Orange Amps EL34 Tubes

Like sediment, rock music has been compounded by time. Layers of innovation and genius have terraformed our culture, leading to two unique sounds that lay either side of the Atlantic Ocean. We are of course talking about the American and British sounds of rock.

The origins of guitar amplifier tone

Delta Blues, a contemporary to the folk music of plantations in the southernmost states of America carried with it the soul of African American sentiment; there it stayed until mid-1930s. Its transience, owing to the affordability of tabletop radios powered by pioneering 6v6 valve technology spread the sound of the blues up the Mississippi; eventually evolving into electrified Chicago blues.

Electric amplifiers carved a new sound into the bedrock of the music industry. Inside, those same 6v6 valves, once providing comfort to wartime widows awaiting the return of their loved ones, became synonymous as the sound of American rock and roll. Open and glassy; unforgiving as they are transparent, 6V6 tubes provided an almost cheery optimism for an economy recovering from the brink of collapse.

In part, the American sound maintained its roots in the country styles from which has been a staple of the pop music since the ‘20s. It’s ideally suited to articulate picked or plucked notes, highlighted with a bold, solid voicing and bright top end. Just like audio production methods still used today, the American sound is tight and precise.

But on the other side of the pond, an alternate path was being drawn. Manufacturers adopted a higher-powered newcomer known as the EL34 that soon became a staple for use in British guitar amplifier design.

Arise the British sound

The EL34 reflected the gritty realism of post-war Europe, a dark time that was played out through the music, with guitarists expressively pushing their amps to the edge. The EL34 valve was perfect for the role; its scooped mids, gave a nastier, forward and downright aggressive tone without necessarily distorting the signal.

A bullish, British sound that gave Hendrix the headroom to expend blistering performances, driving home a wall of sound from his favoured Marshall Plexi Amps right up to his 1969 performance at Woodstock. From that point onwards players were looking for something extra to make their mark, and they found that in Orange Amplifiers.

The timeless sound of a nation

Fleetwood Mac, one of Orange Amplifier’s first endorsees took the first Orange rig on a three-month tour of America in the winter of 1969, and although the true voicing of the EL34 valves had yet to be realised. Neither the less, a monster wall of tone pummelled through six 100-watt amps (two with standalone spring reverb units) and 16 speaker cabinets (a mix of rectangular 4x12s and 2x12s), making the world take note.

Fleetwood Mac’s former guitarist Peter Green

By the 1970s, the first true Orange Amp, the GRO100 Graphic Overdrive amp came to be, with those classic EL34 tubes being ground into by the front-end input. That thick mid-range compression breaking up in a raw, unadulterated way voiced the British sound of many classic rock albums of that era.

OR100 Amplifier Front

By the 1980s music had evolved from those heady days of psychedelic hippy rock and valve amps fell out of favour, eventually being replaced in guitar music with solid-state amplification.

A reprisal of THAT sound

In the mid-90s that signature Orange Amplifier sound broke new boundaries as Oasis conquered the record industry worldwide, of which Noel Gallagher used Orange OR series amplifiers to record his first two albums. An example of that classic tone can be heard on Some Might Say featured on their 1995 release, ‘What’s the Story) Morning Glory.

Times have moved on since the early OR series amplifiers with the modern equivalent, the Orange OR15 features EL84 power tubes. EL84s give that same British roar but with less headroom, allowing the amp to break up faster. They don’t blow your head off in smaller spaces, but still retain that classic grit tone.

Tonal flexibility

Fans of all things tube require more raw power than the OR15. The AD30 is a 30-watt Class A amplifier that offers more flexibility to tonal flavours than a gelato ice cream seller on Brighton Pier.

Along with that vintage British power amp distortion, a second channel offers a creamy, classic voice; a Swiss Army knife of amplifiers, like the bastard son of the Vox AC-30 but with that earth-shaking Orange tone. A lovechild embraced by Jimmy Page of which can be heard on the 1999 record, Jimmy Page and The Black Crows ‘Live at the Greek’.

