You just got Rick Rolled – bet you didn’t see that one coming.

We’re regularly asked about our endorsements and what we look for in qualifying artists. Although there’s no right answer to this question, we’re going to run through a few key points that are taken into account when looking at applications, as this can be a confusing concept. In a perfect world, being an awesome guitarist/bassist would be enough, but it’s unfortunately more complicated than that when you take the business perspective into consideration. So, before you spend hours crafting your ambassador application, please give the following a read for some Orange A&R inside info:

  1. Are you an established band or artist?
    As much as we’d love to support aspiring musicians on their road to stardom, that is unfortunately not something we can do via endorsements. While we don’t expect you to have a long year career behind you, we need to see evidence that you/your band are serious about what you do and have built something that exists outside your rehearsal space. Ambitions are great, but we can’t consider a band based on their ambitions and plans if there’s little happening in the present.
  1. Have you released any music?
    You have to have released some actual music. If your reaction to that is “hell yeah I just released my debut single last month” or “not a problem I released an entire album in 2013”, the chances are that that’s not enough. We need to see that you’re actively working, writing and creating, and one song or an old album followed by silence isn’t going to cut it.
  1. Are you touring and playing shows?
    Playing to a full house at your local pub on the third Friday of every month is great, but have you ever tried non-local shows, touring overseas and expanding your audience beyond your family and friends? No? Then we recommend you do that for a bit and re-visit this idea at a later date.
  1. Are you signed, working with a manager, PR rep or agent?
    We have so much respect for DIY artists, so kudos to all bands and artists doing everything themselves—and don’t let this one put you off. It’s not a must, but evidence that a label has shown interest and is willing to spend time (and maybe even money) on you, or that you’ve got someone onboard to help out with the admin side of things might also be an indication that this is something you’re serious about taking to the next level, and not just a hobby.
  1. Are you promoting yourself?
    Being an artist in the digital age is hard: you’re expected to master your instrument, kill it at marketing, social media, photography, copy-writing and content creation, and create something of an image or social approach. We totally understand that this isn’t for everyone. Hell, social media can be the devil at times, but that doesn’t change the fact that it’s something we unfortunately have to take into account as it plays a vital role in the modern industry. If you’re not a touring/gigging artist but have a huge social media following or online presence, we still might be able to work together, as at the end of the day, our goal is to have our amps be played in front of as many people as possible. That might be on a festival stage, but it could also be in a viral TikTok video. The industry is changing, along with its requirements.
  1. Can you actually play?
    This one brings us back to point 1—as much as we’d love to offer our support to every Orange-playing artist out there (and would actively encourage aspiring ones to pick up an instrument via Orange Learn), being able to actually play is a must. If you’ve just picked up the bass or guitar and have been playing for a couple of weeks, you’re still a while away from industry endorsement. But, if you keep at it, you might be the pride and joy of our roster in the future. We’d be so lucky! That being said, although technical abilities and virtuoso vibes are definitely our cup of tea, they’re not a necessity. If you can’t play along to Rush’s La Villa Strangiato, we won’t hold that against you; different types of music require different abilities, and you need to play well enough to master your music.
  1. Are you here with a genuine wish to work together and a hope to be a part of our global artist roster, or just hoping for freebies or discounted gear?
    Artist pricing is one of the awesome perks of being an Orange ambassador, even more so in this current financial climate with the ever-increasing cost of living. But if the main selling point in your application is wanting a free Rockerverb, which you “promise to promote the hell out of” to your social following of 112 people, that’s not gonna work—we are looking for artists with whom to build mutually beneficial relationships. So, instead of focusing on all the amps you want to add to your collection and trying to convince us these should be yours for free, focus on working hard, and getting yourself or your band to a place where we’d be proud and honoured to have you representing Orange.

Now that we’ve laid this all out here, you should hopefully have a clearer image of what we’re after, and if you or your band might qualify. If you think you do, then awesome. To send in your application, please visit our ambassador page here.

You might feel tempted to resubmit your application three times a week for the foreseeable future and follow up by phone to make sure we’ve seen it, and as much as we love the excitement, we can assure you that’s not necessary. Ambassador applications are reviewed regularly, and successful applicants are contacted. Due to a high number of applications, we are unfortunately unable to respond to them all, but we sincerely appreciate each and every one, and want to thank you for your support.

