By John Paice Marketing/Artist Relations Celestion

Celestion Impulse Responses are professionally recorded guitar speakers made digital. You can add them straight to your guitar sound either on your desktop Digital Audio Workstation (DAW) or in your standalone amp and cab modelling hardware and immediately get awesome speaker tone, just like you’ve been miked up by a world-class engineer in a world-class recording studio.

Since their introduction in January 2017, Celestion have much of their current guitar speaker range available for download as IRs. This February saw the launch of the Orange Cabs collection, part of Celestion’s Backline Heroes series. This has been created for guitarists who insist on the tone of classic Celestion speakers loaded into legendary Orange cabs. Cabs included in the collection are:

• PPC112 1×12 closed back cab, loaded with a Vintage 30
• PPC212OB 2×12 closed back cab, loaded with 2x Vintage 30s
• PPC212 closed back 2×12 cab, loaded with Vintage 30s
• PPC212V vertical 2×12 cab, partially open, loaded with 2x Neo Creambacks
• PPC412 closed back 4×12 cab loaded with 4x Vintage 30s
• PPC412AD closed back, angled cab, loaded with 4x Vintage 30s
• PPC412HP8 closed back “High Power” cab, loaded with 4x G12K-100s

Whether you already own a Celestion-loaded Orange cab, or whether an Orange cab is on your gear wish list, these new IRs mean you can replicate authentic, stunningly realistic Orange tone at home, in the studio or live on stage.The most important feature of Celestion’s impulse responses is their accuracy: we’ve gone to great lengths to deliver great digital tone that’s almost indistinguishable from a real Celestion-loaded cab setup.

The Celestion IR’s are delivered as high quality, 24-bit wav files, which makes them fully compatible with a wide range of amp modellers and sims. They can also easily be imported into a favourite DAW where they can be integrated into the signal chain using a plugin with a convolution function. Innovations like the OMEC Teleport to easily access and switch between accurately emulated tones from your favourite DAW or modelling amp (without needing any additional device drivers or other software), in a live situation would be perfect pairing as this audio interface enables you to divert your guitar signal through the digital signal chain (via an in-built ADC): All of a sudden your entire collection of IRs is available at the click of a footswitch.

The Teleport enables a guitar player to instantly access their favourite plug-ins or amp sims direct from their pedalboard: when you gain this level of usability, the digital technology really comes into its own.

Omec Teleport

What is an IR?
The IR represents a digital “fingerprint” of a speaker’s tonal characteristics. We take an signal from an amp and send it to a speaker cab, then record the result. The whole thing is digitised and we subtract the original input (the impulse) which leaves only the recording of the speaker’s behaviour, (the response to the impulse), which is then stored as a wav file. This is the impulse response (IR) that can then be combined with your guitar signal in the digital domain using a process called convolution, which mathematically combines the guitar signal and the IR together, imprinting the characteristic of the speaker onto the guitar signal.


Introducing our new Orange Cabinet Impulse Responses!

We are extremely proud to announce that the latest name in our Backline Heroes range of impulse responses is Orange Amps.

Celestion has teamed up with Orange to create an entirely new collection of impulse responses based on seven of Orange’s best-selling cabinets featuring three of our most iconic speakers – the Vintage 30, the Neo Creamback and the monster G12K-100.

This latest addition to our Backline Heroes range is for guitarists, musicians and producers who want the combined tone of classic, high-quality Orange Amps speaker cabinets loaded with three of our best-selling speakers.

This new range of cabinet impulse responses means you can now quickly and efficiently replicate authentic Orange cabinet tone whether you’re playing at home, recording in the studio or performing live on stage.

Why Have We Teamed up With Orange?

Founded in London in 1968 by musician and electronics designer Clifford Cooper, Orange Amps have been cementing their place in music history for more than 50 years.

Clifford understood the rigours music equipment was subjected to on the road with touring musicians and was instrumental in ensuring that durability was at the forefront of Orange’s cabinet design. His range of cabinets were constructed with sturdy 15 and 18mm birch plywood and featured thick basketweave grilleclothe, as well as the addition of two unique skid runners on their bases which improved low-end responsiveness by acoustically coupling the cabinets to the stage.