We will accept no compromise

Since 2004 the British tone has received a pumped-up steroid-fuelled monster called the Rockerverb, genetically modified to satisfy the tastes of touring musicians that want to fully manipulate headroom, volume and the wrangle with the beast within. Today’s Rockerverb 50 MKiii disregards the protest movements of the old guard, instead choosing direct action with chimey cleans and iconic gain tones that goes from classic British crunch through to the darkest, heaviest modern genres. 

If you want a great example of the Rockerverb 50 MKiii in action listen to Mothership’s 2017 release ‘High Strangeness’:

British sound transformed

There’s no denying that the two sounds, British or American are distinct. So much so that when it came to producing all-analogue solid-state amplifiers that personality had to shine through.

The Crush Pro series is the epitome of that transition. The analogue signal path allows for those rich tonal characteristics, the hallmark British sound combined with the ruggedness of a solid-state amp. Two channels, one is a classic vintage-inspired design with sparkle at the top end, but as you push it a bluesy crunch oozes from within. Channel two matches closely to the Rockerverb’s high gain aggression. Flying the British flag of inclusivity, yet tipping the hat to those across the pond.

Orange Crush Pro CR120H Amp Head

In conclusion

Rock music has always been about pushing the limits, from its roots through to the complexity of modern-day performances featuring an array of tonal weaponry laid at the feet of giants. And that British sound, still as prominent as ever, lives on because British amplifiers give that something extra.

And like many great mix engineers will tell you:  ‘It’s better to cut from a sound than it is to add to it’.

Words: Naomi MacLeod Photo credits: Kristy Hal Photography

My name’s Naomi, I work for Musicmaker, a long-standing rock and roll retail establishment, and distributor of Orange Amps, in Dublin. I also volunteer at a rock camp for young women* called Girls Rock Dublin. 

Girls Rock Dublin is a non-profit group that runs camps and events for young women*. Taking its cue from Girls Rock Camp, the music camp launched in Portland, Oregon in 2001, GRD’s mission statement champions “building girls’ self-esteem through music creation and performance”. 

Each GRD camp so far has seen, in the space of 5 days (the 5th of which is a gig!), campers go from having never touched an instrument, to performing as a band, playing songs they’d had only 4 short days to compose. I’ve worked on each GRD camp to date as Bass Coach. Each student comes with different levels of experience, but usually a student has little to no prior experience with the instrument, so quick learning and good teamwork is imperative. To compose and perform a song in the camp timeframe is a remarkable feat for most gigging musicians, nevermind a young person who has had to work with people they’ve never met, learn an instrument they’ve never played, and perform a piece having never performed to a crowd before. The atmosphere at each end-of-camp gig is electric, and the rocking out, catharsis and raw expression witnessed in the band performances is nothing short of inspiring. 

On the first day of camp, an “Instrument Carousel” is installed – 5 rehearsal rooms each dedicated to an instrument (guitar, bass, drums, vocals, keys),that each camper visits and decides which instrument they feel most drawn to. The following days are comprised of instrument lessons in the morning, followed by band practice, with workshops and group meetings dotted throughout.  The camp atmosphere is amazing, with the buzz of young musicians meeting like-minded people, workshops being given by local artists, a constant emphasis on positive expression, a respectful space, and of course learning. 

The camp culminates in a concert given by the bands (all of whom have a name and have had a band photoshoot by this point!), each performing their pieces which only a few days before, didn’t exist. It’s a pretty amazing thing to witness.

Musicmaker is delighted to provide support to Girls Rock Dublin on each camp in the form of equipment support. We aim to provide a welcoming and comfortable retail space for young women, and acknowledge the fantastic work GRD does in giving space to young women starting their musical journey. Campers who shop with us following their GRD experience undoubtedly have an increased brand awareness, and are keen to play the amps and instruments they see their idols rocking onstage. 