BB King in 1969

In honour of Black History Month, let’s take a moment to remember where guitar music as we know it today came from, the origins of rock, and the early days of blues. Although the industry is changing and becoming more inclusive, mainstream guitar music is very much dominated by white males. But where would rock ‘n’ roll be in 2023 if it weren’t for the Black artists that paved the way? It’s vital to acknowledge not just the important but crucial role their heritage and legacy played in influencing such a wide variety of genres and sounds. 

Lemmy cited Little Richard as the king, which means the road from “Tutti Frutti” to “Motörhead” is surprisingly short. The 1960s were the heyday of British blues, celebrating artists such as Peter Green, Eric Clapton, Free with Paul Kossoff and The Rolling Stones. All were incredible artists worthy of recognition for their work and contributions to music, even decades later, and also artists who owe everything to Black musicians and the early days of the Delta blues. Let’s face it: people singing the blues were feeling pretty blue, sometimes because their baby left them, but also because the artist and their community were oppressed and had to face prejudice, discrimination and racism on a daily basis.

Jimi Hendrix by Michael Ochs

White people embracing Black music was a step in the right direction, as it allowed people to enjoy something simply for what it was, not based on who was doing it. That was a special moment, and a nod to the power and beauty of music in creating a community and building bridges. However, that doesn’t change the fact that ultimately, the blues, which led to rock ‘n’ roll, were created by oppressed people, who, despite everything, managed to find inspiration in the little things of everyday life, and the courage to share their art with the world.

So let’s take a moment to remember where it all came from. If you’re not familiar with the early days of American blues, take a deep dive into the archives and let yourself be amazed. This one’s for Elmore James, Son House and Robert Johnson. For Ma Rainey, Memphis Minnie and Bessie Smith. For everyone that came later, Little Richard, B.B. King, The Supremes and Jimi Hendrix. Stevie Wonder, Betty Davis, 2Pac and Tom Morello.

Rock, and music as we know it today, would be nothing without the Black artists who paved the way.

About Orange Amps

Orange Amplifiers is a British company that designs and manufactures guitar amplifiers. Founded in 1968 by Clifford Cooper, Orange has become known for its distinctive “orange” tolex covering on its amplifiers and for its signature “British” sound. The company offers a wide range of amplifiers for various playing styles and skill levels, from practice amps to professional touring amplifiers.

Job description summary

Orange Amps is seeking a highly motivated Marketing Assistant to join our team. The Marketing Assistant will be responsible for supporting our tightly knitted marketing team in all aspects of marketing a global brand. The ideal candidate should be naturally creative with existing skills and experience in some or many creative fields, but most importantly, the motivation to grow their creative skills inline with our marketing teams’ ever changing needs as we adapt with new technology and continue to innovate within the music industry.

Desirable skills

It is not required that you have all these skills but you should have some and be willing and enthusiastic to learn the others if required.

Experience with Adobe suite software including:

– Photoshop (editing photos, graphic design of social media and web assets).
– Illustrator (product packaging and graphic design).
– Premier pro (video editing).
– Indesign (catalogs, brochures and product guides).

Experience with photography/filming using DSLR cameras

– Photographing still life product photos.
– Lifestyle photography with people and products.
– Filming live concerts and artist interviews.

Web Design

– Familiar with WordPress.
– Web page layout design.
– Website banner, image and asset creation.


– Abide by our strict file management system based on Google Workspace.
– Be able to communicate competently via email, instant messages and phone.
– Understanding and familiarity with social media platforms.


– Familiar with Orange amps and guitar based music and equipment.
– Creative with the ability to solve problems.
– Strong attention to detail.
– Positive and enthusiastic when confronted by new challenges.
– Works well under pressure and meets deadlines.
– Cooperates well in a team with honesty and integrity.

Recommended Qualifications

Higher education, degree or 3+ years experience in at least on of the following subjects or something similar:
– Graphic design
– Marketing
– Media studies
– Photography
– Film making

Extra tasks:

You may be required from time to time to assit the team with:
– Marketing campaigns & events
– Website maintance
– Supporting our sales team with assets as required

Your eligibility for this role will be primarily judged on the contents of your portfolio, and our confidence in your future ability to fit well within our team and bring value to our brand and company. Good luck, we look forward to hearing from you.

Please send your application to [email protected]

We sent Earthless and Black Crowes guitarist Isaiah Mitchell all of our newly released Vintage Orange pedals to see how he got along with them. The result? Find out for yourself in the below video, where you’ll see them make their way from box to board before they are demonstrated both individually and together. Enjoy!

