“One of the biggest things that you learn from 50-odd years of experience,” begins Cliff Cooper, founder and CEO of Orange Amps, “is the ability to listen to something and just say no to a sound—and to keep saying no until you can truthfully say yes.” Although that seems, on the face of it, like a fairly simple requirement, Cooper, who started Orange Amps in 1968 with modest means and an exacting personality, is only too aware of the pratfalls of such pickiness: “But the problem with saying no to a sound or a product is that it costs time and money”, he explains. “Each time, you’ve got to work out why you’re saying no, and go back to the drawing board to fix it—and that’s the difficult part.”

That iterative loop—of listening and tweaking, pouring over schematics and components, then listening again, each time getting slightly closer to that resounding “yes”—has been a pattern played out throughout Orange’s history, and is perhaps the cornerstone of its success, with musicians returning again and again for the past five decades, knowing they’re going to get a piece of equipment that sounds perfect and is built to last.

Today, however, for the first time in the company’s history, Cooper is explaining that development process not in the context of a new guitar amp or effects pedal, but of a product built for both musicians and non-musicians alike: a premium Bluetooth wireless speaker called the Orange Box, which is also an Orange first—specifically, the first consumer-facing product designed entirely in house by Orange’s engineering wizards, from the ground up.

Since the initial blueprints were drawn up back in 2017, Cooper and the team have said “no” to a lot of Orange Box sounds. Now, however, they’ve given it a yes, and the Orange Box is available from tomorrow, starting a new chapter in the history of Orange Amps. Accordingly, this is a story of how over half a century of guitar-amp expertise can be adapted to something more universal; a story of trial, error, patience and success; and a story of what Cooper describes as one of the most important products Orange has ever made.

The new Orange Box: the premium Bluetooth speaker was designed 100% in-house, and is manufactured in the same factory as its guitar-amp cousins

“When we had the first prototype back for testing,” recalls Cooper of the early days of Orange Box development, “it just wasn’t better than anything else. It was fine—good, even—but it just didn’t stand out, and one of the things Orange has always been proud of is that anything we do has to be better than what’s already out there.

“So that’s why it took so long,” he continues, with a wry smile, knowing not only how six years stretches out in the world of research and development, but also knowing now that the Orange Box really does stand out. And it was clearly time well spent: listening to that initial prototype—then nicknamed the Juicebox—at Orange’s development laboratory is simultaneously a revelatory and lacklustre experience, with all three test songs of various genres selected for this article to put the unit through its paces sounding tepid and distant. Only Madonna’s ‘Hung Up’ has the faintest flicker of life (Bowie’s ‘Modern Love’ and Led Zep’s ‘Black Dog’ are pale imitations of their true selves), but the reality is that this particular Juicebox contained a far-too-diluted, watery recipe.

The second and third versions fared slightly better. For these, the R&D team experimented with weight-saving neodymium speakers and a more lozenge-shaped form-factor, and as a result, all three songs started to resemble their imperious selves. There was still something off, though—a sort of drab fizziness, like day-old soda water, with strangely scooped mids and muffled bass.

Thankfully, the fix was at hand: “After several prototypes,” explains Cooper, “we decided that the only way to improve the sound was to use active electronic crossovers, which other companies weren’t doing.”

The active crossover in a unit like the Orange Box splits the incoming audio signal in two based on frequency range, with the different signals being sent to different amplifiers specific to those ranges, and then on to appropriate speakers custom-tuned to those frequencies. An active crossover has the advantage of perfectly matching the respective specialist amplifiers and speakers, making sure all parts of the path work together holistically, and each part of the sound is dealt with by the most appropriate equipment. An active crossover also prevents loss of information in the splitting process, meaning that all the audio in your favourite records is retained, all the way to the speakers’ cones.

Getting that split-point right, however, is always the key, and this is where the expertise that Orange technical director Adrian Emsley, amp-design genius and brains behind virtually every Orange product for the past 25 years, shone through: “Frank and I changed the crossover so that just the amp dealing with the bottom end was Class D,” explains Emsley of his work on the Orange Box, alongside colleague and Cambridge academic Frank Cooke of JPF Amplification. “Then, the two amps dealing with the midrange and treble, on the left and right, were Class AB, which ends up much more musical in the area it needs to be.”

