Frankfurt, Germany (April 15, 2015) -- Following thousands of customer requests, Orange Amplification is excited to announce their first foray into the pedal market since the mid 70s, with the introduction of the Orange Bax Bangeetar Guitar Pre-EQ. Handmade in the Orange Custom Shop, England, this game changing pedal is in a class of its own. Available in two finishes, black or white, this latest offering functions as a traditional stompbox, a standalone preamp, and a direct recording tool, meaning the possibilities are virtually limitless.
The Bax Bangeetar boasts a huge dynamic range, producing classic Orange crunch and rich vintage overdrive at moderate gain settings. Increasing the drive level yields a wealth of outrageous modern tones, with genuinely insane amounts of distortion on offer. Crucially, even at extreme settings, the Bax Bangeetar never loses definition. For live use, the on-board clean Boost function adds an extra 5dB for solos.
More impressively, with none of the back-to-back diode circuitry commonly found in drive pedals, the Bax Bangeetar feels and behaves just like an Orange amp, delivering natural breakup - and a serious kick - without any hint of stifling compression.
Beyond its unique and flexible gain structure, however, the Bax Bangeetar’s extensive tone tweaking capabilities really set it apart. The Baxandall EQ and full parametric mid controls allow for complete command over a broad frequency range, enabling players to sculpt their sound to suit any style. With controls for Q, centre frequency and cut/boost, the midrange response is literally infinite, from subtle peaks to broad ‘scoops’. Even remove problem frequencies inherent in certain guitar and amps altogether!
True to form, Orange has also bucked the ‘true bypass’ trend and developed its own ultra-transparent buffered bypass. This supremely linear circuit ensures absolutely no loss of signal integrity, even with long cable runs or when driving large pedal boards. Critical to the bypass (and the overall design) is the internal charge pump. This doubles the pedal’s voltage for more clarity, more clean headroom and more output, whilst always maintaining the instrument’s character.
The Bax Bangeetar also features a second ‘CabSim’ output which recreates the sound and response of Orange’s 40th Anniversary PPC412 cabinet loaded with Celestion G12H 30 speakers. Combined with the pedal’s far-reaching tone shaping options, the CabSim makes this preamp a perfect aid for direct recording.
Whether used at home, on stage or in the studio, with its enormous sonic capabilities, precise EQ and all-round flexibility, the Bax Bangeetar is one of the most versatile pedals ever created.
Orange Amplification is proud to announce the launch of the third generation of its British built Rockerverb Series guitar amplifiers. This latest incarnation, the Orange Rockerverb MKIII, sees the most significant changes to the series to date, and is available in 50W and 100W head formats or as a 50W 2x12” combo - in its original top loading design. Bringing together over a decade of user feedback with numerous improvements to the iconic design, the new models are some of the finest sounding and most feature-laden amps the company has ever produced.
The highly versatile twin channel layout has been reworked, with a re-voiced non-master Clean Channel which now takes on a more ‘chimey’ nature. Combined with a richer and more usable valve driven spring reverb, the MKIII produces an abundance of classy, shimmering rhythm tones via a new two band EQ. The Dirty Channel now carries much more of a punch, whilst retaining all of the character which made the Rockerverb so popular. From edgy British overdrive, to ferocious riffing tones and full-on soaring leads - it’s all there!
Orange Rockerverb MKIII models have even more headroom but, in a first for the series, the latest version now features power scaling across the range. The 100W head can be tamed from full power to 70, 50 or 30W, whilst the 50W models can be switched down to half power.
For even greater flexibility, the MKIII also includes Orange’s ever-popular footswitchable Attenuator, allowing guitarists to push the output stage of the amplifier into breakup at any volume. Unlike a load box, Orange’s Attenuator design maintains the all-important relationship between the output transformer and the speaker. Even at ‘bedroom levels’, the playing response remains springy, immediate and inspiring. The footswitch feature adds another level of functionality, meaning the Attenuator can be defeated remotely for a clean boost to jump out of the mix in a live setting.
Completing the whole package is a highly transparent, low impedance valve buffered effects loop, ensuring an all valve signal path from input to output.
Whilst the previous version may have been an almost impossible act to follow, with a host of updates and refinements, the stunning MKIII is set to reaffirm the Rockerverb’s position as the rig of choice for touring and recording artists the world over.