For more information on our Vintage Pedals, visit their product pages: Phaser // Distortion // Sustain.

Over the past month, we’ve been taking care of an original Orange OR120 head from 1974 that was sent in by its owner for a tune-up before being passed down to their son. In the previous entries, we’ve had a look at the unit’s history and legacy, as well as how we’ve fixed it up for use in the modern age. Now, it’s time for the ultimate proof of the pudding — plugging in a guitar. All guitar sound samples in this post were recorded on a PJD Carey guitar with a single-coil pickup at the neck and humbucker pickup at the bridge.

Power chords played clean, all settings at halfway
Arpeggios played clean, all settings at halfway
Dyads played clean, all settings at halfway


The first thing to say about this amp is that it’s LOUD. Like, incredibly loud — louder than any modern Orange amp by quite some margin, to the extent that it is perhaps even less of a mystery now why so many 1960s and 70s rockers are suffering hearing loss in their dotage. We ran it through an Orange PPC412 speaker cabinet at about one-third volume in a space about the size of an average rehearsal room, and it was already dishing out instant bouts of tinnitus, and demanding ear defenders all round. Given that the amp’s sockets allow for the connection of two speaker cabinets, too, the potential of this beast is massive.

Actual footage from Orange HQ of chief tech Jon playing through the OR120 for the first time

That sheer muscle is perhaps an indication of the era in which the amp was designed and built, before the age of complex, high-powered PA systems in the early 80s but shortly after the arrival of stadium rock and the outdoor music festivals of the early 70s (the original Woodstock was August 1969 and the first Glastonbury June 1970, for example). During that time, bands were largely expected to bring their own noise, and not to expect much in the way of a boost from a PA system. And with that in mind, the OR120 rigged up to a couple of 4×12 speaker cabinets would have no problem in filling huge spaces.

What’s more, with stage monitoring technology still very primitive back in the early 1970s, there was an expectation that you needed to be able to hear your playing directly from your amp on stage, even if it was 50 feet away and there was a rhythm section smashing away in between you and it. The OR120’s power could deliver all that with confidence, and was clearly designed specifically for that.

How the amp achieves this volume is mainly down to the huge 500 V voltage in its circuit, which is far greater than modern amps and will offer miles more clean headroom. Four power valves and a simple pre-amp circuit that doesn’t subtract too much gain from the signal also helps. There are also fewer tone stacks in the OR120 than a lot of its successors in the Orange range, which would account for less gain loss through the signal chain.

The amp’s tone is also an interesting indicator of its age. With all dials set to the middle, it’s remarkably clean and chiming, with plenty of heft and three-dimensionality, if not quite the character of Orange amps of the new millennium.


However, the unusual F.A.C. control, a six-point notched dial that subtracts increasing amounts of low end from the tone, has a huge impact in shaping the tone, making the sound increasingly brittle and bright as it’s introduced. At its farthest extreme, this sounds piercingly trebly to modern ears, but revisiting the records of the second half of the 60s and early 70s by the likes of the Beatles and the Byrds, for example, reveal this to be the sound of contemporary guitar music, suggesting Orange to be on the cutting edge, as ever.

When the F.A.C. is combined with higher gain and into overdrive territory, however, it adds a definition to the tone that counterbalances the slightly muddiness of the basic overdriven sound, and proves to be an invaluable component of the amp’s tone-shaping toolbox.

Arpeggios with gain and EQ set at halfway, and the F.A.C. set to 1 out of 5
Arpeggios with gain and EQ set at halfway, and the F.A.C. set to 2 out of 5
Arpeggios with gain and EQ set at halfway, and the F.A.C. set to 3 out of 5
Arpeggios with gain and EQ set at halfway, and the F.A.C. set to 4 out of 5
Arpeggios with gain and EQ set at halfway, and the F.A.C. set to 5 out of 5
Chords with gain and EQ set at halfway, and the F.A.C. set to 1 out of 5
Chords with gain and EQ set at halfway, and the F.A.C. set to 2 out of 5
Chords with gain and EQ set at halfway, and the F.A.C. set to 3 out of 5
Chords with gain and EQ set at halfway, and the F.A.C. set to 4 out of 5
Chords with gain and EQ set at halfway, and the F.A.C. set to 5 out of 5

The two-band EQ is also surprisingly powerful, with the range of both knobs allowing considerable variety to the shape of the sound and consequent versatility, presumably another feature included with the idea of helping the guitarist onstage with a noisy band around him. Similarly, the HF. Gain knob has slightly more subtle control, moulding the mid–high tones in much the same way as a modern-day presence control would, but its interaction with the gain knob is still well incorporated.