And musicality is exactly the watchword here. Listening again to those same songs on the first Orange Box prototype to implement such a crossover is a lightbulb moment, like a jump from black and white to colour: suddenly, Bowie’s vocals carry genuine anguish and Jimmy Page’s guitar a tangible bite. The arpeggiating synths on ‘Hung Up’, too, sound almost three-dimensional.

“Unlike a different guitar amp company’s wireless speaker, which is only stereo above around 3 or 4 kHz,” continues Emsley, referring to a frequency range in the very highest octave of a concert piano, “our version is stereo above 300 Hz [the middle of the piano], which works especially well with AC/DC-style guitar music, where Angus is on the left and Malcolm is on the right.

“Those other wireless speakers all sound pretty bad with AC/DC,” adds Emsley, ever the rock purist, “which I think is a very poor result.”

Rogue’s gallery: an assortment of Orange Box prototypes, each of which made progress towards the sound that got the “yes”

“The other thing, of course,” continues Cooper, “is that we use a wooden box. We could have used a plastic cabinet, to make it a bit more cost-effective, but it just sounded dreadful. Putting the speakers inside a wooden cabinet sounds much better, and we spent a lot of time making sure that the actual wood resonates correctly given the internal volume. If the cabinet resonates at the wrong frequencies, it just doesn’t sound right, you know.”

This level of perfectionism is evident upon examining the works-in-progress: each rejected test model had a different shape and heft, some including holes covered with rubber plugs, others with curved sides. Myriad porting options were clearly investigated, auditioned and tweaked. Every possibility was covered, it appears, before landing on the finished design. Then, finally, Emsley hit on the idea of making the crossover itself interact with its surroundings: “I put a hole in the active crossover at the frequency of the enclosure,” he reveals. “This ‘de-boxed’ the box, if you like, and gave the whole thing a more balanced frequency response.”

The result? Genuinely a sonically startling piece of kit, delivering the sort of audio quality you’d normally hear from speakers five times the size and price. All three test songs now leapt from the speakers, but not in the obnoxious, attention-grabbing way that has become the hallmark of a lot of more artless Bluetooth speakers, all booming bass and fool’s-gold glittery highs. Instead, the rasp of the sax lines on ‘Modern Love’ became almost tangible, and the undulations and throbs on ‘Hung Up’ were subtle and seductive, just as you’d imagine the producers of those records intended. ‘Black Dog’ growled with all the the verve and thrust as the first time you heard it.

In short, it made you want to play these songs again and again, and this repeat playability—that potential for long-term listening—has become an obsession of Cooper’s over the years: “One thing we kept an ear out for when testing was controlling for ‘listening fatigue’, which is when you listen through a product for a long time, and after a while it just doesn’t sound nice,” he explains. Any music lover will recognise the condition, and although exact causes of listener fatigue are still being explored, the latest research suggests that imperceptible sonic artefacts arising from non-musical aspects of a song’s reproduction, such as compression or artificial spatialisation, can cause listeners to lose interest.

“It’s difficult to design an amplifier or a speaker to control for listening fatigue specifically, because there are so many factors to take into account,” confesses Cooper, “but with the Orange Box you really can play it for ages—I have done!—and it doesn’t grate on your ears to the point where you think, I need to turn that thing off.”

A level of product testing this meticulous and drawn out, coupled with a love of making something that’s built to last, feels a long way from other bigger manufacturers’ approaches, which so often involves buying an off-the-shelf design from a Chinese third party, slapping their badge on it and releasing it without a second thought. But Cooper wouldn’t have it any other way: “It’s important that anything we bring out is fully researched by us and at the top of its range, and I think everybody in the company accepts that—Adrian in particular is fussy about everything!” he laughs of his colleague for nearly half of Orange’s entire existence. “It not only has to be really good, but it has to be bulletproof, and everything has to be built to last in terms of the components.”

