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Does your goldfish enjoy Mastodon? Is the answer to controlling a fire, more fire? And how can we be everywhere at once, yet still on the tour bus?

Orange may have the answer.

The OMEC Teleport USB Audio Interface

From within the Deep

Along the murky journey of discovery, music, especially amplified music developed through necessity. Just as humans evolved ears from gills, the universal language of music has continued to change faster than you can say ‘amphibian’.

That evolution began in the Deep South as musicians innovated through necessity, converting wartime radios into rip-roaring filthy beasts of amplifiers that warded away the competition with a harrowing banshee-like wail of the Delta and Chicago Blues.

The Beast from the East

Innovation like that of the blues explosion provided the inspiration for amps like the Orange Rocker 32. All valve monster tone within a 2×10” stereo combo designed for experimentation, offering a 15W per channel stereo power amp with a mono FX send and stereo return (left and right).

John from Orange giving some real life examples of how you could set up your Orange Rockerverb 32

Within one box you have an array of tonal weaponry to rival even the monster rig superpowers. Imagine the footprint of a self-contained amplifier, but with the option to run stereo or mono outboard rigs or even A/B split to create two separate tones, helping to build a complex sound that would envy the genius of professional amp techs.

It’s that kind of flexibility that has put musicians like Kelby Ray of The Cadillac Three on the map of modern music innovators.

Beyond the Southern Limits

The Cadillac Three (signed to Big Machine Records) are quite an incredible band who push the envelope of the Southern Rock genre, occupying a space in country music that goes beyond their stomping ground of Nashville.

Part of their appeal is their straight-talking, no-nonsense songwriting alongside a unique band setup that features Kelby playing a lap steel guitar, bi-amped to produce the full spectrum of tones.

“People watch us play live and they think there are six people in the band when it’s all coming from two guys and a drummer,” said Kelby in a recent interview with Orange. 

On what makes Orange Amplifiers ideal for building a mountain of tone Kelby goes on to say “If you play through any of the Orange amps over their competitor (products) you’ll notice the difference is this cool overdrive sound that gives a little bit of grit on the bass of the AD200-MK3, and the crunch and full-bodied mid-range of the AD30HTC and OR15H”.

It covers all the spectrum and is badass! –
Kelby Ray of The Cadillac Three on his Orange Amplifier Rig

However, Kelby’s mad skill though is mastering the art of bass playing and transferring that skill onto the lap steel while simultaneously covering the treble side of the instrument, something that he partially attributes to the advice of legendary producer Bob Rock. These days Kelby is nailing it all on his own!

And into the Realm of Possibility

Another Big Machine Records artist who’s been pushing the limits of the bass guitar for some time now is Tom Petersson of Cheap Trick.

Petersson dons a mindboggling 12-string bass which is pretty innovative in itself, but he also runs a monstrous rig of all valve gear combining guitar and bass amps with a huge speaker array pushing a hell of a lot of air. He likes to push his amps to their limits, producing natural overtones that you can only get from all analogue gear.

By his own admission, Tom is looking for that sound when the amp is ‘about ready to blow up’. That’s why at Orange Amplifiers we build our amps to be taken one step beyond the expected, gear that can handle anything you throw at it.

“It’s at this point you can dig in and it breaks up; back off and the amp is clean”, said Petersson. “Orange Amplifiers give you the headroom to create your own sound, allowing for techniques like muting where the subtly comes out in your playing”.

You can’t match the sound of tube amps, and with Orange Amps, the sound is unbeatable –
Tom Petersson, Cheap Trick

Petersson’s sound is a combination of the AD200 bass head with an 8×10” cabinet, that’s 200 Watts of pure creamy, dynamic low-end with focused mid-range, engulphing you in a barrage of harmonics across the whole frequency spectrum.

In contrast, Geddy Lee uses the same AD200 bass amp as one-quarter of his mega rig opting to max out the treble and gain to produce the overdrive part of his tone, highlighting how universal that classic all-valve bass amp can be. 

But for Tom Petersson, his Cerberus-like monster rig features two Orange guitar amplifiers for the top end which includes a Custom Shop 50 head, crafted to produce exquisite blues-rock tones. This amp includes a switchable output stage to offer the chimey purity of Class A or a more opened mid-range Class A/B which adds plenty of full-bodied kick. Petersson’s Customer Shop 50 is partnered with two 4×12” cabinets.

