TEST: Orange TH100

 I'm not entirely sure, but I don't think there is any other manufacturer of amplifiers in the world where the name of the manufacturer clearly determines how the product will look. The Orange company, founded in 1968 by Cliff Cooper in London's East End, grew out of running a small music store where the owner not only wanted to sell instruments, but also wanted to turn the store into a meeting place for the national music scene. Today we have the Orange TH100 for testing, which claims to combine tradition and modernity in a single top part.

The design of the Orange TH100

All guitarists are now familiar with the fundamental debate between virtual modeling technology and analog top part sound generation. I don't want to bring up this debate for the hundredth time, but one thing is certain: anyone who is on the digital front will certainly never deal with this top part. No matter how good the top part will sound in the end, at almost 27 kilos this top part is in the upper weight class and will therefore be placed on the negative list from the start by any guitarist who does not want to carry heavy things.

The Orange, made in China, has clearly moved away from the classic Marshall briquette shape and made the amp a little more squat and, with dimensions of 55 cm x 27 cm x 28 cm, trimmed it down a bit in terms of width. Discussing the aesthetics of the amplifier is actually pointless. The amplifier, covered in classic orange Tolex, enriched with the world-famous pictograms above the potentiometers, has polarized opinions ever since this manufacturer was founded. You either love this color or you hate it with all your heart. There is no middle ground in between.

I also find the approach of even designing the power light in orange very consistent. If you just can't get used to the color scheme, there is also an alternative version with black Tolex, although personally this look reminds me more of the company Matamp. The company, founded by Mat Mathias, initially entered into a partnership with Orange, but later split off from the company and took over many of the visual attributes such as the pictograms.

The Orange TH100 is a two-channel all-tube amplifier, but the two channels are deliberately spartan. While the clean channel only has a volume, treble and bass control, the dirty channel only has a shape control, which is a combined tone control for bass, mids and treble. When turned all the way to the left, the amplifier follows a classic British orientation in the sense of a comparatively high mid-range component, while when turned to the right it switches to scoop mode with lowered mids and boosted bass and treble.

The performance data of the Orange TH100

The fact that Orange, despite its long tradition, also deals with modern problems is evident in the sophisticated power circuit of the all-tube amplifier. It is well known that the great dynamics and the special response behavior of four EL34 power amplifier tubes can only be achieved on very large open-air stages.

In order to be able to use this amplifier to its full potential, you can use a switch on the front to not only halve the amplifier's power using a triode / pentode circuit, but also remove two power tubes from the signal path using a second switch on the back of the amplifier.

This means that the amplifier can be run at 100, 70, 50 and 30 watts, which increases flexibility incredibly. However, please note that the power reduction primarily affects the sound and response behavior of the amplifier. Anyone who hopes that the amplifier at 30 watts is only about 1/3 as loud as it is at 100 watts hasn't paid enough attention to physics. To halve the amplifier power, the amplifier can only have a tenth of the power, i.e. a 10 watt amplifier is just half as loud as a 100 watt amplifier, which in turn means that the 50 watt circuit only represents a reduction of about 12% in the output volume.

The back of the Orange TH100

You can see how much the use of two cabinets on one top part, especially 4x12 boxes with 8 ohms each, has declined in recent years when you look at the back of the Orange TH100. The speaker outputs are now only one 16 ohm and two 8 ohm. The manual indicates that if you have a double assignment, such as 2x16 ohm boxes, you want to use the two 8 ohm outputs. In principle, this is logical, but a bit confusing for the inexperienced user.

A single 8 ohm box is therefore still easy to handle, but with two 8 ohm boxes or a single 4 ohm box, it's all over. Whether two cabinets are even needed on a stage is now a completely different matter. However, I would have personally preferred the classic configuration of 1x16 Ohm Out, 2x16 / 1x 8 Ohm Out and 2x8 Ohm / 1x4 Ohm Out, especially when you consider that Orange users are more likely to be in the traditional spectrum of the guitar amplifier segment and also like to move air with 8 speakers if possible.

Furthermore, on the back of the amplifier there is an input for a foot switch for channel switching and a tube-buffered serial loop. The amplifier can be switched to either 230 volts for European conditions or 120 volts or 100 volts for overseas use on the right-hand side.

In terms of built-in tubes, the Orange TH100 is very traditional. For the power tubes 4x EL34, for the preamp 4x 12AX7 or ECC83 and also a 12AT7 or ECC81 for the tube loop.

