Adam: I’m Adam Kenny, mandolin, bouzouki and banjo player for the Rumjacks. We play fast Celtic punk rock. I grew up in western Sydney with Irish parents, where I was exposed to a lot of Irish music like the Pogues, The Cheiftans, The furyeys, Christy Moore and more at our family barbecues. At the time I laughed at them thinking I was too cool, and it wasn’t until years later when I was listening to Joe Strummer playing with The Pogues, I found heard a beautiful mix of punk and folk, something that inspires us as a band to this day.

Music was clearly a part of your childhood being played at the house, when did you get into playing yourself?
Adam: My Dad gave me a Stratocaster copy when I was 13 or 14, He taught me ‘House of the rising sun’, and I was hooked. I did a year of classical guitar before I discovered Nirvana which became all I wanted to play for years. I played in a few different punk and hardcore bands and joined The Rumjacks as guitarist in 2008. After a few line up changes I ended up teaching myself mandolin, which in turn led me to tenor banjo and Irish bouzouki. Since then, I’ve had the pleasure of touring and recording with other folk/rock acts like Handsome Young Strangers, The Go Set, The Clan, and Irish singer/songwriter, Damien Dempsey.

Can you tell us a bit about The Rumjacks?
Adam: We’re a celtic punk band formed in 2008, in the Blue Mountains, Sydney, Australia. We were all involved in different projects at the time, but as we found such a great sound together we started playing shows in Sydney, followed by the rest of Australia. In 2015 we did our first of many European tours, and in 2017 we did our first USA tour, before hitting south east Asia and Japan in 2019. When we tour, early starts and long hours in the van is normal for us, we keep it simple with a very small crew, so we are still involved in the fun load-ins and outs.

What are you up to during these strange locked down days?
Adam: I’ve been writing a bit, taking care of the garden and hanging out with the family cat. I’m lucky enough to be stuck in my hometown in the blue mountains right now, I just hope I can leave again for the upcoming summer festivals in Europe!

What’s your history and experience with Orange?
I first started noticing Orange at live shows around the 2000s when I was watching a lot of punk and hardcore bands in Sydney, the sound they gave really blew me away, especially when driven for the harder styles. Naturally, the bright colours and cool symbols for the controls stood out to me. I was so used to seeing just big black Marshall and Peavey stacks, Orange always intrigued me. Over the years, I saw more and more of them popping up onstage (and in studios), and I thought these amps must be the real deal. After shifting to acoustic instruments live and in the studio, I was always on the lookout for good acoustic amps an DI preamps, it’s always a battle playing acoustic instruments live with with full volume band, so the notch / feedback controls were a must for dealing with different live stages. I also hated having a pile of single DI boxes in front of me, so the dual channels on the Orange Acoustic Pre really stood out to me.

I use passive flat piezo style pickups in some of my instruments, and I can still get a steady and ballsy signal to the sound desk. Outperforms itself every night, a great piece of kit! I’m currently running an Orange Acoustic Pre for mandolin, Irish bouzouki, Tenor banjo and acoustic guitar, and the Crush Acoustic 30 for onstage foldback and in the studio. K&K banjo twin pick ups in the banjo and Irish bouzouki, Crafter mandolin with CnR-4 pickup. Godin acoustic guitar with Lr-baggs M80 pickup.

Your awesome tone has arrived, Sir.

Orange Amplification unleash The Bass Butler, an entire Bi-Amp bass rig in a pedal. The new pedal splits the bass guitar signal, at input, into completely separate, parallel, analogue signal chains, just like a real bi-amp rig – without an amp in sight.

The always active ‘Clean’ Bass Channel can be adjusted for compression, bass, treble and volume. An optical compressor circuit, cut/boost tone controls and dedicated, bass cabinet-simulated balanced D.I. output is always on hand with all manner of classic clean tones.

Five smaller knobs control the Volume, Treble, Middle, Bass and Gain (with four stages), of The Bass Butler’s ‘Dirty’ Guitar Channel which can be added with a footswitch. Coupled with a guitar cab-simulated balanced D.I. output and an expression pedal jack for extra control over the input gain, The Bass Butler serves up everything from bright vintage tones to floor-splitting, wall-crumbling modern destruction.

