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…
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
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.
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.
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!
https://orangeamps.com/wp-content/uploads/2018/05/Dani-Gomez_Fly-17_0026.jpeg8531280Danny Gomezhttps://orangeamps.com/wp-content/uploads/2019/09/Voice-of-Orange-Logo-INNOVATION.pngDanny Gomez2018-05-22 14:00:552018-11-29 11:59:24The history of the OMEC Teleport
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.
https://orangeamps.com/wp-content/uploads/2017/05/Vodun.jpg9411702Danielhttps://orangeamps.com/wp-content/uploads/2019/09/Voice-of-Orange-Logo-INNOVATION.pngDaniel2017-05-26 14:07:302018-12-14 13:15:20Interview: Linz Eel from Vodun
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)
https://orangeamps.com/wp-content/uploads/2016/03/TTinterview.jpeg9681296Charliehttps://orangeamps.com/wp-content/uploads/2019/09/Voice-of-Orange-Logo-INNOVATION.pngCharlie2014-09-15 20:02:302018-12-21 13:23:48Orange Tech Director, Ade Emsley: "the Tiny Terror is my favorite amp" (video)
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.