For more information:
Orange
Vox’s Valvenergy Tone Sculptor
I spent a day workshopping ideas in my studio using just the Vox Valvenergy Smooth Impact compressor and Tone Sculptor EQ, and a dash of amp tremolo and reverb to taste. In the process, I produced more arresting sounds than I had heard from my guitars in many days. There were radical direct-to-desk-style Jimmy Page/Beatles distortion tones, sun-sized, cosmic electric 12-string, Bakersfield twang that could burn through crude, and many other sweet and nasty colors. Most decent EQ and compressor combinations can achieve variations on all those themes. But the Smooth Impact and Tone Sculptor also reveal interesting personalities in unexpected places.
The individuality and energy in the Vox Valvenergy pedals is attributable, in part, to the Nutube vacuum tube used in the circuit. Though it looks little like a vacuum tube as most guitarists know them, the thin, wafer-like Nutube is, in fact, a real vacuum tube like those used in fluorescent displays. Fluorescent display tubes have limitations. A maximum operating voltage of around 40 volts means they aren’t useful for bigger power tube applications like a 6L6, which has an operating voltage of about 400 volts. But it can work quite well as a preamp tube in concert with an op amp power section, which is how the Nutube is used in the new Valvenergy pedals, as well as older Vox products like the Vox MV50 and Superbeetle amps.
Valvenergy Tone Sculptor
When you think about “cinematic” effects, you likely imagine big reverb or modulation sounds that create a vivid picture and feeling of space or motion. But narrow, hyper-focused EQ profiles can evoke very different and equally powerful images. Radical EQ settings can add aggression, claustrophobic intimacy, and stark, explosive dark-and-light contrasts more evocative of Hitchcock’s Psycho than Ridley Scott’s Blade Runner.
Any of these moods can be summoned from the Valvenergy Tone Sculptor. Six sliders cut or boost 10 dB frequency bands spanning 100 Hz to 5.6 kHz. A seventh slider cuts or boosts the master output by 12 dB. This platter of options might not sound like much. But you can use these seven controls together to very specific ends.
“Radical EQ settings can add aggression, near-claustrophobic intimacy, and stark, explosive dark-and-light contrasts.”
For example, bumping the high-midrange and the master output produces narrow cocked-wah-like filter sounds with enough push to produce extra amp overdrive—effectively turning the Tone Sculptor into a buzzy, almost fuzz-like filter effect. But unlike a wah, you can carefully scoop high end or add a spoonful of bass to blunt harsh frequencies or give the tone a bit more weight. You can also broaden the palette of an amp/guitar pairing. I matched a particularly trebly Jazzmaster bridge pickup with a very hot and toppy Vox AC15-flavored amp for this test—a recipe that can be spiky on the best days. But with the Tone Sculptor in the line, I could utilize the same sharp, fuzzy, and filtered Mick Ronson wah tones while shaving some of the most piercing frequencies.
EQ pedals exist on many points along the cost spectrum. And at $219, the Tone Sculptor lives on the high side of the affordable range. Does it offer something less expensive models can’t deliver? Well, for one thing, I found it relatively quiet, which is nice whether you’re shaping toppy high-contrast effects or performing more surgical adjustments. And the sliders feel nuanced and nicely tapered rather than like a dull axe with a few basic frequency notches. But in many situations I also liked the color imparted by the circuit—generated, presumably, by the Nutube. “Color,” in audio terms, is a broad and subjective thing, and one should not necessarily expect the warm, tube-y glow of a vintage tube Pultec. Still, the Tone Sculptor has many forgiving, flattering qualities—typical of studio EQs—that enable fine tuning and experimentation with more radical and creative applications of the effect.
Valvenergy Smooth Impact
As with the Tone Sculptor, the Smooth Impact’s use of Nutube engenders certain expectations. It’s easy to surmise that because Smooth Impact has a vacuum tube in the circuit that it will behave like a little Teletronix LA-2A leveling amplifier. That’s a big ask for a $219 stompbox. On the other hand, the Smooth Impact exhibits some appealing characteristics of studio tube compression. At lower compression levels, it works well as a thickening agent—adding mass without much additional noise. And at higher compression levels it can sound snappy, crisp, and tight without feeling like you’ve bled every trace of overtone from your signal.
The Smooth Impact’s controls aren’t totally atypical. But because it lacks some familiar features like variable attack and release, yet is more complicated than a 1-knob DynaComp, you have to trust your ear to navigate interactions among the controls. The most unfamiliar of these is the 3-way vintage/natural/sag toggle. The first two are defined by preset attack and release settings: Vintage is slow attack and long release, and natural is the opposite. The sag mode’s compression is more like what you get from tube saturation, and it’s useful for adding thickness and complexity to a thin amp tone at modest compression levels.