Both channels have XLR balanced output allowing the Bi-Amp bass tone to arrive complete at the mixing desk. The Bass Butler also features an Amp output, which takes a blend of the two channels, set by the volume controls,  before the cabinet simulation circuits from a 1/4” jack, making it perfect for connecting to the front end of any bass amp. This set up means on-stage sound can be controlled completely independently of what the audience hears or the output can be used on its own, just like a plain old preamp pedal. A ‘Ground Lift’ switch eliminates ground hum when The Bass Butler is hooked up to a PA and a bass amp at the same time.

The pedal’s sturdy steel enclosure is made to last a lifetime; it is perfect for in the studio and on the road. The Bass Butler is quite possibly the only pedal bassists will ever need.

Check it out at the Orange Amplification booth #4644, Hall D where all the other Orange products can also be seen.



This content is password protected. To view it please enter your password below:

I’m Monty Pittman and I play the Orange Acoustic Preamp. I’m a solo artist on Metal Blade Records. I’ve got heavy albums and I’ve got acoustic albums. I’m also a guitar teacher. I teach online lessons to students all over the world. I’ve played guitar for Madonna since 2000. I also played for Prong.

I’m here to show you the Orange Acoustic Pre. This is the world’s first stereo acoustic valve active DI. Channel A is valve driven with a 12ax7. Channel B is all-analog and has outstanding clarity. Each channel has 3 band EQ and the tone shaping options are endless.

The Acoustic Pre features stereo reverb, which adds a lot of ambience. My favorite thing about this unit is not just having a 12ax7 tube, but I have right and left stereo outputs and stereo reverb.

The Orange Acoustic Preamp is the best acoustic amp that I’ve found anywhere. It gives you the best tone and it’s easy to play. It’s very reliable. On the road it’s a dream come true for a sound man.


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.

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.

Think about the amazing tools we have in our tonal arsenal today. Overdrive, reverb, modulation, and specifically tremolo. Each device adds to the line array of weaponry all delivered through amplifier or pedal.

Never have there been so many options available.

Of all these different tonal effects accessible to the modern player, non-is so interesting as modulation, specifically tremolo and vibrato. Sounds that have spawned timeless classic genres, from roots, blues and rockabilly, through to audiogasms produced by modern sonic adventurers.

Yet even as well known as they are, tremolo and vibrato have something of a confused past. `

The Orange TremLord 30 Combo

Making sense of what we mean by Tremolo

Let’s be clear what we mean by Tremolo and Vibrato:

We’ll start by talking about Tremolo. By which we mean the oscillation of the volume of a note and not the pitch. A great example of a modern tremolo sound can be heard at the beginning of ‘Boulevard of Broken Dreams’ by Green Day.

When we say Vibrato, then we mean the attenuation of the pitch of a note, to create a varied tone. Literally, it means to vibrate in Italian. Think about BB King’s almost sensual relationship with his beloved Loucille; from soft wailing to her banshee-like howl.

But understanding Tremolo was never that simple

Throughout modern history, Tremolo and Vibrato have been at the centre of much confusion. To some extent that’s to do with a certain Leo Fender when he named the whammy bar on his Fender Stratocaster a tremolo. A pinnacle moment, encapsulated in time, leaving many guitarists bewildered for decades to come.

To make matters more confusing, the whammy bar on your guitar actually produces a glissando (a smooth glide from one pitch to another, there’s no correspondence to timing).

But we have to give old Leo some slack here.

This is not just a case of getting your lefts and rights mixed up; the confusion goes back a long time ago.

Example of a Tremolo Pedal

A brief history of the tremolo

It’s believed that the first stringed instruments were developed in the Byzantine Empire. An Empire that lasted over 1000 years, and way after Rome crumbled. It was land rich in literature and culture, with its capital now situated in modern day Istanbul.

Carvings from around 900 AD show stringed instruments being played by a cherub, most likely to be a lyra. It’s very possible that the tremolo effect was first used as a technique at this time.