The Orange TH100 in practice

It doesn't happen very often, but sometimes manufacturers surprise me with an extremely simple and effective way of shaping the sound. This is the case with the Orange T H100. At first glance, you might criticize the fact that the amplifier's tone control options are very rudimentary. There is no explicit midrange control and choosing a single shape control for the dirty channel is truly a challenge.

I must also say, however, that the majority of guitarists, without wanting to offend them, would be overwhelmed by effective tone control on a guitar amplifier anyway. It is not for nothing that Jim Marshall explained his relatively ineffective tone control in an interview that this was intentional, so that guitarists could not set a BAD sound. So the primary aim was to reduce the damage that inexperienced musicians can do with the tone control.

The shape control in the dirty channel, on the other hand, has the great advantage that with a simple turn you can adjust it continuously between a traditional sound with a relatively high midrange component and a classic metal sound in the scope style, a way of working that should suit the majority of guitarists very well. If you asked the guys and girls to implement this using a sophisticated four-band tone control, you would probably end up with the most adventurous settings in this regard.

Otherwise, the amplifier is very practical, which means that the amplifier offers a very stable, tasteful, clean sound that can still produce very clear sounds even at high volumes. You can also optionally drive this channel into a nice saturation. However, you should bear in mind that in this case the volume can quickly become very high in the higher power classes. If you prefer this sound, I would recommend working in the 30 and 50 watt settings.

The Dirty Channel offers a very wide range, although you get the feeling that Orange has gone for metal here due to the very high gain reserves, although I personally think the treble in the scope area above 3 o'clock is a bit too high, but as we all know, this is a matter of taste. In my opinion, a switchable treble reduction would have been very nice here, but as I said, it's all a matter of taste. The fact that the background noise level increases significantly in the high gain range is unavoidable, but could confuse one or two users who are used to working with an internally installed noise gate.

Conclusion

With the Orange TH100, the manufacturer has a flexible all-tube head with a simple but effective tone control in its portfolio, which should cover a large part of the desired sounds, especially in the metal area.

If the heavy weight doesn't put you off, you should definitely give it a try.

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Additional Informations:

In the world of guitar amplification, few names carry as much weight as Orange. Known for their distinctive bright orange tolex and powerful, unique sound, Orange Amplifiers have been a staple on stages and in studios around the globe since the late 1960s. This article delves into the detailed history of Orange Amps, exploring their origins, key developments, and the technological innovations that have made them a beloved brand among musicians.

## The Birth of Orange

### The Visionary Founder: Clifford Cooper

Orange Amplifiers was founded in 1968 by Clifford Cooper in London, England. Cooper, a musician and electronics enthusiast, initially started a musical instrument shop in the basement of a premises on New Compton Street. This shop, named Orange, quickly became a hub for musicians and a breeding ground for new ideas in musical equipment.

### The Early Days: Orange Shop and Studios

The Orange shop was unique not just because of its products but also because it housed a recording studio. This studio attracted a variety of musicians, from aspiring local bands to established acts, which allowed Cooper to gather firsthand feedback about what musicians wanted from their gear. This direct connection with the music community was crucial in shaping the direction of Orange Amplifiers.

### The First Amps: Orange Matamp Collaboration

The first amplifiers to bear the Orange name were created in collaboration with Mat Mathias of Matamp, a small British amplifier manufacturer. The initial Orange Matamp amplifiers were designed to be loud and rugged, catering to the needs of rock musicians who demanded reliable and powerful equipment. These early models, with their unique sound and striking appearance, quickly gained a following.

## The Rise of Orange Amps in the 1970s

### Breaking Into the Market

By the early 1970s, Orange Amps had established a reputation for quality and reliability. Their amplifiers were used by prominent musicians such as Peter Green of Fleetwood Mac and Paul Kossoff of Free, which helped to further raise the brand's profile. The distinctive orange color of their amplifiers also made them easily recognizable on stage and in music stores.

### Key Models and Innovations

#### The OR100

One of the most significant early models was the OR100, introduced in 1972. This 100-watt amplifier was designed to deliver a powerful, clean sound at high volumes, which was ideal for the large venues and outdoor festivals that were popular at the time. The OR100 featured a simple, straightforward control layout, which made it easy for musicians to dial in their desired sound.