These are the young musicians we will see rocking festival stages in years to come. Applications are now open for Girls Rock Dublin 2019 summer camp (ages 12-17) at

Here at Orange Amps we are justifiably known for innovation and a willingness to embrace a different way of looking at, and doing things. Black Deer Festival shares these values with us and we are therefore delighted to be the official back line partner for this year’s event.

credit Carolina Faruolo

An award-winning boutique festival, Black Deer has all the answers to the age old question of ‘what is Americana’?
Taking place across three days at the stunning Eridge Park in Kent, Black Deer is a living, breathing demonstration of what broad-church Americana can be and offers a live soundtrack, across six dedicated stages, to this independent way of life. Band Of Horses, Kris Kristofferson, Neko Case, The Marcus King Band, Larkin Poe, Lucero, Brant Bjork and Fantastic Negrito are just some of the big names set to rock Black Deer in June… and there’s more to come. Over four million Brits will go to a music festival this year – but it’s only the thousands at Black Deer who will experience something startlingly original.

Black Deer Festival – Louise Roberts

Black Deer Festival 2019 will be held on 21/22/23rd June 2019 and have internationally acclaimed artists including Band of Horses, Marcus King and the legendary Kris Kristofferson already confirmed. With more acts yet to be revealed, this is an event not to be missed.

For details of the full line-up revealed so far and details of how to get tickets, click here:

credit Carolina Faruolo


It involves making a decision that you didn’t really want to take, but it seems like there is no other choice. So you take the best available option.

Compromising on amplifier design is something we don’t do very well with at Orange. That’s why all our amps are analogue, no digital or modeling. It means you’re starting with a baseline tone that feels natural, detailed and sweet sounding.

Analogue Amplifier Clarity

The type of amplifier can make a huge difference, from the chiming transparency of analogue solid-state gear to the woolly mid-range tones of an all valve amp. That has a big impact when using outboard gear like pedals and modeling processors. Adding layers of tone or effects can create truly unique sounds, but that’s not always what people want. That all comes at the front end.

Imagine it’s like making standard curry base. It doesn’t matter what type of curry you make with that mixture, without paying close attention to those first steps, you won’t get what you’d expect.

That’s why we created a range of new amps with a specific set of characteristics so you don’t need to compromise. You can have your cake and eat it.

The Crisp

The brand new Pedal Baby 100 is specifically designed to produce a truly transparent clean sound to run your pedal boards through. Weighing in at only 3kg it has all the mojo you’d expect from a Class A valve amp inspired design, but without that sterile frigidity you’d expect from a digital Class D amplifier.

The front end is Class A FET technology, while the power section is class A/B, providing a solid-state analogue output. That means you get back all the dynamics, punch and natural sound that are missing from modern power amps; neutral but still flattering.

Now as any touring musician will tell you, there’s nothing quite like the semi-inflated balloon feeling you get when you fly out to a show and realise your travel amp is underwhelming quiet onstage.

Unlike many of small Class D amps, the Pedal Baby 100 is bridged and that makes a big difference.

Most Marshall or Orange cabs are 16 ohm, which means in real terms the Pedal Baby 100 gives you around 70-watt clean power, and 100 watts at 8 ohms. Many Class D amps will only produce 1/4 of the marketed power at 16 ohms and half the power at 8 ohms.

The Clean

In the 1950’s technology opened up a whole new opportunity for musicians especially when it came to clean tones. Tremolo reached maturity by 1963, and from that point onwards hit after hit used the effect in new creative and musical ways.

TremLord 30 captures that era perfectly. A 30w all valve guitar combo using EL84 valves, which gives the amp a middy vintage warmth to the clean channel, not to mention the additional headroom for your outboard gear. On the output side, the headroom/bedroom setting allows you to reduce the volume so you can drive the amp into its sweet spot.

Already quite different tonally from the ultra-crisp Pedal Baby 100, the TremLord 30 also features a two-spring reverb tank adding masses of splashy, crashy flavour, adding to that timeless clean tone.

What makes the TremLord 30 unique from other products on the market is the tremolo itself. There are two footswitchable speeds, so no need to make on amp adjustments; it just takes a click of the pedal to go from a smooth tremolo to a choppy ‘Riders on the Storm’ type effect.