Tom also boasts a venomous Rockerverb mkii alongside two 2×12” cabinets, adding the filth and the fury to his already mighty setup.

Innovating with Solid (State) Logic

After recording and touring 12 studio albums Ty Tabor knows a lot about tone and as an Orange representative with experience using solid-state gear in the studio and on the road since the beginning of the technology, he’s an authority on the subject.

Tabor’s amp of choice way back was the Lab Series L5, also a favourite of the late great BB King. It’s one of those fabled amplifiers that many people have been striving to recreate. The fact that Tabor was the first endorsee to use the Orange Crush Pro 120 is a testament to the tone of that solid-state amp.

When Orange took our foray into solid-state amp build of the Crush series, we put all the attention to detail you get from an Orange tube amp, giving that lively feel and responsiveness with a rich tonal characteristic, the hallmark British sound. If you imagine how those early solid-state engineers would have been producing their amplifiers, they were probably taking the same approach as Orange, although those pioneering engineers didn’t have the luxury of using tried and proved on the road, sourced from reliable partners. They were in at the deep end!

What you get with the Orange Crush Pro is two channels built into the ruggedness of a solid-state amp. One channel is a classic vintage-inspired channel with sparkle at the top end and when pushed it embodies the bluesy crunch of Keith Richards. Channel two is more matched to the Rockerverb’s high gain, all-out attack.

Masters of Flexibility

Brent Hinds of Mastodon is a beastmaster; those who venture the deep enough into the bowels of the underworld will discover his truly monstrous creation. Ler LaLonde of Primus knows the deal; he’s also one of the dark souls of willing to adventure into the depths of musical creativity where mere mortals dare to tread.

It’s diversity where the Brent Hinds Terror comes up trumps with two channels and a unique Terror gain structure that works beautifully for funk, world music and metal alike.

The natural channel has more bottom end staying fat and full, oozing with warm valve compression from the EL84 output section. On the dirty channel, there’s three different gain structure, brighter at lower gain levels which fattens up the more you dial the gain in. The new gain structure also means that the gain comes in more quickly.

I tried the potato plugged into an avacado, and that didn’t work at all. So when I tried the Orange, that was a massive improvement in the sound –
Ler LaLonde

Into Another Dimension

Sometimes big rigs come in surprisingly little boxes, take for instance the OMEC Teleport interface. For a start, this piece of kit fits in your pocket or snugly on your pedalboard.

What the OMEC Teleport does best is give you total flexibility transferring from the analogue realm through to digital or vice versa.

Use it as a high-quality AD converter to:

  • Track straight into a DAW or audio editing software from your instrument
  • Connect to a virtual rack straight from your instrument

Use it as a high-quality DA converter to:

  • Switch a digital signal back to analogue into whatever outboard gear you’re using (like a mixing desk, DI box, amplifier)
Since the OMEC Teleport has such low latency, you can plug into the teleport and from there connect into an app like Guitar MIDI 2

The OMEC Teleport is roadworthy, and that is noteworthy. Just like all Orange products, it’s designed to take the brunt of the road, it’s a rock-solid design in a stompbox casing; pretty tough to break. If you’re nodding your head at this point, you’ve experienced the joy of your latest recording gadget falling apart mid-tour.

Second, on the horror shit show of modern technology is latency issues, the OMEC Teleport, doesn’t have this issue, here’s what Rudy Sarzo of Whitesnake/Ozzy Osbourne had to say:

 “As a recording and touring musician with the Teleport I’m now able to bring my favorite audio plugins on my laptop, iPad or iPhone and play them on stage, in my hotel room or recording studio. I now have a consistent tone and quality anywhere I go with minimal amount of gear. In addition, the low latency and high-end AD/DA makes the Teleport my to go audio interface. All of this in a lightweight mini pedal. A total game-changer!!!”

There’s more, you can convert audio to MIDI, meaning you can control synths and MIDI libraries, Nalle Colt of Vintage Trouble adds:

“What an amazing little pedal! Big thanks to Danny Gomez at Orange Amplifiers for setting me up with this little genius box. With the major advancements of digital plugins, this is the gateway to marry new and old together in a super simple way.”