Though the vintage and natural modes certainly have a different feel, they don’t always sound worlds apart. And like the sag mode, the thing they have in common is the way they enrich lifeless amp output at low to medium compression, with a bit of grind from the tube gain and a little extra makeup gain from the output. At the most aggressive settings, the tube gain can get a little crispy. And really crushing the compression can flatline your tone without adding much in the way of extra sustain. These are limitations common to many compressors with similar features. But unless I was chasing very ultra-snappy Prince and Nile Rodgers fast-funk caricatures, I enjoyed the Smooth Impact most in its in-between ranges, where mass, mild, harmonious drive, and low noise showcase the pedal’s sometimes studio-like personality.
Boss’ firstWaza Tube Amp Expander, built with an integrated power amp that enables boosted signal as well as attenuated sounds, was and remains the OX’s main competition. Both products have copious merits but, at $1,299 (Boss) and $1,499 (Universal Audio), each is expensive. And while both units are relatively compact, they aren’t gear most folks casually toss in a backpack on the way out the door. The new Waza Tube Expander Core, however, just might be. And though it sacrifices some refinements for smaller size, its much-more accessible price and strong, streamlined fundamental capabilities make it a load-box alternative that could sway skeptics.
Micro Manager
The TAE Core is around 7 1/2" wide, just over 7 " long, and fewer than 4 " tall, including the rubber feet. That’s about half the width of an original TAE or OX. The practical upside of this size reduction is obvious and will probably compel a lot of players to use the unit in situations in which they’d leave a full-size TAE at home. The streamlined design is another source of comfort. With just five knobs on its face, the TAE Core has fewer controls and is easier to use than many stompboxes. In fact, the most complicated part of integrating the TAE Core to your rig might be downloading the necessary drivers and related apps.
Connectivity is straightforward, though there are some limitations. You can use TAE Core wirelessly with an iOS or Windows tablet or smartphone, as long as you have the BT-DUAL adaptor (which is not included and sets you back around 40 bucks). However, while desktop computers recognize the TAE Core as a Bluetooth-enabled device, you cannot use the unit wirelessly with those machines. Instead, you have to connect the TAE Core via USB. In a perfectly ordered world, that’s not a big problem. But if you use the TAE Core in a small studio—where one less cable is one less headache—or you prefer to interface with the TAE Core app on a desktop where you can toggle fast and easily between large, multi-track sessions and the app, the inability to work wirelessly on a desktop can be a distraction. The upside is that the TAE Core app itself is, functionally and visually, almost identical in mobile and desktop versions, enabling you to select and drag and drop virtual microphones into position, add delay, reverb, compression, and EQ effects, choose various cabinets with different speaker configurations and sizes, and introduce new rigs and impulse responses to a tone recipe in a flash. And though the TAE Core app lacks some of the photorealistic panache and configuration options in the OX app, the TAE Core’s app is just as intuitive.Less Is More
One nice thing about the TAE Core’s more approachable $699 price is that you don’t have to feel too bad on nights that you “underutilize” the unit and employ it as an attenuator alone. In this role, the TAE Core excels. Even significantly attenuated sounds retain the color and essence of the source tone. Like any attenuator-type device, you will sacrifice touch sensitivity and dynamics at a certain volume level, yielding a sense of disconnection between fingers, gut, guitar, and amp. But if you’re tracking “big” sounds in a small space, you can generate massive-sounding ones without interfacing with an amp modeler and flat-response monitors, which is a joy in my book. And again, there’s the TAE Core’s ability to “expand” as well as attenuate, which means you can use the TAE Core’s 30-watt onboard power amp to amplify the signal from, say, a 5-watt Fender Champion 600 with a 6" speaker, route it to a 2x12, 4x12, or virtual equivalent in the app, and leave your bandmate with the Twin Reverb and bad attitude utterly perplexed.
The Verdict
Opting for the simpler, thriftier TAE Core requires a few sacrifices. Power users that grew accustomed to the original TAE’s super-tunable “resonance-Z” and “presence-Z” controls, which aped signal-chain impedance relationships with sharp precision, will have to make do with the simpler but still very effective stack and combo options and the “air feel level” spatial ambience control.The DC power jack is less robust. It features only MIDI-in rather than MIDI-in/-through/-out jacks, and, significantly, 70 watts less power in the onboard power amp. But from my perspective, the Core is no less “professional” in terms of what it can achieve on a stage or in a studio of any size. Its more modest feature set and dimensions are, in my estimation, utility enhancements as much as limitations. If greater power and MIDI connectivity are essentials, then the extra 600 bones for the original TAE will be worth the price. For many of us, though, the mix of value, operational efficiencies, and the less-encumbered path to sound creation built into the TAE Core will represent a welcome sweet spot that makes dabbling in this very useful technology an appealing, practical proposition.