Arpeggios with gain and EQ set at halfway, the F.A.C. set to zero and the HF. Gain set to a quarter
Arpeggios with gain and EQ set at halfway, the F.A.C. set to zero and the HF. Gain set to a half
Arpeggios with gain and EQ set at halfway, the F.A.C. set to zero and the HF. Gain set to three quarters
Arpeggios with gain and EQ set at halfway, the F.A.C. set to zero and the HF. Gain set to full
Chords with gain and EQ set at halfway, the F.A.C. set to zero and the HF. Gain set to a quarter
Chords with gain and EQ set at halfway, the F.A.C. set to zero and the HF. Gain set to a half
Chords with gain and EQ set at halfway, the F.A.C. set to zero and the HF. Gain set to three quarters


Another interesting sign of the times, tonally, comes in the form of the OR120’s only modest overdrive capabilities: the amp’s noticeably clean chime only starts to break up as the gain is pushed up beyond about three-quarters, and there’s a lot of “edge-of-breakup” territory where the tone’s fuzz is largely dictated by the player’s technique. Furthermore, the absence of a master volume knob means that you have to be playing through the amp at an exceptionally loud volume before any semblance of break-up or overdrive emerges. Even at full gain, though, it’s a long way from the fully saturated tube screamers of the 1990s and beyond, and retains more of a British punk/Sex Pistols sound, with grit and ferocity, but also quite crisp (although whether the likes of the Steve Jones, who famously stole his early instruments, ever got his mitts on an OR120, is a moot point).

This marks the OR120 as an interesting artefact of rock music history: even in 1974, when this amp was made, three years after Led Zep IV and Paranoid had ushered in the dawn of heavy metal and huge-sounding rock music, guitar tones remained fairly polite, and the appetite for extreme howling overdrive was still clearly in its early infancy. Understanding that somewhat recontextualises those classic albums as real sonic boundary-pushers, and also serves as a reminder that the bloom from crunch into thrash and total saturation would take another few years — and perhaps the introduction of a master volume control. And we’ll have to wait for another Orange relic to arrive on the bench before we dig into that.

Chords played with gain on edge of breakup, flat EQ and HF. Gain and F.A.C. set to 0/5
Arpeggios played with gain on edge of breakup, flat EQ and HF. Gain and F.A.C. set to 0/5
Dyads played with gain on edge of breakup, flat EQ and HF. Gain and F.A.C. set to 0/5
Chords played with gain turned up to full, flat EQ and HF. Gain and F.A.C. set to 0/5
Arpeggios played with gain turned up to full, flat EQ and HF. Gain and F.A.C. set to 0/5
Dyads played with gain turned up to full, flat EQ and HF. Gain and F.A.C. set to 0/5
Everything up full! 🤘

Orange Jams is a series of live sessions hosted by Orange & Jam in the Van which features Orange ambassadors from across the globe. This session features Orange Ambassador Zach Person, live in Jam in the Van’s, well, van.

Zach Person Orange Artist profile // Website // Instagram // Youtube

Jam in the Van: Youtube // Facebook // Instagram // Twitter

The “Voice of Rock” for an entire generation of music fans, Hughes was recruited to Deep Purple in 1973 and became the band’s lynchpin bassist and singer until their initial split. Since then, Hughes has pursued a critically acclaimed solo career as well as collaborations with acts as diverse as Black Sabbath, Gary Moore and the 90s acid house group The KLF, before joining The Dead Daisies on bass and lead vocals in 2019.  

Radiance is The Dead Daisies’ second album since Hughes joined the group. Described by Razor’s Edge magazine as “an unstoppable force in the world of hard rock” and a “thick and meaty deep-in-the-blues rocker that satisfies on every level” by Metal Injection, the immense bass tones on the album come courtesy of Hughes’ array of Orange Amplification gear, including the OBC810 cab, AD200 MKIII head, Crush Bass 100 combo and, of course, his signature purple Crush Bass 50 combo. Talking about his signature amp, Hughes said: “When you can go in the studio, take that bass combo and make your album with something like that, it’s truly outstanding. It’s gritty, it’s punchy: sustain is so important and it’s certainly got all that.” He added: “Orange all the way… It’s the future, it’s the way to go, you heard it from me!