Orange’s superior build-quality meant the cabs quickly became the go-to gear for rock legends, such as Led Zeppelin’s Jimmy Page, Fleetwood Mac’s Jeremy Spencer and John McVie, Grateful Dead’s Bob Weir, as well as Jim Root and Noel Gallagher, to name but a few…

Orange’s product list has grown and evolved over the last half century to include a huge range amps, cabs, pedals and guitar and bass accessories. Now, Orange have teamed up with Celestion to create a stunning range of cabinet impulse responses that perfectly replicate the tone of Orange cabs loaded with Celestion speakers.

The Cool Bit

We’ve meticulously recorded a collection of brand new cabinet impulse responses for seven classic Orange cabs  – one 1×12 (closed back), three 2×12s (open and closed back) and three 4×12s (classic, angled and high-powered):

Orange PPC112 1×12 closed back

The Orange PPC112 1×12 is one of the most popular 1×12 cabinets on the market today. Its closed-back, 18mm birch plywood enclosure is slightly bigger than a conventional 1×12. This gives the PPC112 a greater internal volume for a fatter tone with excellent projection.

This closed back cabinet features a Celestion Vintage 30 delivers a warm low-end, a rich vocal mid-range and a beautifully detailed top-end.

Orange PPC212OB 2×12 open back – Vintage 30

Fitted with a pair of Celestion Vintage 30 speakers, the Orange PPC212OB’s design accentuates the top end frequencies whilst softening the bass response. The split rear panel means the delivery is less directional, creating an airy, spacious and three-dimensional sound. The added presence and chime makes the PPC212OB especially suited for cleaner styles, or for players who want a more vintage combo-type tone from their amp head.

Orange PPC212 2×12 closed back – Vintage 30

With formidable construction and a tight, unflappable sound, the Orange PPC212 2×12 is essentially a PPC412 cut in half, while retaining the fattest possible tone. Two Celestion Vintage 30 speakers features complex overtones, with a warm low-end, a rich vocal mid-range and a beautifully-detailed top-end.

Orange PP212V 2×12 open back – Neo Creamback

The PPC212V vertical 2×12 is constructed from 15mm Birch Plywood, making it light and compact. With Celestion Neo Creamback speakers – delivering low-end punch, a warm, vocal midrange and sweet, refined highs – and an open back construction, it retains the tonal excellence you would expect from an Orange cabinet.

Orange PPC412 4×12 classic – Vintage 30

With formidable construction and a tight, unflappable sound, the Orange PPC412 has achieved near-legendary status in guitarist circles. This classic full-sized ‘straight-front’ 4×12 cabinet with the signature Orange delivery that has made it a mainstay of touring artists across the globe.

Built from high density, 13 ply 18mm Baltic birch plywood with unique skid feet design helps to acoustically couple our cabinets to the stage for a fuller bass response, whilst our signature paper grille cloth contributes to the unmistakable magic of the Orange 4×12. Housing four Celestion Vintage 30 speakers in a closed-back shell, the PPC412 exhibits a laser-focused tone that’s full of warm midrange. 

Orange PPC412AD 4×12 angled – Vintage 30

The Orange PPC412AD is the angled-front version of the hugely popular PPC412 4×12 cabinet. With four Celestion Vintage 30 speakers, the slanted baffle produces rich mids and crisp, sparkling highs with outstanding vertical projection. These cabs conquer the problem of poor on-stage monitoring, whilst dispersing the sound in more directions than a conventional cabinet.

The PPC412AD shares the same constructional techniques and materials as the straight-front version; made from high density, 13 ply 18mm Baltic birch plywood with unique skid runners to acoustically couple the cabinets to the stage for a fuller low end response. It also features the signature paper grille cloth which contributes to the unmistakable magic of the Orange 4×12.

Orange PPC412HP8 4×12 – G12K-100

The Orange PPC 412 HP8 4×12 High-Powered, Closed Back Speaker Cabinet features 4x 100 Watt Celestion G12K-100 Speakers, delivering its famous sledgehammer lows rock hard mid-range and restrained top-end.