The biggest twist though is the FX loop is being on the power amp section, which means you can run your FX after the Tremolo, putting that unique sound into your modern setup.

The Creamy

The classic Orange Amplifier clean sound has always been synonymous with a warm mid-tone that sounds creamy and thick; oozing with pure class. It’s an aural homograph, redefining the word filthy. It’s that sound you don’t just hear but you feel, faithfully representing the harmonics as they move from fingertips through to your speaker driver. To some that might be classed as adding colour, yet that’s far from the truth.

Our flagship AD30 has two separate signal paths, the clean channel is voiced in the traditional classic Orange voice whereas the second channel has a tighter bottom end with more gain and a quicker attack, more suited to artists that prefer their pedals to do all the work. Additionally, the valve rectifier produces natural compression that is responsive to your playing style, the perfect all-rounder amp for country pickers through to indie artists.

Since 2004 the Rockerverb (and now Rocker 32 combo) has transformed the ‘high gain’ amplifier market. It was adopted in the droves by metalheads from across the globe, artists such as Slipknot, Fall Out Boy, Evanescence and Mastodon. However, the amp is not a one trick pony.

The Rocker range is that timeless classic: vintage meets modern. Now in its third generation, the MKIII is the bastard grandson of an inspired idea, and once which now features a clean channel with a ‘chimey’ response and increased headroom. Even with the changes, it still retains that classic Orange Amplifier mojo.

Rounding up

Whether you’re looking for something that’s pure simplicity, designed to offer a specific texture or you’re just wanting to deliver that classic clean tone, there’s no denying the gleeful nature of plugging your guitar straight into an Orange Amplifier.

We take a lot of care and consideration during the design phase, matching how people are using their gear; driving home new blends, creating modern classic tones people will talk about for years to come.

Orange is well known as being the go to amp for anyone who wants distortion. From British Crunch to total filth. What people don’t associate with Orange is a clean sound and let me tell you, Orange does clean pretty bloody well actually and has done since the very earliest days. Remember, “Albatross” by Fleetwood Mac? Recorded using Orange Amps.

Let’s take a hard and heavy amp such as the Rockerverb 100. Favoured by artists like Jim Root of Slipknot and Brian “Head” Welch of Korn, you may have the impression that it’s distortion only but nothing could be further from the truth. The clean channel has an extraordinary amount of headroom making it a perfect platform for FX pedals. If FX aren’t your thing and you want chimey, bell like clarity – we’ve got you covered. Orange Amps Technical Director, Ade Emsley who is an afficionado of tone has designed even our high gain amps so that they clean up beautifully on the dirty channel too.

Of course, there are all sorts of clean. Perhaps you’re more of an “Edge of Breakup” clean kind of player. Once again, there’s an amp for you in the AD30HTC. Do you need to shape your tone more? OK Check out the TH30. See where I’m going with this?

Let’s be honest, an Orange Amp is always going to sound like an Orange Amp and when it comes to crunch and distortion, may I with all due modesty say we’re pretty damned good at it but that doesn’t mean we’re a one trick pony amp company. 2019 has seen the launch of some of the most innovative products Orange has ever produced and guess what – they do clean spectacularly well! The Tremlord 30 is our take on a vintage amp of the 50’s and is so clean, you could eat your dinner off it, while the Pedalbaby 100…Well it’s a power amp. What else would it do?

There are many amps out there that do clean superbly well and are better known than Orange for doing so but the next time you’re thinking about an amp for your cleans, bear Orange in mind. You’ll probably be very pleasantly surprised.

February 2nd’s “The Classic Rock and Roll Party Benefit Concert” was a great success. The event raised nearly $400,000 for Home Safe, a nationally accredited non-profit organization protecting Palm Beach County’s and South Florida’s most vulnerable residents – victims of child abuse and domestic violence. The event’s silent auction included a Crush 20RT Combo, which auctioned for $450. The celebrity guest was Nicko McBrain of Iron Maiden and KC and Sunshine Band brought the house down. Orange is proud to have played a key role in helping to raise money and awareness for Home Safe.