Catch rock legend Glenn Hughes fronting The Dead Daisies with his Orange equipment at the following venues this December:

Date          Venue                                Location

3rd Dec    Rock City                           Nottingham

4th Dec    O2 Ritz                               Manchester

6th Dec    O2 Forum Kentish Town    London

7th Dec    KK’s Steel Mill                    Wolverhampton

10th Dec    The Academy                    Dublin

11th Dec    Limelight                            Belfast

13th Dec    O2 Academy                     Edinburgh

A couple of weeks ago, a fairly special old amp arrived at the Orange workshop — namely an original Orange OR120 from 1974 — in fantastic condition considering its age. The owner explained that it had been in storage for a while and wanted it returned to its former glory, so we were only too happy to oblige. In the previous blog entry, we looked a bit at the OR120’s history and legacy, as well as this particular specimen that’s been sent in. Today, with our head technician Jon having worked his magic on the old thing, we have a look at what needed doing to it and why, and how we got it ready to play again.


What should be said first is how little needed fixing on this 48-year-old amp: the circuitry, transformers and choke have all stood the test of time perfectly, which could be said to be a testament to Orange’s sustainability.

Some parts did need swapping out for new ones, but thankfully these are relatively inexpensive and still easy to come by. Perhaps the most important and easiest change was the valves — both the pre-amp valves (a pair of ECC83s) and the power-amp section (a quartet of EL34s). The pre-amp valves had become “microphonic” over time, meaning that they had grown undesirably hypersensitive to noise, and the power-amp ones are no longer matched, drawing differing amounts of current during use and therefore inhibiting the consistency of the amp’s performance. These valves just needed swapping out of their sockets, and new ones putting in their place.

The old Mullard EL34 valves from 1974

The other main change was to the amp’s electrolytic capacitors. A little like rechargeable batteries, capacitors’ abilities to store electric charge declines unavoidably over time, and 48 years is a good innings for one of these specimens! When they start to lose their efficacy, the sonic effect is a flat, undynamic response from the amp, and an increase in “ripple” — a jagged, distorted sound (and not in a good way), and a constant buzzy hum. Changing over the capacitors required a little more technical skill with a soldering iron and a steady hand, but thankfully our tech Jon was on hand:

Jon swapped over ten capacitors in total: two can capacitors in the first of the filtering stages, two bypass capacitors, two in the bias circuit and four for the remaining filtering stages.

Can capacitors (coloured green) before

Can capacitors (in blue) after
Capacitors in green and blue, before
Capacitors in black, after

The eagle-eyed will spot that it’s not only the colour, but also the size and shape of the new capacitors that differs from those of the 1970s originals. However, in terms of their spec, it’s an exact like-for-like swap; the modern, slimmed-down versions are just a result of technical and manufacturing improvements over the past half-century.


Normally, when a vintage amp arrives in the workshop that hasn’t been switched on for several years, it’s good practice to gently reintroduce voltage using a variable transformer (the “variac”) that allows the user to vary the number of volts entering a system. Starting at zero and slowly increasing the number over a number of hours, it ensures that an old system isn’t given too much of a jolt, and subsequently overloaded, on its first resurrection.

When this particular OR120 first arrived, it was clear that enough needed changing that it wasn’t necessary to turn it on before the first fixes: the capacitors were visibly blistered, and the valves were not performing ideally on a valve tester. However, once the unit had been returned to its full working condition, it was crucial to run it through the variac, gently upping the voltage over the course of an afternoon, while keeping an eye on the current it was drawing, before actually putting an electric guitar through it — a treat that will have to wait until next time.

COMING NEXT TIME: How the refurbished OR120 sounds when returned to its former glory, complete with audio samples

Gear moves in and out of the Orange workshop pretty constantly, with fixes, mods and inspections to amps, pedals and prototypes all in a day’s work. Very occasionally, though, something gets sent in that makes us crowd around the workbench — something rare, old, or unusual, or just something we’ve only ever read about before.

One of these occasionallys happened last week: an amp head showed up at Orange HQ wrapped in a home-sewn leather cover with an accompanying note from the original owner. The amp had been kept in storage for a while, the note explained, but now the owner was looking to give it to his son, a promising guitarist. Before he did that, though, he wanted to have the unit looked at by our expert technicians, and so here it was with us.