#### The Graphic Series

In the mid-1970s, Orange introduced the Graphic Series, which included models like the OR120. These amplifiers were notable for their use of pictographic symbols on the control panels instead of traditional text labels. This design choice not only gave the amplifiers a unique and futuristic look but also made them more accessible to international users, as the symbols transcended language barriers.

### Expansion and Challenges

#### Distribution and Growth

During the 1970s, Orange Amps expanded their distribution network, making their products available to musicians around the world. This period of growth was fueled by the increasing popularity of rock music and the demand for powerful amplification equipment.

#### Economic Challenges

However, the late 1970s and early 1980s brought economic challenges that affected many industries, including musical equipment manufacturing. The rise of cheaper, mass-produced amplifiers from countries like Japan put pressure on traditional British manufacturers. Orange Amps faced significant financial difficulties during this time, which led to a period of reduced production and limited new product development.

## Revival and Reinvention in the 1990s

### The Return of Clifford Cooper

In the early 1990s, Clifford Cooper decided to revive the Orange brand. Recognizing the enduring appeal of Orange amplifiers and the growing nostalgia for vintage gear, Cooper set out to re-establish Orange as a leading name in guitar amplification. This revival was marked by a renewed focus on quality, innovation, and maintaining the brand's distinctive identity.

### Reintroduction of Classic Models

One of the key strategies in the revival of Orange Amps was the reintroduction of classic models. By bringing back iconic amplifiers like the OR120 and updating them with modern components and manufacturing techniques, Orange was able to appeal to both longtime fans and a new generation of musicians. These reissues were well-received and helped to re-establish the brand's reputation for quality and performance.

### New Innovations and Products

#### The AD Series

In the mid-1990s, Orange introduced the AD Series, which included models like the AD30 and AD140. These amplifiers combined the classic Orange sound with modern features, such as improved reliability and versatility. The AD Series was particularly popular among indie and alternative rock musicians, who appreciated the unique tonal characteristics and vintage aesthetic of Orange amplifiers.

#### The Tiny Terror

A major milestone in Orange's resurgence came in 2006 with the introduction of the Tiny Terror. This compact, 15-watt amplifier was designed to deliver the same powerful, distinctive sound as Orange's larger models but in a more portable and affordable package. The Tiny Terror's success helped to cement Orange's reputation as an innovative and forward-thinking brand.

## Orange Amps in the 21st Century

### Continued Innovation and Expansion

In the 21st century, Orange Amps has continued to innovate and expand its product line. The company has embraced new technologies and design approaches while staying true to its core values of quality, reliability, and distinctive sound.

#### The Rockerverb Series

The Rockerverb Series, introduced in the early 2000s, is a prime example of Orange's ability to blend tradition and innovation. These amplifiers feature modern high-gain circuits, built-in reverb, and effects loops, making them versatile tools for a wide range of musical styles. The Rockerverb Series has been particularly popular among metal and hard rock musicians.

#### The Dark Terror and Dual Dark

Building on the success of the Tiny Terror, Orange introduced the Dark Terror and Dual Dark models. These amplifiers cater to musicians who require even higher gain and more aggressive tones. The Dark Terror, with its distinctive black tolex and menacing sound, has become a favorite among metal guitarists.

### Digital Technology and Modern Features

While Orange is known for its analog amplifiers, the company has also embraced digital technology. The Orange Crush Pro Series, for example, combines solid-state circuitry with digital reverb and effects, offering musicians a versatile and affordable alternative to traditional tube amplifiers.

### Artist Collaborations and Endorsements

Orange Amps has always been popular among professional musicians, and the company has maintained strong relationships with artists across various genres. High-profile endorsers include Jimmy Page, Jim Root of Slipknot, and Brent Hinds of Mastodon. These collaborations have helped to keep Orange in the spotlight and demonstrate the brand's continued relevance in the music industry.

## Conclusion

Orange Amps has a storied history that spans over five decades. From its humble beginnings in a basement shop in London to its current status as a globally recognized and respected brand, Orange has remained true to its founding principles of quality, innovation, and distinctive design. Through periods of challenge and resurgence, the company has consistently pushed the boundaries of guitar amplification, creating products that inspire musicians and shape the sound of contemporary music.

As Orange Amps looks to the future, it is clear that their commitment to excellence and innovation will continue to drive their success. Whether through the development of new technologies, the reimagining of classic designs, or the forging of new artist collaborations, Orange will remain at the forefront of the guitar amplification industry, inspiring musicians for generations to come.