The Orange Box’s control panel features and all-analogue EQ and an innovative warning light to show when the speakers are being driven too hard

Indeed, product longevity is another characteristic that Cooper and the team have carried from guitar-amp manufacturing over to the Orange Box: in a Bluetooth speaker marketplace saturated with disposable gadgets destined for landfill before the end of the summer festival season, Cooper was insistent that the Orange Box had to have premium staying power. That means the rechargeable battery had to be replaceable, and all components be made available for replacement well into the next decade, therefore also ensuring that the box was as green as it was Orange.

On top of that, the Orange Box comes with a unique audio-safety feature designed to lengthen the lifespan of the product: a tiny circuit between the crossover and the amps continuously monitors the volume of the signal going in, prompting a small LED to light up whenever the speakers are being driven too hard and potentially harming them. “It’s there to tell you when you should back off the volume so you don’t damage it, sure,” acknowledges Cooper, “but it’s also there to improve sound quality, to help you listen without any distortion, which in turn lessens listener fatigue.”

This audio-limiter light is a simple innovation that will keep the Orange Box in its prime for years, but it’s also a dead giveaway of a product designed not with the bottom line in mind, but with a genuine and enduring love for music, and for building innovative tools for spreading that love. After all, no one would ask for such an attentive add-on, but plenty will be grateful once it’s there.

It’s a feeling that sums up Cooper’s attitude, too: “Within the company,” he explains, “there’s an old-fashioned need to do things properly that’s run for 50 years, and if we can put it over to consumers that when they buy something with the Orange brand on it, it’s going to sound good, then that’s an achievement, and I think the Orange Box can do exactly that.

“After all, we don’t have any shareholders or venture capitalists to answer to,” he continues, proudly. “I’m the only shareholder! so any money that we earn goes straight back into developing new products—and I love doing that.”

It’s an approach that’s stood Cooper, and Orange Amps, in excellent stead since the 1960s, with countless iconic guitar amps—and world-famous fans—to show for it. As the company branches out into the middle of the 21st century, and to music connoisseurs, players and non-players alike, it’s also an approach, you sense, that will future-proof it too. 

La “Voz del Rock” para toda una generación de aficionados a la música, Hughes fue reclutado por Deep Purple en 1973 y se convirtió en el bajista y cantante principal de la banda hasta su separación inicial. Desde entonces, Hughes ha seguido una carrera en solitario aclamada por la crítica, así como colaboraciones con actos tan diversos como Black Sabbath, Gary Moore y el grupo de acid house de los 90 The KLF, antes de unirse a The Dead Daisies en el bajo y la voz principal en 2019.

Radiance es el segundo álbum de The Dead Daisies desde que Hughes se unió al grupo. Descrito por La revista Razor’s Edge lo calificó de “fuerza imparable en el mundo del hard rock” y de “rockero grueso y carnoso que satisface a todos los niveles” por Metal Injection, los inmensos tonos de bajo del álbum son cortesía del equipo de Orange Amplification de Hughes, que incluye la cabina AD200 MKIII, el combo Crush Bass 100 y, por supuesto, su característico combo Crush Bass 50 púrpura. OBC810 cab, el cabezal AD200 MKIII, el combo Crush Crush Bass 100 y, por supuesto, su característico combo Crush Bass 50 de color púrpura. Al hablar de su amplificador característico, Hughes dijo: “Cuando puedes ir al estudio, coger ese combo de bajo y hacer tu álbum con algo así, es realmente excepcional. Es arenoso, tiene garra: el sustain es muy importante y sin duda tiene todo eso.” Y añadió: “Orange hastael final… Esel futuro, es el camino a seguir, ¡ya lo has oído de mí!

Ve a la leyenda del rock Glenn Hughes al frente de The Dead Daisies con su equipo Orange en los siguientes lugares este diciembre:

Fecha Lugar Lugar

3 de diciembre Rock City Nottingham

4 de diciembre O2 Ritz Manchester

6 de diciembre O2 Forum Kentish Town Londres

7 de diciembre KK’s Steel Mill Wolverhampton

10 de diciembre The Academy Dublin

11 de diciembre Limelight Belfast

13 de diciembre O2 Academy Edinburgh

Orange Amplification is delighted to welcome JJ Julius Son, frontman and guitarist with the worldwide phenomenon Kaleo, as an ambassador for the company.