Built using 13 ply high density 18mm Baltic Birch plywood, the PPC412HP8 offers massive low-end response with an incredibly tight tone. Your drop-tunings will never have sounded better! Loaded 4×12 into the Orange PPC412HP8 cab,Celestion’s monster of rock, the G12K-100 delivers its famous sledgehammer lows with massive bottom-end, hard rock mid-range and restrained top-end.

The Techy Bit

This new collection of Orange cabinet impulse responses have been captured by our expert sound engineers in a state-of-the-art recording studio, using the same meticulous recording techniques as our previous IR collections.

These Orange IRs are downloaded in .WAV format and can be installed and used on the same huge range of DAWs or amp-modelling gear as existing Celestion IRs, meaning no additional knowledge is needed to use and enjoy them.

We have used the same range of professional, studio-quality microphones (Shure SM57, Royer R-121 and Sennheiser MD421) in the same six positions as our current range of IRs to offer the same options – Balanced, Bright, Thin, Fat, Dark and Dark 2, as well as an additional rear mic for the open back cabinets.

Each of these seven cabinet impulse response have also been recorded using Neumann TLM 107 room mics (Left, Right and Stereo) for you to mix in as much of your desired tone as required. You also have the options of choosing sample rate and sample length (200ms or 500ms).

This range of seven exclusive Orange cabinet IRs are available for download separately, or as a collection with up to 50% discount. Explore and download the new range now!

Be the first to find out about new IR releases, product updates, freebies, news and special offers by subscribing to our newsletter.

So the dust has settled from last weeks announcements from Orange and we hope you were equally surprised and excited by what we have been busy working on for the past two years. A lot of time and effort goes into researching and developing products we believe you as our fans are going to love. One of these products is the Pedal Baby 100 and i’m sure there are plenty of questions about this compact amplifier. It’s a slight departure we feel from what Orange is primarily known for, so we thought it would help to show how the Pedal Baby can be used.

Why was the Pedal Baby created?

The Pedal Baby was designed to give guitar players the feel of an analogue amplifier incorporated into their small, touring rig. Orange is one of the most recognisable amplifier companies in the guitar amp market and we have spent most of our 50+ years building high watt, heavy amplifiers.  We understand though that some guitar players just want to arrive with a pedal board to the gig, or use their favourite profiles on their digital modeller. So the Pedal Baby was created to allow players to bring a compact, lightweight source of neutral, clean power. Meaning whatever you use it with, you can rely on it to bring your rig to life.

So hopefully that has give you a window into why we designed the Pedal Baby but now it’s probably best to give you some more information on the Pedal Baby, so here is a quick run down of the features.

What is the Pedal Baby 100?

The Pedal Baby is a 100 watt Class A/B neutral power amplifier, it is built for the road, fly dates and anything the modern musician can throw at it. Its lightweight, small and able to push out up to 100 Watts into 8 Ohms! The front panel has EQ controls, so you can fine tune your treble and bass setting quickly and easily.

So now you have a quick overview, here are a few ways you can use this new piece of kit:

If you are the type of player who spends days building the “perfect” pedal board and can’t wait to take your “work of art” out into the gigging scene, then the Pedal Baby could be perfect for you. You’ve got your perfect pedal setup but your stage sound is still missing something? Well the Pedal Baby can give a transparent power source and lift all your pedals sound, you don’t have to rely on the venues amplifier, which lets face it, is always in need of TLC.

We know there are plenty of players who don’t want to play big heavy valve amps and want all their effects and amps in a rack mountable solution. The Pedal Baby can be used with your Kemper, Positive Grid Bias Rack, Fractal or any other modellers to power your rigs.  All your patches and profiles you have spent weeks preparing and fine tuning will sound the best they possibly can with the Pedal Baby powering them.

Picture the scene, you grab your profiler rig and rush to the venue only to find the cabinet you were not expecting. Its got too much bottom end and makes your profiler sound rubbish. This wouldn’t happen with Pedal Baby, too much bottom end no issue! Use the front panel EQ to dial the bass frequencies back and when it sounds good, you are set. The Pedal Baby’s EQ settings are dialed in for guitars, so are the perfect controls to use with your guitar effects.

