Hi everybody. I’m curious if the “hairiness” of an Orange amp is calculable, and adjustable. Can I, for instance, switch some in or dial some into a JCM800 circuit?
Thanks a bunch!
What makes an Orange “hairy?”
Moderators: pompeiisneaks, Colossal
Re: What makes an Orange “hairy?”
To me the "hairy" or "glassy" sound is a lot if high frequency info being distorted. The JCM has big treble boost up front, early in the circuit.
I'm not familiar with Orange circuits. Point to a schematic if you want to discuss.
I'm not familiar with Orange circuits. Point to a schematic if you want to discuss.
I build and repair tube amps. http://amps.monkeymatic.com
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Re: What makes an Orange “hairy?”
Too much tin in the solder
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Re: What makes an Orange “hairy?”
which orange? the old ones (70s, orange graphic) had ginormous coupling caps (68nf) that let a lot of low end through (this is why the doom metal guys who tune down love em). many also had a 390k plate resistor before the dc-coupled cathodyne phase inverter
can you get it from a jcm800? meh. they're very different. both sound great though
can you get it from a jcm800? meh. they're very different. both sound great though
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- JMFahey
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Re: What makes an Orange “hairy?”
I was dissappointed/underwhelmed by Orange sound.
Most guitar amps, specially if intended to be overdriven, cut some Bass for good reason, or sound becomes mushy when pushed too far (of course Doom players count that as a feature )
Orange does not cut Bass, and suffers from that problem.
So much so, that they *had* to add the FAC control, a series of progressively smaller coupling caps selectable by a rotary switch, so user could dial some Bass out of the sound, go figure.
They also have way too bassy tone controls (compared to Fender-Marshall-Vox that is) and closer to Ampeg, better suited for Bass Guitars.
Then why did so many tops acts use them?
My opinion is that they were built with the HIGHEST quality parts available, period.
Not talking about fairy dust "audiophile" coupling caps or resistors but where it really counts: very expensive and huge Partridge transformers, and incredibly advanced and loud FANE speakers,and that makes a big difference.
FWIW also the transformer and speaker complement used by HIWATT, go figure.
Although Hiwatt also had a killer design and equalization.
There is a YT Video where you can clearly hear the incredible difference between Orange and Hiwatt (and other classic heads), both with all knobs set to 10 , no pedals, no post processing, just raw room mikes,all into same cabinets:
https://www.youtube.com/watch?v=424Hv4dg3Yw
I warn you: you will be surprised.
The classic Orange schematic: notice the large coupling caps, large cathode caps (50uF instead of Marshall .68uF), Ampeg type tone control, no Presence control, they had to add F.A.C so user could dial in small coupling caps to clear the mud (it would have been unusable otherwise):
Again, a so so design through KILLER speakers and transformers.
Most guitar amps, specially if intended to be overdriven, cut some Bass for good reason, or sound becomes mushy when pushed too far (of course Doom players count that as a feature )
Orange does not cut Bass, and suffers from that problem.
So much so, that they *had* to add the FAC control, a series of progressively smaller coupling caps selectable by a rotary switch, so user could dial some Bass out of the sound, go figure.
They also have way too bassy tone controls (compared to Fender-Marshall-Vox that is) and closer to Ampeg, better suited for Bass Guitars.
Then why did so many tops acts use them?
My opinion is that they were built with the HIGHEST quality parts available, period.
Not talking about fairy dust "audiophile" coupling caps or resistors but where it really counts: very expensive and huge Partridge transformers, and incredibly advanced and loud FANE speakers,and that makes a big difference.
FWIW also the transformer and speaker complement used by HIWATT, go figure.
Although Hiwatt also had a killer design and equalization.
There is a YT Video where you can clearly hear the incredible difference between Orange and Hiwatt (and other classic heads), both with all knobs set to 10 , no pedals, no post processing, just raw room mikes,all into same cabinets:
https://www.youtube.com/watch?v=424Hv4dg3Yw
I warn you: you will be surprised.
The classic Orange schematic: notice the large coupling caps, large cathode caps (50uF instead of Marshall .68uF), Ampeg type tone control, no Presence control, they had to add F.A.C so user could dial in small coupling caps to clear the mud (it would have been unusable otherwise):
Again, a so so design through KILLER speakers and transformers.
Design/Make/Service Musical stuff in Buenos Aires, Argentina, since 1969
Re: What makes an Orange “hairy?”
Then again, application counts too. Fat and fuzzy distortion is typical for stoner rock (and maybe doom) but one wouldn't possibly use such tone to hard rock or modern metal. Many Orange users may have also employed treble boosters and other outboard pedals. Stories seldom discuss that part.
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Re: What makes an Orange “hairy?”
So my quick minded girl friend is looking over my shoulder when I am sitting at the top of this string and she says “ spraying it down with contact cement and letting it roll around on the floor of a hair salon for about 2 weeks should get it dam hairy” lol!!
When I die, I want to go like my Grandfather did, peacefully in his sleep.
Not screaming like the passengers in his car!
Cutting out a man's tongue does not mean he’s a liar, but it does show that you fear the truth he might speak about you!
Not screaming like the passengers in his car!
Cutting out a man's tongue does not mean he’s a liar, but it does show that you fear the truth he might speak about you!