Kaleo are one of Iceland’s biggest musical exports. Their breakthrough album, A/B, took their music around the globe with its three hit singles, the Grammy-nominated No Good, All The Pretty Girls and the chart-topping Way Down We Go, which have featured in more than twenty hit TV shows including Suits, Orange Is The New Black and Grey’s Anatomy. The band’s Fight Or Flight tour, supporting the release of their critically acclaimed third album, Surface Sounds, has taken them across the USA, including appearances at Coachella, and seen them opening for the Rolling Stones in Europe.

Jökull Júlíusson, better known as JJ Julius Son, is the frontman and guitarist for Kaleo. As the primary writer for the band, as well as lead singer, guitarist and pianist, he leads the blues-driven group with passion and musical skill. Demonstrating a wide range of musical genres and influences, the diversity of JJ’s music moves from cinematic, classic rock through soft, folksy blues, into hard-hitting stomp rock. JJ appeals to a mainstream audience with his grungy guitar riffs, crying leads and electrifying performances.

JJ Julius Son uses an Orange AD30 on tour, in the studio and at home. Speaking about the amp, he said ‘the Orange AD30 is the only amp I’ve found that can handle the wide variety of tones and instruments that I use in a single show’.

The Orange AD30 is a one-stop shop for all shades of pure British chime and crunch. From shimmering cleans, edge-of-break-up jangle or fire-splitting classic crunch, this amp has it all, in a simple, road-proven package.Check out orangeamps.com for an interview with JJ Julius Son coming soon.

Hoy, Orange Amplification anuncia el regreso de tres pedales de efectos icónicos -el Orange Phaser, el Orange Sustain y el Orange Distortion- con las características vintage del trío reelaboradas para la actualidad. 

La historia moderna de estas unidades clásicas comienza en 2019, cuando un tablero de mensajes Orange se volvió loco por una foto del largamente descontinuado pedal Sustain de principios de la década de 1970, con su factor de forma exagerado y su tipografía art nouveau. No mucho después, un diagrama esquemático dibujado a mano, con marcas de anillos de tazas de té, garabatos de Biro y una escritura tambaleante, surgió tras una petición de ayuda en línea sobre lo que había dentro de la robusta caja naranja. 

El resto de la historia se escribe sola: a medida que se fueron descubriendo más pruebas sobre el Sustain y sus dos hermanos, el Distortion y el Phaser, los magos del taller de Orange se pusieron a rehacer estas bestias, conservando sus cualidades más queridas e incorporando las características contemporáneas -luces LED, entradas de CC, etc.- que se esperan en los pedales de efectos del siglo XXI. El resultado son tres veteranos profesionales fabricados en el Reino Unido, reajustados y preparados para la era moderna. 

El primero es el SosténOrange que suaviza y regula los sonidos de la guitarra, actuando como un overdrive para los tonos limpios con un toque de calidez añadido. Aumentando el volumen sin rayar la pureza, y haciendo que las partes suaves sean más fuertes y las partes fuertes más suaves, ofrece una visión expresiva, matizada y tridimensional del efecto de sustain/compresor. 

Luego está el FáserOrange el más elegantemente sencillo de los reinicios, con un solo mando y una sola función: aportar un dulce remolino psicodélico a cualquier equipo, con su dial que modula los tonos de guitarra desde barridos woozy hasta puñaladas picadas a través de pulsos caleidoscópicos insistentes y giratorios. Con una circuitería de cuatro etapas renacida a partir de los esquemas originales, combinada con técnicas modernas dentro de la caja para reducir el ruido de fondo, el Orange Phaser añade el máximo efecto con el mínimo esfuerzo. 