Any more questions?

So there is a quick overview of the Pedal Baby 100 and some of its applications. We shall leave you with the product video which sees John “Denzil” Dines going through the features and we hope you get to check out our new amplifier.

The Orange VT1000 is the world’s first fully automatic, portable, digital valve tester. That’s rad because valve testers used to look like this:

This looks like the control panel for something that launches humans into space

It takes the VT1000 about 2 minutes to test a preamp or power valve and get a rating of good, worn, or fail. You can also use the 1 through 10 rating system to more accurately match your valves.

Since we released the VT1000 it’s ended up in the hands of some of the most high-profile guitar techs in the world. They love how easy it is to use and how well it fits into their work boxes. In fact, they love the VT1000 so much that they filled our email inboxes with pictures and quotes about it. Let’s play a game to see if you can tell which quotes about the VT1000 are real and which are made up (answers at the end).

1. Drew Foppe – Tech for Fleetwood Mac, Deftones, Smashing Pumpkins

“The VT1000 is my favorite electronic device to come out in a very long time and it has already paid for itself in tube matching fees and tubes that I would have simply ended up getting rid of because I didn’t know if they were any good or not.”

2. Steve Smithson – Tech for Sweatpants Boner

“I’ve never worn underwear before, but now I do. The VT1000 is the reason. It makes me poo my pants every time I use it. That’s how exciting it is.”

3. Skully – Tech for Geddy Lee

“An essential tool for the touring amp tech. How many classic valves have been lost due to ‘shotgun’ amp re-tubing? Now you can really know what you are dealing with, and in a portable and simple-to-understand package that heretofore was just not possible.”

4. Bill McLaddyburg – Tech for John 5’s brother

“The Orange VT1000 solved my cousin’s murder. It did what the cops told us was impossible. If you want vigilante justice served ice-cold, the VT1000 is what you need.”

5. Matt Straw – Tech for Robert Plant

“I love my vintage Knight tube tester but the Orange VT1000 is a game changer. No more carrying around a piece of luggage, no more knobs, switches and levers to press. The VT1000 is small, reliable and easy to use. An essential piece of kit.”

6. Gregorious Gravy – Tech for Gov. Mike Huckabee’s Capitol Offense

“I can’t believe how crappy Mike Huckabee’s band is. Why the f*ck am I teching for this dude? The VT1000 is pretty rad though.”

7. Michael Kaye – Tech for Shania Twain, The Who, Paul Simon

“The Orange VT1000 Tube/ Valve Tester paid for itself on day one- I was able to select tubes from new and old batches for current use- and go through the boxes of pulled tubes accumulated over the years.”

8. Sarah Connor – Tech for the Terminator Band

“The VT1000’s rose from the ashes of the nuclear fire. Their war to exterminate mankind has raged for decades, but the final battle would not be fought in the future. It would be fought here, in our present.”

9. Mark Lubetski – Tech for Marilyn Manson

“I’ve been fixing amps on the road for years. For all those years, I wish I had the VT-1000. Knowing if the tubes were good or bad, was always guessing game. Put this one in, take this one out. Not anymore! The VT-1000 does the hard work for me!”

10. Tim Timley – Tech for Dinosaur Senior

“I’m the kind of guy who hates streamlined processes and anything that makes life easier. With that said, the VT1000 is the biggest piece of sh*t I’ve ever used. Only buy one if you love convenience.”

Answers: 1. Real, 2. Fake, 3. Real, 4. Fake, 5. …. We don’t really need to do this, do we? 

For more about the VT1000 Valve Tester Go to Our Website

With season 2 of Orange’s original series “How to Void Your Warranty” almost upon us, let’s take a moment to reflect on the shenanigans of season 1 (“Hey, Farva!”).

Season 1 revolves around “Rob” (from our service department) demonstrating unique, and sometimes not-so-obvious, ways to destroy your Orange product, thereby voiding your warranty. I personally loved episode 2 when Rob plugged our O-Edition headphones into the speaker out of a 500 watt Terror Bass. All of the terribly tragic ideas for ruining our precious Orange gear were user-submitted and sourced from our YouTube comments.

