madrid, por ejemplo. Así que cuando terminé el bachillerato me puse a trabajar para ahorrar algo de dinero e irme a Madrid a aprender música. En mi pueblo ya tocaba de una forma autodidacta pero quería entender la música de una forma más intelectual o matemática (estaba convencido de que no podía ser inspiración solamente). Y antes no teníamos la suerte de tener todo tipo de información al alcance de un click sentado en tu habitación. Total, me vine a Madrid y mi profesor (Pedro Noda) me enseñó teoría y composición y yo trabaje en la guitarra por mi cuenta, sacando de oído todo lo que me gustaba y analizando partituras (cosas que seguiré haciendo siempre). Con el tiempo vas conociendo gente que te da una oportunidad para tocar en un grupo, orquesta, artista y lo haces con respeto y cariño por la música que tienes que tocar (la que sea, de todo se aprende). Y en eso estoy, en seguir estudiando y aprendiendo a tocar como se merece la música. Referencias e influencias. Qué podemos encontrar en tu música? Cada época o edad tiene unas influencias, siempre las hay. Cuando era adolescente era el heavy metal y con el tiempo se me ha ido suavizando el gusto (aunque si vuelvo a escuchar a mis grupos o guitarristas de entonces lo recuerdo con cariño, no reniego en absoluto de ello). Descubrir el jazz fue magnífico y con lo que más se identifica mi forma de tocar (creo), habitualmente es lo que toco. Mi mayor influencia durante mucho tiempo fue el pianista, Keith Jarrett. Pero con lo que casa mi corazón es con la música clásica. No hay nada que más me guste y mis composiciones tienen mucho más de clásico que de otra cosa. Equipo mítico. Esos instrumentos, samplers, amplificadores, efectos míticos. Aunque tengo guitarras antiguas y amplis antiguos no soy de pensar que todo lo pasado fue mejor. Lo nuevo está genial también, aunque un Taurus pedal del 82 no estaría mal tener. Nuevo versus Segunda mano. Está claro que lo nuevo tiene sus ventajas y como he dicho antes lo nuevo mola, pero bien es cierto que en el mundo de la música, la inmensa mayoría cuida bien su equipo y encuentras cosas geniales de segunda mano en muy buen estado. Las nuevas tecnologías, qué es lo mejor que has probado últimamente. El OMEC Teleport.Es alucinante lo que puedes hacer con ese pedalito y un ordenador (o tablet o smartphone). Equipo para llevarte de viaje o para trabajar en la carretera? El OMEC Teleport. Que usas de Backup por si todo falla? Por ahora nada… crucemos los dedos… jejejeArde el estudio… instrumento/equipo que salvarías? Mi PRS Hollowbody II. Mi guitarra preferida con diferencia. Junto con la PRS DGT fue amor nada más poner las manos en el diapasón, no lo podía creer. Cuál es tu experiencia con Orange Amplifiers? Haber probado el Acoustic PRE hace poco. Primeras impresiones acerca del nuevo Acoustic PRE Pues ha sido toda una grata sorpresa. Enchufé la guitarra acústica y flipé en colores. Los dos canales que tiene hace que la guitarra tenga una vida diferente. Me encantó el sonido que aporta y las combinaciones posibles. Un canal con una válvula! Lo mejor que he escuchado para acústicas. A ver si se viene conmigo de gira este año. Cuales son tus planes de futuro? Llevo tocando muchos años con Melendi y empiezo la gira de este año el próximo mes de mayo en América. A partir de junio estaremos recorriendo España hasta final de año. En junio grabaré un disco con la mejor cantante del mundo (para mí), Verónica Ferreiro (https://youtu.be/YlEV-K3uAfs). Tenemos un proyecto los dos con temas originales y estamos deseando grabarlo y enseñarlo al mundo. También grabaremos este año otro disco con MENIL (https://youtu.be/uDHc2WYLO2U), un grupo de manouche (gypsy jazz) que tengo con unos buenos amigos, y puede que alguna otra sorpresa más. Consejos para los lectores Aprovechad el tiempo, amad la música y vuestro instrumento.Gracias, Danny, por la entrevista y a los lectores por dedicar un ratito a leerla.
https://orangeamps.com/wp-content/uploads/2019/05/Yo-foto.jpg853853Charliehttps://orangeamps.com/wp-content/uploads/2018/04/Orange-Pics-logo-307px-279x103.pngCharlie2019-05-08 10:49:502019-05-08 18:18:52Our interview with Javier Sánchez
As we’ve mentioned before, we’re more than just heavy sounds and slow riffs – it’s May, the month of acoustic! Below we’ve shared some incredible artists we work with, all using Orange for their acoustic needs.