The Ever-Evolving Sphere

At Orange Amplifiers we keep close to players, from bedroom guitarist to the worldwide touring artist. You never know when or where the next great idea will come from, but it will always have: a tough skin, be simple on the outside, but complex enough on the inside keep doing what it needs to, and most of all bear fruit for the future innovators.

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…

As a touring musician, I needed something simple that allowed me to bring my studio software & apps with me on tour. Teleport_ing the studio to the road and the road to the studio with the first interface ready for your pedalboard. Record, play, practise or discover new virtual instruments. No boundaries, no limits, anywhere, anytime.

This compact and extremely powerful Teleport is a high-quality audio interface, a universal connection device (Mac, PC, iOS, Android) without any specific drivers or software requirements, with high-quality ADC/DAC converters, a USB B connector and housed in a small effect pedal enclosure. The plug and play stompbox design of the OMEC Teleport makes it easier than ever to combine digital software/app models with pedals and amps in your performance rig, as well as to record digital audio with no fuss.

With this versatility the Teleport can be used for a wide range of applications: musicians that want to play, record, mix or process their sound, with the autonomy provided by mobile devices…

… Teleport your tone !!

Learn more about the OMEC Teleport by clicking here.

Everybody makes mistakes. For years that was the Orange motto (not really). We’ve been known for building some of the most innovative products in the whole of the music industry. But like everyone else, we’ve experienced a few missteps along the way. We nailed the Tiny Terror. We totally screwed up Orange Airlines (lots of people died) and the Orange parachute (several more people died).

Here’s a list of what we believe are our most innovative products throughout our 52 year history. A lot of them aren’t real (but people skimming this article won’t realize that!).

Tiny Terror

In 2005 we unleashed the Tiny Terror upon the world. Amp design has never been the same since. It was the world’s first lunchbox amp, and in addition to spawning a whole line of Terror amps from Orange, it also created a rush by other amp manufacturers to “downsize” their products. At 15 watts with a footprint the size of an A4 sheet of paper, the Tiny Terror was a Brit-rock tone machine and a true innovation.

Bull Horn Cab Add-On

Worried about being heard “in the mix” when playing live with your 5 piece doom metal band? Is your band not exactly big enough they can afford a PA? The “Bullhorn Cab Add-On” from Orange is just the thing for you. We were the first in the industry to amplify an amplifier. We called the technology DOUBLE AMPLIFYING ™. However, considering the “technology” consisted of just a simple leather strap, and the fact the strap cost $500, and the fact the bullhorn was not included, the product did not last long.

VT1000 Valve Tester

Most valve testers are as big as a suitcase and weigh more than a 50-watt amp. That’s why guitar techs around the world rejoiced when we introduced the world’s smallest portable valve tester, the VT1000. It’s simple to use and tests a wide range of the most common amp valves. Techs for guitarists such as Brian May and Slipknot’s Jim Root use the VT1000 every day on the road. It has become a “must have” piece of kit!

Chocolate Fountain Mini Stack

Over the years, many bands have requested special Orange merch items they can sell at shows. Our response made sense in theory. We created a special Orange chocolate fountain mini stack so bands could sell chocolate-covered treats. What could go wrong? Turns out the bands were not good at cleaning the fountain after each use. That led to a number of salmonella claims. In addition, when sales were good, bands were forced to order up to 50 pounds of chocolate PER SHOW to satisfy the demand. We quickly discontinued the chocolate fountain mini stack and replaced them with t-shirts.

Taser Guitar

We will admit that the Taser Guitar (AKA “Electric Electric Guitar”) was, quite simply, a bad idea. Security was all the rave in the early 2000’s and we so jumped on the band wagon with the Taser Guitar add-on. By connecting it to your guitar, anyone who tried to steal it would receive a 200-watt shock. Unfortunately, we had a 95% malfunction rate and anyone who even tried to PLAY the guitar, including the owner, would get shocked. The governments of many countries came down hard on us.

Twister Cable

While other companies focus on innovations around digital and wireless technology, you can always trust Orange to innovate in a different direction (not backwards, more like “sideways”). The Twister Cable is a prime example. Some guitarists are analog purists. They will never be caught using wireless systems on stage. The Twister Cable rotates 360 degrees, allowing guitarists to concentrate on their playing instead of how wrapped up they are in their cable. Have no fear of pulling the plug while rocking out!