Our annual Wish Granted competition has become one of the most anticipated giveaways in the industry and every year we get tens of thousands of entries.

This year we’ve reached out to a few of the winners to ask them if they’d like to talk to us about how if felt when they got the call from Orange Santa.

Mark Johns with his Crush Pro 120 Head

Your Name:  Mark Johns
Country:  UK
What made you enter the Wish Granted competition? Watching Cliff Coopers YouTube wish granted post inspired me to enter the competition.
Where did you first hear about Orange Amps?I first heard of Orange Amps back in the 70’s, a local band used an Orange PA system.
Have you ever owned any Orange products before?The only Orange product I owned prior to the competition was a crush 20RT. I still have it. I think it is superb and it gets played everyday!
Anything else you’d like to say?  I would like to add that Winning the Orange Crush Pro 120 felt like a lottery win. The best news I had all year!! I find the sound and look of Orange amps quite unique and like no other amps I’ve owned or played. Sonic and visual works of art. My Crush Pro 120 win has inspired me to develop further as a guitarist. The sounds that this tone machine is capable of surpass all my expectations and suits my playing style and musical tastes. It’s everything I hoped it would be and more! Please pass on my sincere thanks to Mr Cliff Cooper for his generosity and musical spirit, it really is going to be a wonderful and musical 2019!

Russell Graham with his Omec Teleport

Your Name:  Russell Graham
Country:  UK
What made you enter the Wish Granted competition? Popped up on Facebook.
Where did you first hear about Orange Amps? First practice studio I ever used had Orange amps and cabs
Have you ever owned any Orange products before?  Yes, I own an OB1-300 Combo
Anything else you’d like to say?  Thanks once again for the prize, easy to use and practical! Also check out my band

Chris Duran with his Bax Bangeetar

Your Name:  Chris Duran
Country:  USA
Anything else you’d like to say?  Thanks again ORANGE Amps!!!! The BAX BANGEETAR is already redefining my tone and has earned a permanent spot on my board. The range and control of this pedal is off the charts. This pedal is amazing, a true work of art.

Farrokh’s girlfriend Parisa, models his O-Edition Headphones

Your Name:  Farrokh Mehryary
Country:  Finland
What made you enter the Wish Granted competition? I saw it on the Facebook first time. It was a very cool competition, not requiring me to record a video or similar things. I just had to tell what I wished for.
Where did you first hear about Orange Amps? I saw them on many OASIS videos and loved their sound, also the Tiny-terror head was extraordinary at the time! The first real-tube lunchbox head! It was massive news everywhere.
Have you ever owned any Orange products before?  I had Tiny-terror head.
Anything else you’d like to say?  Yes, I like to thank you for making the community happy, especially in Christmas time. I am a foreign student living alone in Finland, far from my family, and this was the only (Christmas) gift I received this year! Thank you orange! :)

Adam Critchfield with his Crush Bass 50

Your Name:  Adam Critchfield
Country:  UK
What made you enter the Wish Granted competition? Saw it on Facebook, love Orange and thought I’d try my luck.
Where did you first hear about Orange Amps? To be fair probably Oasis.
Have you ever owned any Orange products before?  Unfortunately, no.
Anything else you’d like to say?  Superb company with some great gear. Epic-ly good sounding amps. If you wanna support me in my journey as a bassist feel free lol

Yokoo with his Rocker 32 Combo

Your Name:  Yokoo
Country:  Japan
What made you enter the Wish Granted competition? I am a big fan of Orange products and I happened to find it on your website.
Where did you first hear about Orange Amps? Originally I happened to watch the video demonstration of TH30 and I was surprised to see such a gap between the sound itself and the color image. After that I became an amp sound seeker from a pedal sound seeker.
Have you ever owned any Orange products before?  I own OR100H, Micro Terror, Bax Bangeetar, PPC212OB, PPC108, and now Rocker 32! I enjoy colorful tones of Orange daily.
Anything else you’d like to say?  I would like to try more Orange products for the tone. I was very curious about the tone of Rocker 32 so I could not be more pleased for winning it. Thank you so much. I will use it for a long time to come.