In season 2 we’ve partnered with a variety of YouTube stars to find even more obscure ways in which your Orange products might meet their demise. Here’s a hint: don’t take your micro amp to lunch.

Here’s the full first season. Catch up now before we release season 2 later this month! – Alex (Global Artist Relations)

Raindrops on roses and whiskers on kittens,
Bright copper kettles and warm woollen mittens,
Brown paper packages tied up with strings
These are a few of my favourite things …

… and technology.

Yeah, technology is a personal favourite of mine regarding music. For everything else I´m basically an analogue dog, but when playing or recording I like to get the most and as many colours as possible to paint sonically.

Over the years my rig evolved from a very primitive (and cheap) pedalboard that I even made myself with some hand shaped rough plastic, an IKEA frame and velcro, loaded with some of the cheapest pedals ever, to a VERY elaborated and expensive rig during my most intense session work years, to a two floor stereo pedalboard that came back to a pretty deceptively simple Pedaltrain NANO mini board 4 years ago.

Since I developed M1N1 (later Teleport) my palette became second to none and (even on early days when it was hidden on my monitors) I was thinking about the next App or software to download and include on my rig. It first appeared on my pedalboard 4 years and a half ago and the first premise was to integrate it as part of my analog guitar rig (no amp. involved thanks to my analog amp. sim. T.A.E. technology based preamps), so a bunch of my beloved analog stompboxes (Wampler, Keeley, T-Rex, BOSS… “you_name_it”), my Eventide H9 and M1N1 both for sonical adventures with digital rig emulation (amps of extra effects pre or post analog T.A.E. amp. sim. thanks to Eventide H9´s PRE/POST mode) and MIDI guitar (with no MIDI pickup thanks JamOrigin technology). This is my 2018 NAMM demo board.

In use:

As you can probably notice, there are two Teleports on the next picture… Why? That´s a good question. I was using the first one both to get polyphonic MIDI and pedal simulations (like a tremolo or a phaser that work better before my Massive Unity analog 1964 amp. sim.) and a second Teleport at the end of my signal chain both to enjoy stereo flexibility on my laptop plugins (imagine having Eventide´s studio algorithms like Physion on your pedalboard) AND to record directly to any software with my whole signal chain (boosters – 1st Teleport – 1964 – H9). Portability with myriad options, that’s absolutely me !!

Some personal favourites are:

JamOrigin MIDI Guitar

MIDI Guitar 2 is one of the most ambitious guitar processors ever made. It really listens to you and recognizes your playing. Add any synth or virtual instrument to your guitar effect arsenal with seamless integration with your DAW’s that will improve your workflow when recording or composing, loading Virtual Instruments, Effects, Impulse Responses, Samplebanks.

IK Multimedia Amplitube

A classic now, the game changer when released, always crunch amp. simulation heaven, with some of the best pedal emulations ever.


Many versions came after it, but it was never defeated, original Positive Grid iPad App was my first love… and it’ll be my last (or not), but I still love their simple amp. sims and pedals (that sound great in conjunction with “real” pedals on my pedalboard).


Physion (formerly known as Fission) based on Eventide´s ground-breaking Structural Effects technology allows you to split a sound into its transient and tonal parts, independently manipulate and then fuse them back together. Apply it to any instrument for a no boundaries effects


ROLI´s synths (both App and Mac versions) were key factors when I turned into MIDI Guitar possibilities. Not being able to play the keyboard I had to find a way to get that A MA ZING sounds under my fingers. OMEC Teleport was the AD/DA door and MIDI Guitar was the bridge.

MoForte / Wizdom Music

Being a HUGE Dream Theater fan, to have Jordan Rudess samplers on my guitar was a must !! And I did it !!

It can be downright scary asking guitar related questions online. Will you look like an idiot for asking the “wrong question?” Shouldn’t you already know how impedance works? Or that running a 200 watt head through a 5 watt cab will possibly cause a fire? Fret no longer (puns!), because we want to make the whole FAQ process less stressful.