Cassette Player Amp

It was the 80’s and drug culture was at its peak.

OMEC Teleport

This one is super innovative. The OMEC Teleport interface is a universal connection device (IOS, Android, Mac, PC) without any specific drivers or software requirements. It features high quality ADC/DAC converters – through a USB B connector – housed in a small effect pedal enclosure. The Teleport allows you to convert both analog audio signals (an instrument for example) to digital to be processed with the many applications available. Additionally, the Teleport gives you the ability to convert digital audio signals to analogue (through mixers, D.I. boxes, amplifiers, etc.).

Helicopter Amp

It was the 90’s and drug culture was at its peak.

Transformers

From day one, Orange’s Founder and CEO, Cliff Cooper, has been receiving bribes from the chiropractic industry in exchange for making amps that weigh so much they’re destined to cause back pain. Just kidding! The bulk of the weight in our amps comes from the transformers. Orange doesn’t fool around when it comes to transformers. We overwind and, in general, just overbuild them. They’re a proprietary blend of metal, power, and awesome. No other amp manufacturers engineer to the same spec and that’s what makes our transformers innovative.

The Orange Chimeramp

A chimera is usually a human that has been crossbred with another animal. However, in 1996 our amp designers teamed up with researchers from the Slovakian Institute of Animal Husbandry and created the first-ever “Chimeramp.” It was part amp, part barn owl. Although we had some initial success in hunting circles, by 1998 the Chimeramp was discontinued after an accident occurred while attempting to crossbreed an amp with Velociraptor DNA.

A new month, a new subject! September 2019 is ‘Voice of Innovation’ which means we will focus on our, well, slightly more ‘innovative’ amps. In 2017, Lead Amp Designer and Technical Director Ade Emsley was presented with a ‘People of the Moment Award’ at the MIA Gala Dinner, with the judges claiming Ade’s name was “Synonymous with innovative design, and that he is known and revered worldwide.” So yeah, we’re pretty innovative over here…

Tiny Terror

The discontinued Tiny Terror was a revelation when it first came out, and still remains so this day today. Created by Ade Emsley, the Tiny Terror was the original lunchbox amp which set the bar (high…) for those who were to come after. The Tiny Terror was initially an idea at a NAMM dinner where Ade wanted to make an amp that could fit into an A4 piece of paper, and just a week later, the prototype was a reality. About the amp, Ade has the following to say:

“The concept of the Tiny Terror was an amp you can carry anywhere. You turn up to play a gig and there are three bands playing. You turn up with your Tiny Terror it’s gig bag and your guitar. Before the gig you’ve sorted out the use of a mate’s 4×12 in one of the other bands. Plug in with the volume on ten and the gain on about six and suddenly you’re into 1980’s AC/DC territory.”
Ade Emsley

Pedal Baby

With the Pedal Baby we’ve captured that original rock ’n’roll sound, and we can’t describe it better than Brant Bjork, who at this point had been using the Pedal Baby for about 2 months, had to say about it at Black Deer Festival:

“The sound I’ve always wanted is the sound Hendrix had, playing through these huge stacks of amps, that original rock ’n’ roll sound. Unfortunately for me, the venues I generally play aren’t normally big enough to bring in that amount of amps so when I was recommended the Pedal Baby I was so amazed that this tiny thing had managed to replicate such a huge and iconic sound.”
Brant Bjork

The Pedal baby, which is a 100W class A/B power amplifier is designed for the touring musician as it’s easy to lug around with it’s neat size. As it’s fairly neutral sounding, it’s also perfect for pedal boards, modellers and digital processors.

Crush Bass 100

The Crush Bass comes in three different variations; Crush Bass 25, Crush Bass 50 and the Crush bass 100. Here, we’re focusing on the Crush Bass 100. Despite it’s neat size don’t let yourself be fooled, the sound is huge and works well in small venues and for terrorising the neighbours at home (Trust me on this one, I’ve got one and the sound travels – far…) For the Crush Bass 100, we’ve taken the Blend and Gain controls from our equally popular OB1 Series with those in mind who plays around with guitar and bass amps at the same time so you get the layers, harmonics and distortion from the guitar amp, with the core bass tone from the bass amp.