Steve Blanco with his OBC112

Your Name:  Steve Blanco
Country:  USA
What made you enter the Wish Granted competition? Because I love Orange amps.
Where did you first hear about Orange Amps? Many years ago as a kid. I grew up with music in my life, and saw pictures in magazines, and of course on stage at shows. Some of my favorite players like Geddy Lee used them, and I have friends that have Orange amps.
Have you ever owned any Orange products before?  Yes. I own and tour with a Terror Bass 500 (old model) head, which has been all over the place with me on tour. I also have several Orange practice bass amps, and a small guitar amp.
Anything else you’d like to say?  I’m a fan of the Orange brand, not only because I think they are the most amazing sounding amps, but also because the way Orange has been able to remain true to its mission over the years. Sort of a blend of edgy and elegant, while maintaining integrity. Music is a powerful device in this universe, and the way my basses sound through my Orange amps are a testament to that power. Thank you!

When our marketing director asked me to write a blog post comparing analogue vs digital amps, I have to admit that the first thing I did was to turn around to see if he was talking to somebody behind me. Here at Orange there are a number of very skilled musicians, many of whom are seriously into their rigs and can not only play but also understand the technical side of said rigs.  

I do not fall into this category.

Don’t get me wrong – I love playing but the thing is, I’m one of those people who have to work really hard to be mediocre and I’m really not interested in all the bells and whistles, I just want to plug in and play.

First thing I needed to do was find out what the difference is, so I had a chat with our techs. After they realised a primary (elementary) school level explanation was required, we began to make progress and I can summarise thusly:

Analogue guitar amps have a solid state, (transistors, resistors, capacitors etc.) or valve pre-amp that produces the tone and a solid state or valve power amp, which amplifies the signal and drives the speaker.

Digital guitar amps, use digital algorithms (complicated mathematics) to produce the tone and a solid state power amp to amplify the signal and drive the speaker. Digital amps therefore can theoretically reproduce any sound you want. It’s just a case of rearranging the order of the 1s and 0s in the signal. Brilliant!

So why would anyone want an analogue amp? Surely, digital is better. My digital TV is miles better than the old analogue signal I used to get from my RF antenna. (If you don’t remember those, ask your parents.) Before anyone starts, I realise reception and broadcast quality are different things, I’m just making an analogy. No pun intended.

Well, it would appear in this case digital isn’t necessarily better.

If you think about it, the signal going into your amp from your guitar is analogue – it has to be, it’s the sound of a string vibrating. The sound coming OUT of the speaker is analogue, again it has to be. We don’t have digital processors in our ear’oles so we need a soundwave in the air to vibrate our ear drum. So what’s the point of converting an analogue signal to digital and back again? Surely that means that analogue gives you what a digital amp is trying to emulate?

These thought experiments are all well and good but there’s no substitute for giving them a try, so I did. I’m not going to name the amps I tried, that’s not the point of this post – as I said at the beginning, I don’t have any strong feelings either way but I did have fun with both amps.

The digital amp was a bit daunting at first. Lots of knobs and lots of settings but once I sussed out what I was doing, I was able to dial in a load of different sounds and had a jolly old time making some wonderful noises much to the chagrin of the neighbours. The convenience of the digital amp cannot be overstated. I could see how something like that would appeal to gigging musicians hugely. There’s your tone, (or any other you may happen to need) right there in a box. Beats having to cart a load of heavy gear around. Awesome! How can analogue compete?

Pretty well as it turns out. As much as I enjoyed the digital amp listening to the analogue amp made me realise that the digital amp was quite sterile – on reflection, it was almost as if the amp was dictating things.  

I was wracking my brains try to think of a way to explain what I meant by that and the only thing I could come up with was to imagine a beautiful room full of expensive furniture but everything is white. The analogue amp coloured some of the bits in.