The eagle eyed amongst you may have noticed that we have already been releasing the “Orange Answers” series with our shop tech, John “Denzil” Dines. So do you struggle with compression and dialing it in? Do you struggle with how to bi amp? Just ask us and we will try to answer your questions through our FAQ section or YouTube channel.

Here is an overview of the first four questions we’ve tackled:

“Teleportation is the theoretical transfer of matter or energy from one point to another without traversing the physical space between them. It is a common subject in science fiction literature, film, video games, and television.”


Hi everyone, and welcome to the OMEC Teleport files,

My name is Danny Gomez and I designed and developed the OMEC Teleport with the Orange Amplification team. Let me tell you a little about myself and the circumstances that “teleported” me to here and now.

First of all, I´m a musician, I´ve been playing the guitar for 25+ years and working professionally the last 20; playing, touring, recording, demoing and producing. In 2014 I became partially deaf (left ear 1Kz -30dB), I couldn’t hear my wife Martha or my son Neio properly. Imagine trying to play with less harmonic content, there are notes that simply weren’t there.

That said, I recovered in a couple of weeks, but they were horrible days and due to the severe treatment and the fact that I hate needles (even being highly tattooed as I am), I hate them and I will faint during blood tests. So, imagine a week of being connected to a machine, trying to recover your hearing… You need to think about anything else, to keep your mind occupied.

The first day was horrible so, on the second day, I decided to win this battle, by both thinking about a way of not fainting during the session and improving my portable playing experience, just in case I couldn’t recover enough to keep playing professionally.

I dictated to Martha, my wife, the full block diagram and schematics of a new product, called the M1N1 (M.artha 1 N.eio 1). My plan being, to create a mini pedal with a retro-futuristic name, M1N1, sounded good enough. I got the file and sent it to one of our regular engineers to prototype.

A portable interface with a buffer and the right impedance to keep the playing experience. There was simply nothing like that around. There were big audio interfaces that sounded good (not very guitar-friendly or too complicated) and small portable toy-like interfaces (not sturdy enough for professional usage).

I needed the best of both worlds; tiny, simple, powerful and really musical (pedal to amp type interaction), something that can work with anything, immediately and with enough power to allow polyphonic MIDI through software (and no MIDI pickup installation).

When I received the first unit (that was a little larger than expected), and tried it, there it was! It sounded good, worked with Mac-PC-IOS-Android, reacted to my volume guitar control and was portable enough to take it with us to our first NAMM as Massive Unity Ltd (our UK based company). There we tried to find some alliances in L.A. to manufacture and distribute. It was a project that big that I couldn´t personally manage, while playing, touring and travelling around the world. We have an analogue pedal line that we can handle, but this was huge (I knew from the first moment).

2015 NAMM was great (once I felt confident enough to bring it out of my backpack at meetings) and we even launched the Cort-Manson Matt Bellamy guitar with Hugh Manson himself for several media titles (inc. Premier Guitar and Guitar World). We came back home with a bunch of business cards and some ideas. I immediately started to think about how to do it smaller, more pedalboard-friendly, while on tour (testing it live, well hidden under my monitors) I had the idea; same powerful chip, smaller enclosure. Solved.

2016 NAMM was even better, more demos, more meetings, evolved interface designs (in a 90´s Apple twist, we added iNterface to the project name), Cort, Kz GuitarWorks, Eventide, etc. All of them with the M1N1 iNterface. Some more meetings occurred. Once again I started my quest for the best and the tiniest interface ever !! Got it, same power on a mini pedal enclosure.

The same year, October, our family at Manson Guitar Works invited us to attend their Manson Guitar Show, to unveil and demonstrate their new Manson DR-1 and Cort-Manson MBC-1. The M1N1 iNterface rocked them all, but everyone was looking the guitars hahaha and playing right after legends like Bernie Marsden and Steve Howe never helps !! We joined Manson Guitar Works and Orange Amplification team and some artists for an Indian dinner.

Next year February, once again we traveled with Manson Guitar Works to the Birmingham Guitar Show. What an amazing show, amazing demos and amazing Indian dinner (the poshest Indian dinner ever) with Mansons and Orange´s Rob and James Deacon. During the night we chatted about music, gear and my demos, they seemed interested about the particular usage of their amps (I connected my interface´s outs to both amps effects returns to use them as powered speakers).