Guitarist Tim Bertsch have been playing since an early age and is as proficient and known for his work with electric and acoustic guitar and is often in demand as a session musician. With his acoustic works and Soulresonance album Tim is a big fan of the Orange Acoustic Pre, and has this to say about it: “The Orange Acoustic Pre is an invaluable element to my sound,from the smallest clubs to the largest theaters I can depend on it to deliver a flawless performance every night. The vast tonal possibilities, transparent signal boosting and superior dynamics of the Acoustic Pre are unparalleled in allowing the slightest nuances of my acoustic performances to be captured effortlessly both live and in the studio.”
Jon Terrey, Listener
Listener is a spoken word rock band from Arkansas, formed initially as a hip hop project by vocalist Dan Smith. After Listener’s second release, Dan got a band together, and they swiftly moved away from the former hip hop sound to their current alternative rock, which could be compared to the likes of Modest Mouse. The current line up consists of Dan on bass, vocals and trumpet, guitarist Jon Terrey and drummer Kris Rochelle.Their latest album “Being Empty : Being Filled” was first released in 2017, and features heavier songs as well as some Listener trademark acoustics.
Thao Nguyen, Thao & the Get Down Stay Down
Thao & the Get Down Stay Down is fronted by guitar and banjo player Thao Nguyen, a Virginia based songwriter based in San Francisco. She initially started out playing acoustic shows as part of a country-pop duo, and her voice has been compared to the likes of Cat Power and Fiona Apple. Read more about Thao in our International Women’s Day article where we shun a light on some of our amazing female acts.
The winner of last year’s Firestone Road to the Main Stage was Welsh singer songwriter John Nicholas who were lucky enough to be gifted amps as part of the prize. Starting up as a musician isn’t easy, especially not financially, so a little something to take the financial edge off is always helpful. Having used his Orange amps for a while now, John has this to say about them; “After winning the competition last year I was given two Dual Terrors and a Bass Terror, and the sound of the Dual Terror is pretty much perfect for the sound I’m going for, same goes for the Bass terror when playing with the whole band!”
Lo and behold, Desertfest London 2019 is upon us! With just a few more days to go, it’s time to take a moment to check you’ve got everything you need for this years festivities, you wouldn’t wanna show on unprepared now, would you?
Ticket
Well, have you got your ticket yet? If not then you best get going, there’s still some left at Desertfest’s website, phew.
Denim Vest with 8000 patches
Please tell us you’ve got your Desertfest uniform ready to go, no? Well, you’re in luck. As we mentioned above there’s luckily still a few days left, which means plenty of time for a bit of last minute DIY, ripping sleeves and stitching patches to the soundtrack of Sleep and Black Sabbath
Waterproof everything
If you’ve been to Desertfest and The Black Heart before you will be aware of the unisex toilets in their 2am state. If not, well, we can only word this nicely – enter at own risk and don’t ever with a hole in your boots. Bring a wetsuit and and oxygen tank to avoid drowning in a puddle of piss. Do your drugs elsewhere.
Earplugs
A lot of you kids and grownups thinks earplugs are uncool, but we’ve got news for you, pal, so is permanent damage to your hearing. Yours truly have made the mistake of attending the majority of shows without protection and am now a constant victim of white noise should the decibel reach a certain level. Now that we’ve warned you, don’t look at us when you ears fall off having stood next to an AD200 for three hours.
Band- and music related pick up lines
Guy spots girl wearing KISS t-shirt “Hey girl what’s up, you sure pull the trigger to my love gun!”
….which brings us to the next one…
Condoms
Kidding, no one ever gets laid at Desertfest.
Requests
Have you got your song requests ready to plea the after-party DJs? Bet you do. DJs LOVE requests and a crowd loves an obscure B-side, keep ‘em comin’!
Suncream
English people get sunburnt everywhere, even at the Underworld at 11pm – it’s unbelievable.
Cash for Kebabs
Drinking solidly for 11 hour straight will take it’s toll and eating is advised – Woody Grill is often the ‘go to’ place for survival and with good reason, killer kebabs and great veggie options. Also conveniently located only a stone throw away from Black Heart, Underworld and Electric Ballroom – perfect when all you can handle is a 40 second stumble.
Tissues
For wiping tears of joy when ‘Bohemian Rhapsody’ is played at the afterparty.
