Having two channels ultimately means more options. Two Channels Coupled with a High Gain Preamp The circuit also boasts a ‘dry through’ – meaning your untouched guitar tone continues, even while reverb is added. Selecting from classic spring, hall and plate reverbs lets you pick the exact option required for your preferred tone. Reverb SelectionĬhoose from a number of varied reverbs, courtesy of a brand-new digital module.
However, after painstaking, meticulous development and research, the end result is a high powered, solid state amp worthy of the Orange brand! This variant offers the same great tone, with an added brilliant new look – limited edition white. "That’s not in my future, I think.The Orange CR120H is somewhat uncharted territory for Orange. I won’t be doing a psychedelic solo anytime soon. As for modulation effects… that’s more Tim’s world. "I never used to appreciate compression because it was less obvious than something like a distortion pedal. “It’s a killer compressor… I’ve used a number of them over the years, but this one seems to sound the best. "It’s feeding more food into it all, instead of being a glorified distortion pedal.” Keeley C4 Compressor I tend to want the same tone just more in quantity, and that’s exactly what this does. "Sometimes it’s hard to differentiate boost from a distortion. It also gives the Fender some more cajones, it helps with growl. It comes off for the more dynamic songs, like Son Of Virginia or Regulator. “We keep this on just about all the time.
#ORANGE CR120 DRIVER#
I think people sometimes over-think these things, maybe a Boss pedal might not sound as boutique as others, but it does the job just as good as any.” Custom Audio Line Driver Boost “I got this here in the UK when I left my Strymon Flint at home, it’s just a basic Tremolo. "You can make it really sizzly or really mellow, rolling off frequencies to the point where it doesn’t even sound like a guitar at all anymore, really.” Boss TR-2 Tremolo You can switch this and make it percussive, with the gate open. There are others out there, but I often find them to be a bit too contemporary for me. "I’m a big fan of Pink Floyd’s early synth sounds, and this is the closest thing I’ve heard in making a guitar sound like that. It has that analogue tone I love, set to a swell mono-synth. Neil Fallon: “This is primarily here for me to use on Our Lady Of Electric Light. Neil Fallon's pedalboard Electro-Harmonix Micro Synth "I can’t ever see myself using an Axe-Fx!” Prev of 9 Next Prev of 9 Next These amps tend to have more girth and get more of an all-encompassing noise, rather than something pokey-sounding. "I haven’t played any death metal on it, though, that’s a little out of my skill set. “Right now I’m only using this for one or two songs that are more metal-sounding, for lack of a better word, like The Soapmakers and Behold The Colossus. I don’t solo, really, so it’s more of a rhythm thing.” Orange CR120 "Those songs lend themselves to that slap, it’s very percussive sounding. I’ll use it for any song I fingerpick on: A Quick Death In Texas, Your Love Is Incarceration, Regulator, Gravel Road, … I think that kind of twang you can only get from something like this. "This has more of that Eddie Hazel vibe, I love all that stuff. It would be redundant to have the same kinda sound. Tim plays through his Marshalls and Oranges, so I feel like it’s important to have a different tone. Neil Fallon: “This is a brand new reissue.
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