i also have a problem with 50hz noise or hum when i plug the adaptor in.its fine on just a battery.will a mains conditoner get rid of the hum :)

This is a great product for the price. Excellent for home use.

Got it broken at first and reported it, but received a new one in a day.

In a nutshell, this is the best £300 amp I have ever played, and by a distance the best sounding £300 amp I have ever played.

This amp is very simply all about tone: 15w of all tube tone. And it has its own voice, this is not a pale imitation of anything else. To give you a rough idea of sounds, it’s very much classic British, a little bit Vox, a little bit Marshall - but in the end it has its own voice. The classic tube characteristics are there – this amp gives you clarity – it is very responsive to your playing, picking up all the little characteristics of your picking. Strum a chord and the component notes of it can be clearly picked out. The volume control on your guitar can be used effectively to alter the tone from clean to overdriven. It’s responsive, natural and just incredibly musical.

There is an impressive amount of clean headroom before the amp will start to break up. And the clean sounds are very good, very much in tune with the British voice of the amp. Translation: these are not Fender cleans – if you want Fender cleans, buy a Fender amp (or a Victoria if you can afford it). If you want high-end, British styled tone, then it’s here. Once the amp starts to break up it really comes into its own. If you are looking for anything from slight bluesy crunch to full blooded rock tones then you are in for a real treat. And while this probably won’t be a first choice for most pure metal players, there is enough gain to cope with almost any style, in fact I would say that if there isn’t enough gain here for you then you must be in an industrial band.

There is a certain amount of compromise to be made with this amp, which I will come to in a bit, but in terms of tone this amp will go toe-to-toe with amps costing two to three times as much, and it will beat a lot of them. Which is not to say that the tone of this amp is for everyone. If you are married to the Fender clean tone, or if it’s a more American sound you’re after, then arguably you’ll find better options elsewhere. And certainly this doesn’t have the flexibility that digital modelling provides – personally I’d much rather have 1 great amp than 23 mediocre ones, but again that’s not everyone. What I would say is that in terms of overall quality of tone, this thing doesn’t just beat the price-point competition - it absolutely slays it.

So to the compromise that you make with this amp: it is very light on features. There is only one channel. There is no effects loop, line in or headphone socket. The tonal control is incredibly basic, one knob that will pile on the bass and roll of the treble to the left, and do the opposite to the right. The latter is relatively easily sorted out – simply run a decent EQ pedal in front of the amp. The first two will present real problems for some guitarists. There are perfectly good reasons for requiring an amp featuring multiple channels and/or an effects loop. If these things are must-haves for you then this amp is probably not for you. On the other hand, if these things are not must-haves, you should give this amp a lot of consideration. Unless you have a much bigger budget than £300 then you are trading in a lot of tone quality for those extra features, and that is only ever worth doing if it’s for features you really need.

You may ask yourself whether a 15w amp will be loud enough for you. This is a very loud 15w, rated the old fashioned, British way. In terms of practice, you will easily get above any drummer with this amp. No, it won’t compete with another guitarist who cranks their 120w head up to the max, but the problem there is their volume level, not the output of this amp. For gigs, this thing is loud enough to play a small, bar-sized venue on its own. If you are playing a venue that is any bigger than that, then this is plenty loud enough assuming the venue has a half decent PA and monitors, and a sensible engineer. When I gig, my volume level is normally slightly lower than my practice volume level. Although I bought this amp mainly/solely for recording, I would gig with it unquestionably; it’s definitely loud enough and the size and portability of it couldn’t be much better.

This amp is amazing, and it’s the future. Digital modelling has come a long way, and certainly it has its place – I use software amps regularly in the studio (AmpliTube), and they are very useful and a very practical solution in the right scenario. But why buy an emulation of something when you can have the real thing for as little as £300? Believe the hype. These amps are as good as everyone says.