I’m no amp reviewer, so I can’t use a load of flowery words but it seemed to me that the analogue amp was as idiosyncratic as my playing. There was a relationship between what I was trying to do and what came out of the amp, that didn’t seem to be the case with digital. Also, I was able to just plug my guitar in and play. No messing around, no working anything out just instant fun.

I’m really not any wiser as to what’s better, all I know is what I prefer and I preferred the analogue amp although I can totally see why people would want to go for digital. The convenience and the ability to have everything right there in one place is very desirable, it just isn’t for me.

As mediocre a player as I am, music is more about how it makes you feel than it is about the technical side of things and for me the analogue amp had feeling.But hey, I’m not trying to convince anyone. What do you think?

So Orange has released a new guitar amplifier, you are shocked right, an amp company releasing an amplifier! But the TremLord is something a little different for Orange. 

The centrepiece of the amplifier is an all valve Tremolo, this is Orange’s take on the 1950’s amplifiers that used this effect to such acclaim.

This made me think one; what is tremolo and where will I have heard it before.

First, what is Tremolo?

Tremolo is simply put a modulation effect, it changes the volume of your signal at certain speed and depth. This is not to be confused with vibrato, which changes the pitch of the signal.

On the TremLord you can set two different speeds of tremolo and also the depth of the modulation. This means it’s perfect for use live with a footswitch.

Uses of Tremolo in Songs

Otis Redding – “A Change is Gonna Come”

This is the song that made me explore songs using tremolo, Otis Redding’s version of “A Change is Gonna Come” is a fantastic example. After the opening horn section the unmistakable tremolo guitar chords float in, which then stay throughout the whole song.

After this I dived headlong into finding more interesting and diverse song that used this effect, trying to find examples from across the musical spectrum and also the past 60 years.

Radiohead – “Bones”

Hearing “The Bends” for the first time I remember the raking sound of the tremolo on “Bones” being one of my favourite parts. It felt like the start of the band moving their sound away from the grunge sound of the first album. I chose a live version as it shows Jonny Greenwood using the effect throughout the song. 

Rage Against the Machine – Guerilla Radio

Tom Morello is known for his unique use of effects and I think this was one of the first Rage Against the Machine songs I ever heard,  I remember struggling to understand what that sound was! Heavily leaning on his trusty boss tremolo pedal the track has become a mainstay of the bands live performances and as the live footage shows it’s no wonder why. 

Rolling Stones – “Gimme Shelter”

The lilting almost glassy sounding guitar intro to the track could be one of the most famous uses of the effect. This stone cold classic was released in 1969, sometimes I feel it gets forgotten about, as people remember “satisfactions” fuzzy tones more. But this for me is the Rolling Stones in a song and the guitar makes it.

The Smiths – “How soon is now?”

This couldn’t not be on the list, its so in your face the Tremolo effect. One of The Smiths most famous songs, this was actually originally a B-Side of the 1984 single “William, it was really nothing”. The original demo for the song was called “Swamp” which hardly surprising when you hear the song.

One thing I noticed while going through this is how many great songs that use this effect, I could have provided another 30-40 songs easily. So if you have any songs that you think I may have forgotten, please comment in the comments and I look forward to delving into even more tremolo songs!

Strap on a life jacket and prepare for the angling trip of a lifetime as Richard Turner (Blackberry Smoke) hooks himself the biggest fish of all, the fabled Orange Amplification Terror Bass!

This renowned bassist features in the latest ‘Lure & Savior’ adventure to embark on the dirty mission of catching the legendary re-issue of the Terror Bass. Set in one the world’s most desirable angling locations with all the best gear from Orange Amplification, this intrepid bass expert reels in the most amazing catch. Brent Hinds (Mastodon) also appears from the depths with his signature Terror amp.

This is the kind of fishing Richard and Brent enjoy: lots of bites with the best tackle! To get tips on catching the sought-after Terror Bass using the OBC112 as the perfect lure go to.