They asked me about that interface and my analogue pedal line and we agreed on a meeting at their booth for the next day. We spent an hour or so dissecting my designs and we exchanged our emails to keep in contact soon.

March, we were invited to Borehamwood Orange HQs to meet them all, including legendary Cliff Cooper and Ade Emsley !! We spent a couple of days there and we arrange a licensing contract… Orange Amplifiers would be manufacturing and distribute my interface worldwide !!

We started making some minor technical adjustments together (to work with the biggest boys in the industry, everything has to be highly detailed and it takes time). We decided to launch it as an OMEC product (O.range M.usic E.lectronic C.ompany) the 70s avant-garde division of the brand and John Dines came up with the Teleport name (retro-futuristic again… I loved it, thanks mate !!).

2017 NAMM !! More demos testing prototypes and new alliances (like our IK Multimedia deal that allow us to give you all this amazing Amplitube Custom Shop Orange edition with every Teleport unit purchased).

The Teleport was finished but it needed a route to market. We worked on all things marketing with the Orange amps marketing team, headed up by Charlie Cooper. That, plus the fact I was able to contact some of my idols with Alex Auxier (Artist Relations Manager) to get them on board, was amazing. Then getting their positive impressions about our new Teleport technology, was simply the icing on the cake.

2018 NAMM !! +20 private demos for media, dealers and pre-launch meetings. More supporters, more artists, more alliances, everyone is excited about the new Teleport technology !! Many brands offered their support on this pretty innovative launch: IK, Eventide, Joey Sturgis Tones, Cort, Positive Grid, MoForte, JamOrigin, T-Rex, etc.

Two years we´ve been working on this, absolutely no leaks and every proto better than the previous one, with the UK and overseas teams, testing prototypes on the road and international fairs (once again unlabeled and hidden from the public eye on my pedalboards)

… Now we are ready !! April 26th was the date, the date for launch!

Bass overdrive: A one way ticket to Asgard (Land of the Gods)

Lately overdriven bass has had a bit of a comeback, waking like the giants of Jotunheim from their icy slumber. Modern players, warmed to the tone of 1970’s dirt amps are seeking out flexibility from their instruments and the answer to their prayers is overdrive.

It’s a tone that is both classic and contemporary, a part of an arsenal of weaponry that can conquer lands we thought were out of reach.

Why the fascination with bass overdrive?

Bassists have sat back watching as their six-stringed friends rip it up while they happily provide the backbone to songs for a long time. Consider some of the greats: John Paul Jones of Led Zeppelin, Jack Bruce (Cream) and Iron Maiden’s Steve Harris, they all provide the most solid foundation you can ask for. But a new breed of player is on the march, notably Prophets of Rage’s Tim Commerford and Mike Kerr of Royal Blood, who fires off a searing attack of tonality, the lows and highs, removing the need for our 6 string relatives. No longer is this about keeping peace in our own world, it’s about taking Valhalla, claiming the seat from Odin and making all nine worlds our own.

Bi-amping your way to bass overdrive of the gods

Mike Kerr gets that awesome tone by splitting his signal two ways. One side is channelled and modulated to drive a guitar amp and the other goes into a bass rig. That means he gets that top end aggression from his bass overdrive pedal and pulsating bottom end too. It’s like he’s ripping down the gates to Valhalla and then wiping his brow with the draft excluder.

But it’s not quite as simple as storming the rainbow bridge and claiming the hall of the slain. Achieving that kind of monstrous tone has been all about using a mighty rig with two separate amplifiers and speaker arrangements. So unless you’ve got a strong back and deep pockets, bi-amping can feel out of reach to those waiting in the sidelines for their time to come. Unless that is you’ve got a trickster god on your side.