A pretty loud amp for its size although if one plays loud, the sound will be distorted, kinda overdriven but again it's not a big amp so it's expected. It's great thing to give someone for Christmas too probably. It's a great amp to just practice when you're on the road or travelling.

Well, i've been playing for over 6 years now, many would consider that not much but, that was enough to play quite a few amps. The Tiny Terror for its price is one of the best amps i have ever heard, i play a lot of AC/DC and Bailterspace/Fugazi type stuff, if you are into the british sound and like simplicity and an incredible mind numbing tone well... can't really go wrong at all.

The Best make in the World, giving it a go would be ideal but, realistically, it is hard to go wrong with an orange.

If you are doubting it, DON'T!!!

This is quite possibly one of the best things i have bought, its played through a orange 4x12 and sounds like heaven. Even on 7 watts it will make your neighbours complain! 9 out of ten only because of the lack of full tonal control and reverb/effects loop - but you wont spend a better £300 if you just want full valve tone!

The PPC412 has a nice full and very rich sound. Its great for clean and slightly distorted sounds. For heavy sounds the bass is nice although not too heavy and the mids are well defined.
Obviously, most of the sound is due to the Vintage 30 speakers, so, try to get an idea of how they sound like.
The only complaint I have is, that the box was not in a very good condition, one of the metal corners was badly dented and there were dents in the wood as well...however this seems to be how Orange sells them and might just be a problem with the expectations I have.

This is an Orange product, thus should get a rating of 10. When it comes to the sound, this little fella delivers, but the fact is it's an aristocrat in paupers clothing.
My unit sounds fabulous, because the driver is a Celestion, aristocrat of speakers.
The paupers clothing ?.....tolex peeling at the corners, out of the box, speaker cloth looser than the waistband of a girl I used to know, and the Orange badge looking like something out of a lucky bag. Add to this the jack plate screwed on squint and you have one unhappy perfectionist !
I buy Orange bacause they are supposed to be a top line professional brand. I would have paid 50% more for a good solid UK made unit, but hey....no choice any more !!
On the positive side, it is small, relatively light, and still throws out a scary volume from my Rocker 30 head. If you are looking to build a small rig for small venues then this is a good choice, but just dont expect a top quality finish on your box.

Keep it live !!

Over the course of playing guitar for nine years, I have had experience with numerous effect pedals and tone. Starting out, I didn't have a lot of money for an amp, so I went the route of digital modelers and digital effect packs. Since those days of stale, harsh distortion and mediocre dynamics, I have grown to appreciate pure, unadulterated guitar tone that accents my guitar’s pick-ups and finger dynamics.

My music style covers alternative/rock/Christian worship, so I need clear distortion that isn't scooped or 'squashed' like a Mesa. I need distortion that allows individual and open notes to shine with texture and follows my playing/picking but can also cut through the mix and become raw and very full.

Enter the Orange AD30 TC head, which I play through the Orange 2x12 cab with Vintage Celestion 30’s. This head is great for me-it is extremely punchy and loud. Loud enough for gigging, don't worry about 'only' 30 watts. The head has a feature that really helps control tone and volume as well: it contains a master and gain control.

Most people mistakenly see 'gain' and crank it to try and achieve a heavy saturated distortion. Without the master open, the gain will add a lot of sparkle and presence, but the body won’t be there. The gain and master control work hand in hand: the master is like a valve that opens the amp’s main power tubes, allowing the tone and body to start building exponentially. Start there and then add some gain, and you have beautiful British crunch. Roll back your guitar pot (I use a Nashville Tele) and you have sparkling cleans. Cleans very different from a Fender (I also use a Fender HRD), but they sparkle with some dirt mixed in, adding texture. The eq’s actually make a difference you can hear and being a true two channel amp, the Orange allows for some great tone creations. However, you can go from clean to dirty just with a twist of your guitar pot.

