Orange Bass Butler
Tokanals preamp for bass. En kanal gir ren basslyd for fin bunn og kraft. Den andre kanalen gir Overdrive/Distortion. Dette er en gammel metode for å ikke miste bunn når du "dister". En gang i tiden krevde dette to forsterkere, nå klarer du deg med en pedal.
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AN ENTIRE BI-AMP BASS RIG IN A PEDAL
Back in the good ol’ days, it was a popular practice to send a bass guitar signal to a bass amp and a guitar amp at the same time – known as Bi-Amping. This allows the player to keep their low end deep, clean and defined whilst amplifying the mids and top end separately, adding distortion or crisp highs with total control.
This type of setup can produce some enormous tones but typically requires a huge and complicated rig, only possible if you’re Rock ‘n’ Roll royalty. But, if you have to get all this together by yourself? Forget it!
Enter the Bass Butler…
YOUR BASS RIG IS READY, SIR
Forget amp-in-a-box pedals, the Bass Butler is a whole van-load of gear in a box! Splitting your signal at the input, the Bass Butler features two completely separate, parallel, analogue signal chains, just like a real bi-amp rig. The difference is there’s not an amp in sight.
BASS CHANNEL:
The always-on Bass Channel has a simple but effective control layout of Compression, Bass, Treble and Volume. An optical compressor circuit, cut/boost tone controls and dedicated, bass cabinet-simulated balanced D.I. output are always on hand with all manner of classic clean tones. From the depths of Dub to the heights of hi-fi, the Bass Butler has it all polished up and ready, like your best pair of shoes.
GUITAR CHANNEL:
Whether you need mayhem, musicality or a mere modicum of mischief, this classic high-gain guitar channel won’t disappoint. Five familiar controls and four gain stages that can clean right up are summoned with one kick of the footswitch, serving up everything from bright vintage tones to floor-splitting, wall-crumbling modern destruction. Coupled with a guitar cab-simulated balanced D.I. output and an expression pedal jack for extra control over the input gain, this really is a plentiful platter, pleasing to the even pickiest of players.
DIRECT AND TO-THE-POINT
The Bass Butler’s two individual XLR outputs from the two separate channels mean that your finished Bi-Amp bass tone makes it to the mixing desk with nothing left to do except blend to taste, with a Ground Lift switch for solving any ground loop issues. It’s the same story in the studio, but that’s not all…
The Bass Butler also features an Amp output, which takes a blend of the two channels before the cabinet simulation circuits from a 1/4" jack – perfect for connecting to the front end of any bass amp. The blend is set by the channel volume controls, meaning you can control your on-stage sound completely independently of what the audience hear. In fact, you can even use this output on its own, just like a plain old preamp pedal.
FIVE-STAR QUALITY
As the Bass Butler is the ultimate fly rig, the perfect studio tool and quite possibly the only pedal you’ll ever need, it has to be built to last. A sturdy steel enclosure, 18V DC power for high headroom, and all-round road-ready ruggedness mean that the Bass Butler is willing and waiting for a lifetime in your service.
Cliff was also friendly with what was then a premier blues band called Fleetwood Mac. Mac became the first chart group to go Orange in late-1968 when they took with them to America the very first half dozen Orange 100-watters ever made. Sportingly, Cliff included the name Matamp below the psychedelic Orange logo engraved on amplifier front-plates.
But the Orange Matamp era would be relatively brief as stars as big and wide-ranging as Stevie Wonder, BB King, Jimmy Page, John Mayall, Ike and Tina Turner, and James Brown joined the client list and helped to establish the brand. Orders worldwide soon far outstripped the production capacity of the Huddersfield factory that Cliff had bankrolled for Matamp in early 1970.
When Orange introduced a 200-watt head in time for Fleetwood Mac’s spring 1969 tour with BB King, Peter Green remarked that the sound was too clean and so Cliff’s engineers voiced the amps deliberately to produce more distortion.
Then the 1972 introduction of the 120-watt and 80-watt Orange Graphic Amplifier OR series marked the start of an era in which Orange truly became The Voice of The World , with manufacturing now mostly in Bexleyheath. The Graphic’s front-plate used eye-catching graphic icons taken from a computer industry which was then in its infancy. The mid-1970s saw the launch of the first Orange amp with master volume overdrive the OD 120 model.
And Cliff by now was known in the business as Mr Orange or Monsieur Orange in France where Orange drum kits were made.
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