Loki and the overdriven bass pedal tone

Getaway Driver is the perfect tool to swipe away Odin’s throne, giving bassist two tones in one. This one small, inexpensive unit produces vintage vibe gain that has a real smooth compression overdrive sound that feels responsive like you’d gain from a Class A amp. For bass guitarists, this is the ideal tool to push forward driven bass riffs to cut through the drums. It’s like having a cranked modded ‘70s amp under your foot. If you want more raw power, using the 12 Volt input gives you a bigger, punchy sound of the EL34 tube. By contrast, use a 9 Volt battery and you’ll get a less bassy tone similar to the EL84 tube that is upper-mid focused.
But the linchpin to this bass overdrive pedal is the cab sim feature that gives you two outputs. The first output is transparent when bypassed, but once you engage the pedal you’ll get powering bass overdrive only the god of thunder could deliver. The second output offers a glacial clean amp sim channel that glimmers with harmonic overtones. Hook the second channel up to a DI box and you’ve got yourself a bi-amp.

Overdriven bass with added dirt

Just like the sound of any good armour as your charge into battle against the gods of Asgard, there’s a good chance that you’ll want more clank with your bass overdrive pedal. Orange’s Two Stroke EQ pedal gives you just that. By plugging the first channel output of the Getaway Driver into the bass EQ pedal you can carve your own unique tone, digging your ice sword into Yggdrasil, the tree of life like a Swiss army knife. As you watch its bark fall to the earthy meadow, regale in your victory as you revoice the tone of your instrument. Add more aggression across a band between 120Hz to 1.2KHz parametric or cut some of the wooliness between 850Hz to 8.5KHz, the 12dB boost gives you total control.


Bass overdrive pedal flexibility that’s tough to beat

In combination, the Getaway Driver overdrive pedal and Two Stroke EQ pedal seem like chalk and cheese. Loki and Thor. One unit is pure sorcery, capable of creating two distinct sounds from one unit. The other can shape mountains using the power of modulation, sculpting bass tone from searing attack all the way to subtle depths. Bypass both pedals and enjoy the transparency of high-class circuitry that adds or takes away nothing, just pure tone. Then go into overdrive to the max, riding Odin’s eight-legged horse out of the battlefield waving your flag victorious.

So, there is only one question left to settle.

Now that you’ve conquered the gods, who next?

The Crush Mini has seen multiple redesigns since its release in 2006 but none of these revamps have been as big as 2018’s. As well as appearing in the latest commercial for the Crush Mini, Mikey Deemus from Skindred had this to say:

“Make no mistake, this lil’ box of pure doom is mighty enough to shake, rattle and roll.. From headphones to the stage, the Crush Mini has got what takes!”

This article is an overview of these changes and why you should take the time to check this small but mighty amp!

Full tonal control

The control panel has been redesigned with a simple control panel, much like the Micro Dark. Three controls: volume, shape and gain, give you a wide range of tones.  The shape control gives your sound either a cut or a boost in the mids. Dialing back on the gain and pushing the volume up will give smooth cleans, before clipping into natural crunch the higher the volume goes.

Speaker Output

A new feature added in 2018 is the 8 Ohm speaker output, giving you the option to use with a speaker cabinet to open up your Crush Mini’s sound. Any 8 Ohm speaker will work and the onboard speaker disengages when the speaker output is in use.Trying the Crush Mini with an Orange PPC412 is a must and you will be surprised at how much volume this little amp can manage.

Battery Power

The Crush Mini can be powered by a 9V battery or a power supply (not included) meaning the Crush Mini can be played anywhere. The amplifier switches on when a lead is inserted into the jack socket or AUX-IN, so you don’t have to worry about running out of battery.

Perfect for on the road

The amplifier is a perfect companion for the traveling musician, whether backstage or at home practice, the Crush Mini is ready for whatever is thrown its way. The In-Built tuner is simple, easy to use and means you are always in tune. Want to play along to your favourite songs? Simple, the Aux-In is there to give you this option and if you need silent practice the headphone out disengages the speaker, so you can jam in silence.

Moose Blood use the Crush Mini’s in the studio and the road.

Original “Pics Only” Design

The Crush Mini design is back to the classic 70’s “Pics Only” design which made the brand so famous. The wooden construction keeps the ethos of quality and reliability that runs through the Orange product range.

To find out more about the Crush Mini, click here.