The second channel is voiced a little darker with more gain on tap than the first. Again, we’re talking about two complete separate channels allowing you to sculpt some really great tones. I don’t even run any pedals through it yet and probably will only get a booster. Digital effects are banned from my Orange (except maybe a Line6 DL4). Don’t put modelers or cheap distortion boxes near this amp: you pay for its point-to-point soldering and unique voicing: why throw that tone away? Let the amp be your foundation instead of cheap pedals!

The Orange AD30 HTC overall is a dark, thick, punchy amp but also has a sparkly presence on top: I recommend getting the head with the closed back 2x12 cabinet. Those cabinets are solid birch, resonate extremely well and project with power. The closed back will tighten your low-end bass response, which creates punchier tone. An open back won’t be as directional and will have a softer low-end response—but whatever you prefer.

The Orange is a great amp with a wonderful history, offering you unique British tone. Use it and don’t try and make this amp sound like your buddy’s: let it be unique and people will notice!

I was mainly motivated to get this little amp as a quality alternative to my Marshall tsl 100, which although being a fantastic amp is just too loud for regular home use and for a devoted fan of 'power valve' overdrive. I have a 2x12 marshall extension cab with celestion 'vintage' and 'heritage' speakers which i reckoned should be a fair partner to the 'terror'. I'd considered the little epiphone valve head or maybe an AC15, but the Orange fitted perfectly into my price bracket.
Tranny or hybrid amps were not an option (I'm a tone snob and unfortunately notice the difference).
The parcel arrived very promptly in Limerick, Ireland (a very positive and pleasant experience with Dolphin music - thanks!) and I must confess some degree of childlike excitement unwrapping the external protective box to unveil the orange coloured product box underneath. Beyond this the amp was already in it's padded gigbag, shoulder strap, kettle lead, but no instructions - somehow I doubt many people who will actually buy this amp will need instructions, but any sensible beginners who choose to invest in one may not be completely sure how to connect their cab (or cabs).
I really like the look of it, metal brightly coloured metal case, big vents to look in at those lovely EL84s glowing sweetly, sturdy construction and nice big feet so it can sit comfortably on top of the TSL unobstructed by the carrying handle. An off/standby/on toggle switch beside the 7/15 watts output switch and three smooth action plastic knobs for volume, 'tone', and gain. I heated the valves for a few minutes and then turned it on.
My initial reaction on plugging in the Orange and using the 15 watt setting was a huge grin, and some surprise at the volume. I believe the designer based his desired sound on the first three AC/DC albums, and with the volume on about 8, tone up full and gain to about 4-5 this indeed is a good approximation of the sound of this amp (Gibson SG of course!). Full bodied and creamy blooming overdrive, with plenty of tooth. The 'tone' switch I think sounds a little bit like a tone knob on a guitar, in fact with the tone left on full, using the guitars tone knob to bighten/darken things seems to have become a much more frequently done and enjoyable practice I have incorporated into my playing. It is useful when plugging in a tele to tame the top end a little, and something that stands out is how warm the amp sounds with the bridge pickup. when the gain is cleaned up a bit the headroom is very impressive, across all frequency ranges. The more one plays with it and experiments with the gain/master volume relationship, the more one realises that the tone knob isn't really that relevant, and i mean that in a good way. The tones available are varied, and most importantly really useable in a live or recording context. In fact I took it up to a friend's house over the weekend for a recording session and he was deeply impressed by the clarity of tone and power available. I had it on 7 watts setting for the day and it coped quite easily with the drum kit going good-o. I expect it will perform perfectly well in pub gigs, and I'm talking about guitar based (loud)rock/60s garage type music, but this little baby has yet to be blooded.
It actually sounds pretty good at lower volumes too. A harder and slightly more brittle sound that's eminently useable when recording, but I have to confess that the warmth of perfectly cooked valves is where I'm happiest.
The gain does get progressively more rock/metal in vibe as it is turned up, lots of harmonically rich feedback, but perhaps a bit squelchier than the high gain rock sounds of marshall/mesa, if you want 'enter sandman' chug chug riffery then this possibly isn't the right choice for you, but for pretty much all other electric guitar styles, you'd be doing yourself a disservice if you don't audition this one.
An absolutely perfect first valve amp, totally pro sounding, and a fine addition to any studio setup.