But this head in question isn’t just any old Orange relic. Removing the cover revealed an early-manufacture OR120, also known as the Orange Graphic 120 — the model that has a decent claim to be the foundation stone of the Orange sound as we now recognise it, well into its sixth decade.

The serial number dated this unit to 1974, barely five years after Orange was founded, and only two after the company began serious mass production with its first factory in Kent. The OR120 was a year-zero moment for Orange: a wholesale rejigging of the existing schematics, from which emerged a new tone that everybody would come to associate with the brand, with a design and sound that would influence the amp world, both Orange’s and other’s, ever since. And here was one of the beauties, right in front of us on the bench!


The first thing that leaps out about the looks of OR120, when viewed through 2022 eyes, is how much of a snapshot it is of the young Orange in 1974, on the cusp of a breakthrough. Sure, there’s the none-more-70s brass handle bolts and gold trim, both of which would become black in future iterations, but the threshold-of-greatness status is perhaps best observed through the amp’s controls, and specifically how much (and how little) things have changed in the past 48 years: superficially, the layout on the OR120 is much the same as its modern-day successors, but look a little closer, and interesting differences emerge.

There’s a knob marked F.A.C. (supposed to stand for Frequency Attenuator Control, or is that Frequency Adjustment Circuit?), actually a six-point notched dial that subtracts increasing amounts of low end from the tone, and the two treble and bass dials marked just “KHz” and Hz”, respectively. Along with another marked “HF. Drive”, it suggests an amp being labelled up for an end user who already understood scientific terms and was comfortable with undescribed acronyms.

The OR120’s “Echo” effects loop
The OR120’s two-band EQ

Alongside that, though, was one of the first outings of the soon-to-be-famous Orange hieroglyphs, with a charming accidentally reversed bass clef symbol to represent the low end, and the now-familiar clenched-fist symbol to indicate what future amps would simply call “punch”.

The amp also serves as something of a Rosetta Stone for some of the less straightforward icons too. Ever wondered, for example, why twin mountain peaks represents an effects loop? The OR120 might have an answer: the pair of sockets through which the user could connect an external reverb unit was marked “Echo”, illustrated with the classic mountain scene.

Suddenly, sound bouncing off an alpine canyon makes perfect sense. Those pair of sockets would eventually migrate to the back of many an Orange amp, and the “echo” be broadened out to include any manner of external effects units, but the hieroglyph never changed, perhaps because it spoke a language never grounded in words: these symbols seemed to want to reach new players unbothered by scientific jargon, who wanted a universal language of guitar tone — and the circuitry spoke to that, too.


Inside the OR120, its board and wiring beautifully preserved

We’d all seen pictures of the outside of the OR120 before this example arrived in the workshop. But perhaps the most interesting aspect of having one to investigate in the flesh was popping off the sleeve and seeing the creature’s guts. And what a perfectly clean, immaculately preserved example of an OR120 we had here, with the circuitry and build serving as an absolutely textbook example of how to construct an amp in 1974.

Unfortunately, the valves had had become unmatched over the years, so that they were drawing differing amounts of current to one another — a simple function of old age — and the original Plessey capacitors, proudly stamped with “British Made”, needed replacing. However, what the meticulous attention to detail shows is how these heads were built to last.

“British made” Plessey capacitors


And last they did, with a build quality and sonic popularity to give them decades of acclaim. A 1974 ad in the trade press reveals them to have retailed at £140 (about £1,200 in today’s money), with earnest insistence that “good value and reliability ensure your customers return”.

Indeed, it’s testament to the OR120’s tonal longevity that 23 years after they were first introduced, they had perhaps their most eye-catching role: when Oasis revealed the video accompanying the number-one single D’You Know What I Mean from their third, victory-lap album Be Here Now in July 1997 (still the fastest-selling rock album in British chart history, amazingly), a pair of re-issued OR120s sat proudly on their own Orange double 4×12 stacks behind Noel Gallagher (see the screengrabs from the video, above).

Full of epic rock bombast — helicopters, crowd riots and aerial photography — it was the most expensive music video made by the UK’s last genuinely household-name rock band, and amid all the grey concrete and khaki parkas elsewhere in the video, that pair of bright orange monoliths stand proud. And so they should.

COMING NEXT TIME: What fixes were done to this OR120, and how it sounded when returned to its former glory