Rocker 32

In the Rocker 32, we like to think we have captured what might as well be the perfect pedal amp. The Rocker 32, which is an all-valve stereo amp can either be run like a ‘normal’ combo straight in, or with mono effect loops, the latter working well if lots of delays and huge soundscapes is your thing. If not, stick to option A and go for the ‘wet/dry’ mode to separate effects to one speaker, and clean guitar to the other, which creates separation on stage.

“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!

Orange Amplifiers caught up with Linz from Vodun at this years Desertfest in London. We discussed how trying a Tiny Terror in London lead to him using the TH30 and then the Rockerverb. Linz uses a complex guitar amp setup to give him a full band sound from only one guitarist. Using a TH30, Rockerverb and OB1-500 to give him the massive tone Vodun are known for.

Go check out the band on the current tour:

2nd June – London – Decolonise Fest
16th June – France – TBC
17th June – Germany – Freak Valley Festival
18th June – France – Hellfest
20th June – Italy – Rozzano
21st June – Italy – Pordenone
22nd June – Italy – Turin
24th June – France – Rock In Bourlon
25th June – Netherlands – Rotterdam
27th June – Spain – Barcelona
28th June – Spain – Madrid
30th June – Spain – Bilbao
1st July – Spain – San Sebastian
15th July – London – Metal Brew
22nd July – Portugal – Woodrock Fest

How did you come up with the circuit?
It was during a night of terror. A lizard appeared and looked me right in the eyes. In his deep marble eyes I saw an amp next to an A4 pad of paper. He was a tiny terror. [Adrian wanted to design an amp that could “fit on an A4 pad of paper.”]

What’s the ethos behind the circuit?
Everybody wants to play a show and have a couple of beers without having to drive. The Tiny Terror allows you to do just that because you can easily carry it. Call up one of the other bands on the bill and ask if it’s cool to borrow their 4×12. Play the show with volume on 10, tone on 10, gain around 12 to 2 o’clock and get right into the output tubes. The guy you borrowed the 4×12 from has a 100 watt marshall with the pre-amp on 9 and the volume on 2 sounding like a dentist. Your cranked TT geetar sound is SOOO good that you attract the attention of some of the laydeez :) You wind up going to a party with them, still carrying your Tiny Terror and your geetar and your night suddenly gets even better :)

How does the circuit work?
Simply, it’s this, the first gang of the gain pot increases the gain of the first stage. The second gang of the gain pot increases the impedance of the second stage. This results in the signal pushing into the output tubes evenly all the way up. The phase inverters in a lot of amps is complete snollygoster. The one in the TT is perfect. The EL84s have the best distortion sound, the cathode biasing gives you more smerge swomp. This results in the pancakes being thick in treacle [molasses]. Thicker than the dude you borrowed the 4×12 off of.

Technical Director Adrian Emsley (Left) with Dr. Damon "I Wear Bike Shorts In The Winter" McCartney (Right)

Technical Director Adrian Emsley (Left) with
Dr. Damon “I Wear Bike Shorts In The Winter” McCartney (Right)

Interview by Dr. Damon McCartney

Orange’s lead amp designer and Technical Director, Ade Emsley, is a mad scientist. He’s a self-taught circuit genius and a total rock n’ roller all at the same time. For added “cool factor” he’s also born and bred in South London, which is responsible for that awesome cockney accent and “take no crap” attitude.

Ade joined Orange way back in 1998. In the past 16 years his contributions to the company have been endless, but his most notable is likely the Tiny Terror, which is considered one of the most important amps of all time and set the stage for the entire “lunchbox amp” craze. It’s become a favorite among guitar players of all levels, especially in the studio. Ask Ade which amp is his favorite and he’ll tell you the same.

But we also have Ade to thank for EVERY tube amp we’ve introduced since ’98, including the AD, Rockerverb MKI and MKII, Thunderverb, OR, Dual Dark, and TH series. And while Ade remains coy about his contributions to our increasingly popular Crush PRO series, the fact remains that we wouldn’t have ever made the foray into high-powered solid state amps if Ade hadn’t designed the tube amp they’re based on (the Rockerverb 100).

With no further adieu we present this fantastic 4 minute interview with Ade Emsley, captured by our good friends at ZZounds. Hear how he describes the Orange tone in his own words.

ade