The Orange Tiny Terror will supprise you. Guarenteed.

7 or 15 watts of pure class A valve tone, compact, portable and rugedly built. There is no better value for money.

At first sight, the Tiny Terror is small and not beautiful. Minutes later, once the valves have wamred and the gentle orange glow oozes through the steel chassis vents, you realise the industrial simplicity is not that bad at all.

Since i bought this amp, many people have commented on the size of it, as if size matters. Some have said its "cute" some "it's to small". None have said its "mean" looking or aggresive, and if thats what your looking for in a head, this is not for you. The Tiny Terrors looks hide a sound some people search most of thier life for.

Simple controls mimic the simplicity of the amp. A single channel with Volume, tone and Gain controls. Theres an on/standby/off switch, and 7/15 watt power switch. All the controls feel reliable and sturdy, they will last a lifetime.
On the rear thers a 16ohm, and two 8ohm outs catering for multiple cabs.

The Tiny Terror packs a mighty punch even a 7watts. I ahve played it through a Marshall 1960 4x12, loaded with Celestion Vintage 30's, and it was loud. You could easily use this for small gigs and studio work, or mic it through a PA to equal effect.
I prefer the 7watt setting. You can have the volume maxed out for a gig and it pushes the valves to perfection.
Through a 4x12 cab, there was not much difference in volume at 15watts.

The tone control acts morel like a mid/trebble knob, giving a slight boost to the trebble at the top end, or mid at the bottom. Ultimately it makes little difference as the amp sounds so good anyway!

The gain control unleashes a side of the Tiny Terror to warrant its name. Crank the gain up and the rip-your-face-off drive is awesome. At mid gain is a warm and creamy crunch.

My prefered setting is to have the master volume at your desired level, the set the gain at about 3.5 or 4 and turn the tone up. This pushes the pre-amp valves, and the just begin to break up, giving you a subtle crunch that plays with you pick attack nicely. Then i use an overdrive pedal to push it that bit further for high gain sounds.

What this amp is designed to lack in features, it makes up for in pure valve tone. If your looking for a simple valve amp that wont break, or break the bank the Tiny Terror comes higly recommended.
For those who want monster wattage and multiple channels, look elsewhere. The Tiny Terror will give you a pleasnt clean and the bite your head off with drive. Be Warned.

Although small in size, somewhat odd in appearance (eschewing a wooden casing for a metal one), and low in wattage, the Orange Tiny Terror packs quite a punch. This little amp is perfect for home recording sessions where you want that wonderful overdriven valve sound, but don't want to wake the neighbors. Although 7/15 watts may not sound like much, it's pure tube tone through and through. With the gain dialed back, it's easy to achieve a shimmering clean tone with lots of head room. The real surprise to me came when I cranked the gain and discovered that this amp had some real girth. Though not as dirty as newer Marshall or Mesa amps, the gain would be well suited to recording sessions, easily offering enough distortion to cover any style without getting muddy. Through an Epiphone 4x12 cabinet, the amp had enough volume to be adequate for smaller venues, allowing you to turn up to get that tone only a tube amp at high volumes can produce. For larger venues, this amp may be a bit underpowered unless you mic your cab and run through the PA (which the sound guy will thank you for anyways). So, in closing, unless you crave the power of a wall of 100 watt amps behind you, the Tiny Terror could very well be worth a try. It's at home both in the studio and on a stage, and it won't break your back getting it from one to the other. And with a very reasonable price tag, why not splurge and treat yourself to the sound only a class A tube amp can provide.

Pros: Big sound in a small, easy to transport package. Good for live or studio situations.

Cons: Underpowered for larger venues. Lack of controls (Only 3 knobs; gain, volume, and tone. Good if you love simplicity, bad if you're very picky about every nuance of your tone).