However, the first ever record of a mechanical tremolo came around in the sixteenth century. Most poignantly the undulating effect; specifically developed by pipe organists in churches. During this period the development of new mechanisms gave way to the inception of this effect. A great example of which can be found in the San Martino Maggiore church in Bologna. Varied air pressure by opening and closing the diaphragm produced a truly unique sound. But there was a problem; a change in pressure also changes pitch. So it didn’t reflect a true tremolo sound.

By the late 19th century manufacturers were getting close to the tremolo solution on piano and woodwind. As you can imagine, this involved some very inventive but protracted ideas; revolving fins and spinning mechanisms like you’d expect to see from some direct to VHS horror B-movie.

The first true Guitar Amp Tremolo

Although Danelectro created the first true tremolo guitar amp in 1947, they were pipped to the post on the market by Multivox’S ‘Premier ‘66’ and Gibson’s GA-50T, being released in 1947 and 1948 respectively.

Early versions were significantly different from the types of tremolo systems we have these days. The very first types varied bias by using one single 12AX7 tube, which then housed two separate triode tubes, used independently to modulate the voltage. An example of this type of tremolo effect can be heard on old Muddy Waters tracks.

Signal oscillating tremolo effect

Around the 1959’s manufacturers took a different approach, such as the Fender Brownface range by modulating a power tube, a bit like how overdrive works.

Simply put, imagine a sine wave with its peaks and troughs. Then overlay a second version of that signal and invert it by 180 degrees. What you get when those waves cross is phase cancellation and volume attenuation. You can experience something similar when you watch a live band. Some places in the room the volume will be exaggerated and in other places it sounds muted.

The sine wave tremolo effect is often preferred for its subtly, because of its smooth often-imperfect undulation. ‘Crimson and Clover’ by Tommy James and the Shondells is a great example of a signal oscillating tremolo effect.

Signal shunting tremolo

Phase shift Tremolo effect was soon replaced by a totally different system as seen on the Fender blackface amps from 1963 onwards. Using a photocell, a neon light would switch on and off to change the voltage on the 12AX7 phase inverter tube (the last part in the amplifier signal chain). This created a choppier sound than the bias variation tremolo. Check out ‘Riders on the Storm’ by the Doors or ‘How soon is now’ by The Smiths for examples.

Often referred to as a triangle waveform tremolo, the photocell is now commonly used in many tremolo pedals. They are precise, rising and falling in a linear fashion making it musically pleasing to the ear. Examples of triangle waveform tremolo pedals include the Boss TR-2.

Illustration of signal oscillating tremolo effect and phase cancellation

In conclusion

The story of tremolo is the perfect illustration of evolution of sound.

Tremolo has the ability to dynamically change the feeling and flow of your music with just two simple pots. If you’re looking to create depth and movement your chords simply alter the intensity. For choppier sounds or to sync up with the tempo of a song, then speed function gives you all the flexibility you’ll need.

That weapon, the tremolo. That underrated producer that helped spawn hit after hit; we all thought he was called Dave.

It was John.

For more about the Orange TremLord 30 click here.

The Orange Amplification fiftieth anniversary Christmas Wish competition promises to be bigger and better than ever before.

To mark the company’s five decades as a pioneering force in guitar and bass amplification, we’ve decided to grant 50 wishes! We’ll be giving away everything in the current Orange product range; amps, combos, cabs, headphones and more!

To enter, participants should simply share the Orange product they desire most with Cliff Cooper, Founder and CEO, on the Orange Facebookpage. Increased chances can be gained by liking, commenting on or sharing any #wishgranted post. Christmas wishes can also be shared on All wishes and hearts’ desires must be posted between 1st and 24th December (11.59pm GMT) 2018.

Winners can discover if their dream has come true on the Orange Facebook page on 25th December 12.00pm GMT, 2018. Be sure to Like and Follow their page to ensure you receive a notification if you win.

Check out the 2018 Orange Christmas video here

Good luck to all who enter, Orange ‘Where the Magic Happens®’