Y por último está el DistorsiónOrange con apariencia vintage en la parte superior pero con una circuitería totalmente nueva bajo cubierta, que sustituye el diseño de diodos espalda con espalda del original por un circuito de amplificación y una pila de tonos con agudos ajustables por el usuario. Sin embargo, un nuevo diseño no significa un nuevo sonido: el Orange Distortion conserva toda la mordacidad, el gruñido, la calidez y el aullido de su antecesor de los años 70, desde las texturas gordas y gravosas hasta los chillidos al rojo vivo y la máxima saturación.

Se trata de un conjunto muy completo: juntos, forman un trío de pedales de efectos que no sólo es un homenaje perfecto a una de las épocas doradas del rock, sino que también está preparado para cualquier configuración moderna. Con un chasis de aluminio de gran tamaño, resistente a los depósitos y de aspecto clásico, una simple mirada a los pedales le ofrecerá una teletransportación de 50 años. Entonces, al pisar los interruptores de pie se completa el viaje en el tiempo: puede que sean nuevos para 2022, pero con los pedales vintage Orange Orange, la canción sigue siendo la misma. 

Para obtener más información sobre estos nuevos pedales fabricados en el Reino Unido, vea el vídeo de lanzamiento en https://youtu.be/zwi3AZT_xts y obtenga más información en orangeamps.com.

Contribuir a la conservación y restauración del medio ambiente en todo el mundo

Londres, Reino Unido,31 de mayo de 2022 – Orange Learn (parte de Orange Amplification), un proveedor global de educación musical que lidera el uso de métodos de aprendizaje y evaluación sostenibles, ha anunciado hoy una asociación con One Tree Planted, que trabaja para restaurar los bosques y reconstruir el hábitat a nivel mundial. Por cada curso adquirido, Orange Learn plantará un árbol.

Foto de Ben Hemmings.

La sostenibilidad y la conciencia medioambiental están en el centro de lo que hacemos en Orange Learn. Nuestro revolucionario método de aprendizaje de música y de realización de exámenes en línea se ha desarrollado deliberadamente para ayudar a reducir las emisiones de carbono y el desperdicio de papel. Siempre buscamos formas de profundizar en nuestro compromiso con la sostenibilidad y nuestra asociación con One Tree Planted es una de las muchas formas en las que planeamos unirnos al esfuerzo global para proteger nuestro planeta.” [Cliff Cooper, fundador de Orange Amplification]

Los objetivos de esta nueva asociación son los siguientes

– Sensibilización sobre la deforestación y la pérdida de hábitat

– Apoyo a una iniciativa clave de reforestación mundial

– Dar a nuestros clientes la oportunidad de contribuir a la sostenibilidad mientras aprenden


Esta asociación está diseñada para facilitar a los clientes la contribución a la reforestación mundial y a un futuro sostenible. Por cada curso de música comprado en el sitio web de Orange Learn, Orange donará 1 dólar a “One Tree Planted” para plantar un árbol. Los árboles son plantados por organizaciones locales asociadas y voluntarios de la comunidad en zonas donde ha habido deforestación. Para saber más sobre esta asociación, visite https://www.orangelearn.com/one-tree-planted/

Orange Amplification se complace en añadir a VENOM INC y al ex líder de ATOMKRAFT TONY “THE DEMOLITION MAN” DOLAN a su lista de artistas. Dolan ha anunciado recientemente un nuevo álbum con VENOM Inc, que saldrá el 23 de septiembre de 2022 a través de Nuclear Blast Records.

Dice Dolan:
Utilizo mis bajos Bo-El Big Generator, que son pura potencia con el toque justo de delicadeza, pero como soy el Demolition Man, necesito esa pegada abrumadora que sólo la combinación de Orange y mi Bo-El puede ofrecer… Convertirme en un orgulloso artista de Orange está más allá de mis palabras, salvo para decir que me siento honrado de representar los valores de la vieja y la nueva escuela envueltos en el peso y el par de potencia armoniosos y sostenibles de Orange. Ahora el cielo no es literalmente el límite.

Dice Orange:
Tony se ha unido recientemente a la lista de Orange comoembajador oficial, y estamos encantados de trabajar con él y apoyarle a él y a VENOM INC tanto en la carretera como en el estudio“. – Directora de A&R global Orange Orange, Ella Stormark

Tony está utilizando el AD200 & OBC810y puedes encontrar su perfil de artista aquí.

El comunicado de prensa completo a través de Lords of Metal se puede encontrar aquí.

El Orange Micro Terror ha sido nombrado amplificador de instrumentos del año en los premios The Music and Sound Retailer Awards 2013.



Todo el mundo en Orange está encantado de que el Micro Terror haya sido nombrado amplificador de instrumentos del año en los premios Music & Sound Retailer Awards. Nuestro agradecimiento a Music and Sound Retailer.

En la foto de abajo, el fundador y director general de Orange Amplification, Cliff Cooper, recibe el premio de manos de Dan Ferrisi, editor de The Music & Sound Retailer.

La lista completa de ganadores en todas las categorías puede encontrarse aquí:


Sean Z (page)

Guitarrista, compositor, productor y director de banda, Sean Z ha estado muy ocupado últimamente. Tras una exitosa gira por Norteamérica, el guitarrista afincado en Vancouver está actualmente de gira por Singapur y Malasia con Wanting, una estrella emergente en China.

Wanting Qu (también conocido como Qu Wanting; chino 曲婉婷) (10 de octubre de 1983 en Harbin, Heilongjiang) es un pianista, cantante y compositor chino-canadiense afincado en Vancouver. En 2009, se convirtió en la primera artista china en fichar por la discográfica Nettwerk; está dirigida por Terry McBride. Su primer álbum, Everything In The World (publicado conjuntamente con Universal Music China en 2012) se convirtió en platino en China en su primera semana a la venta, y sus singles You Exist in My Song y Drenched se utilizaron en la banda sonora de la película de Hong Kong Love in the Buff. Qu se crió en Harbin, pero llegó a Canadá a los 16 años para estudiar.

La cantautora afincada en Vancouver, Wanting, publica su primer álbum de estudio completo, Everything In The World, en Nettwerk Records. Wanting, músico autodidacta con una voz similar a la de Chantal Kreviazuk, Anna Nalick y Christina Perri, ha sido reconocida en las primeras etapas de su carrera. Tras haber puesto la banda sonora a la próxima película china Love in the Buff, haber aparecido en un sampler de Mercedes Benz y haber acumulado millones de visitas en el YouTube chino, es una artista a la que hay que prestar atención. La música de Wanting, que se mueve a golpe de piano, ha ganado adeptos porque sus composiciones hacen reflexionar a la gente y resuenan universalmente. El primer single, “Life Is Like a Song”, es una reflexión sobre los flujos y reflujos de la vida, y la canción “Drenched” trata de la entrega al amor. Por su parte, “You Exist in My Song”, cantada en mandarín, trata de viejos amigos vivos en los pensamientos de uno.


Para celebrar que el Signature #4 Jim Root Terror Head ha ganado el premio de la Asociación de Industrias Musicales del Reino Unido ‘Amp Of The Year’ de 2012, Orange Amplification regalará cuatro amplificadores firmados en el Winter NAMM de este año.

Cada uno de los cuatro días habrá un billete dorado Orange escondido al azar en una de sus bolsas de regalo. Cada día, un afortunado visitante del stand de Orange Amplification tiene la oportunidad de encontrar un Orange Golden Ticket y ganar un cabezal de terror Jim Root Signature #4, ¡firmado por Jim Root!

Si encuentras uno de estos codiciados Orange Golden Tickets, sólo tienes que traerlo al Orange Music Booth antes de las 17:00 horas de ese día y recoger tu gran premio.

Y mientras recoges tu bolsa de regalo de Orange Amplification, ¿por qué no echas un vistazo a nuestros increíbles productos, charlas con nuestro personal y conoces a algunos de nuestros patrocinadores? Artistas como Glenn Hughes, bajista de Black Country Communion, aparecerá a la 1 de la tarde del sábado 26 de enero y Larry LaLonde de Primus estará en el stand a las 3 de la tarde.

Para descubrir si tienes un afortunado Orange Golden Ticket ven a visitar el stand de Orange Music 4890 en el pabellón C y recoge tu bolsa de regalo de Orange Amplification.