The Orange One - Passive Stereo IFB & Comms Combiner
Built for professionals that work in film, television or live events who need to combine clear comms audio and a program feed with simple control they can rely on when things get busy.The Orange One is a compact comms and program combiner interface designed to make working with IFB, IEM, comms, and production audio setups quicker, cleaner, and less complicated.Made with real world production in mind, it brings together the features people actually use into one rugged, easy to use unit with straightforward routing, clear communication, and dependable performance on set, on location, or wherever the job takes you.Every Orange One is handmade in Manchester using high quality components and built to handle the demands of everyday professional use.
First Batch Due: Mid/End June 2026
Features Of The Orange One
Comms Routing
The Orange One gives you fast, flexible control over how IFB, IEM or Walkie-Talkie comms is routed and monitored within your setup.Designed for real world production workflows, it allows comms and programme audio to coexist cleanly without the clutter, compromises, or awkward workarounds often found in improvised setups.
Precision Comms Trim
Not all comms feeds are created equal. The dedicated trim control allows you to tame harsh walkie-talkie radios, compensate for level differences, and dial in a more balanced listening experience, especially important during long days on set where comfort and clarity matter.
Fully Passive Signal Design
Built around a passive architecture, The Orange One delivers dependable operation without relying on power for its core functionality.No charging, no boot up time, no unnecessary complexity, just a clean, reliable audio path that is always ready to work.
Built for Production Environments
Housed in a rugged RF/EMI shielded aluminium enclosure and designed to withstand the realities of location sound work, The Orange One is made for life in bags, carts, cases, and fast-moving productions.Durable construction make it reliable when conditions are anything but.Designed to work seamlessly alongside industry standard audio and communications equipment, The Orange One fits naturally into existing workflows. Simple, adaptable, and production focused from the ground up.
Who Is This For?
It is built for production sound mixers, boom operators, utility sound technicians, broadcast crews, assistant directors, script supervisors, camera operators, and anyone needing reliable IFB and comms monitoring in fast paced production environments.
Product Specification
The orange one gives production professionals more control over IFB and comms monitoring workflows.Designed for broadcast, film, and live production environments, it allows users to route it, trim it, and hear it -their way.
| Inputs: | 2x 3.5mm TRS mini jack |
| Output: | 1x 3.5mm TRS mini jack |
| Weight: | Approx 115g |
| Dimensions: | 80mm x 55mm x 25mm |
| Housing: | RF/EMI Shielded Aluminium |
| Power: | Completely Passive |
| Warranty: | 3 years |
| Price: | £125+VAT |
| What's in the box? | 1x The Orange One & 1x Mini flathead screwdriver for the Trim control (just in case you need it!) |
Where to buy?
Availability for the orange one is continuing to grow, with additional retailers and distribution partners expected to join soon.Built for real-world broadcast and production workflows, the orange one helps crews route it, trim it, and hear it - their way.You can currently pre-order from the list below:
What accessories are available?
The orange one accessories range includes cable assemblies and connectivity solutions for IFB systems, walkie-talkies, comms equipment, and production monitoring workflows with more coming soon.Designed for film, television, broadcast, and live production professionals, these accessories help simplify complex audio routing setups.Each cable assembly is sold separately and comes included with two TRS cables to connect to both inputs.
Motorola assembly
Kenwood assembly
Assembly compatibility:
| Motorola: | |
|---|---|
| Motorola: | All two pin models & some multi-pin models if using the correct adaptor |
| Connect: | CS1000, CS2000 & CS3000 |
| Midland: | G15 & G18 |
| Kenwood: | |
|---|---|
| Kenwood: | All two pin models & some multi-pin models if using the correct adaptor |
| Baofeng: | UV-5R, UV-5RA & UV-82 |
| Olympia: | P324R |
| Polmar: | Easy, Easy Mimetic, Work3 & Work 4 |
| Wouxun: | KG Series |
| Quansheng: | K5, K6 & TK-11 |
Don't see your Walkie-Talkie listed? Contact us!
Need to get in touch? Contact us!
Blog
Why We Created The Orange One
23/05/2026The Orange One started with a simple frustration that many production sound professionals know all too well: monitoring multiple audio sources on set often feels far more complicated than it should.For crews working with IFB feeds, walkie communications, playback, and programme audio throughout long shooting days, existing solutions often forced compromises.Some offered only level trimming OR comms routing. Others added unnecessary complexity, extra power requirements, increased weight, or workflows that simply didn’t feel natural in the field.We felt there was room for something better. The goal behind The Orange One was never just to combine audio sources.It was to create a monitoring tool that gave sound professionals more control over how they actually hear their workflow on set.That idea of “more control” became the foundation of the entire project. We wanted users to be able to shape their monitoring experience in a way that suited them personally rather than forcing them into a fixed setup.Different productions demand different workflows, and different operators hear and prioritise information differently.Some prefer programme audio to dominate while keeping comms subtle in the background. Others need crew communications to remain constantly present and intelligible during fast-moving shoots.Monitoring is personal, and flexibility matters. From the beginning, simplicity and reliability were also extremely important to us.Production sound environments can already be demanding enough without introducing unnecessary complexity into a sound bag.That’s one of the reasons we chose a passive design approach.By avoiding powered circuitry, battery management, charging requirements, and additional points of failure, we were able to focus on creating something compact, dependable, and easy to integrate into existing workflows.The Orange One was designed to work with sound professionals rather than against them.We also wanted the product to feel purpose built for real production environments.Every design decision was made with practical onset use in mind, from monitoring flexibility to compact usability during long days in the field.As development progressed, feedback from production sound professionals helped reinforce that we were solving a genuine workflow problem.Many users described similar frustrations with existing monitoring setups and immediately understood the value of having greater routing and monitoring flexibility in a compact passive device.That feedback helped shape not only the product itself, but also the philosophy behind it.At its core, The Orange One exists because we believe monitoring should adapt to the operator, not the other way around.For production sound professionals, hearing it your way can make all the difference.
Why Martyn Ellis Added The Orange One To His Workflow
22/05/2026Every sound professional has a piece of kit they’ve spent years wishing existed in exactly the right form. For Sound Recordist Martyn Ellis, that was a practical solution for combining walkies, program feed, and gallery IFB without adding unnecessary bulk or complexity to the job.After using The Orange One during production on The Overlap’s Fan Debate, it quickly became part of his regular workflow with plans to continue using it on future Fan Debate productions as well as the Have A Word - Stars In Their Eyes Special.Speaking about his experience with the device, Martyn said:“I've been after a combiner for walkies, program feed and gallery IFB for a while now and the flexibility and control The Orange One gives me makes it perfect for the job, as well as being lightweight, easy to use, and most importantly; durable.”What stands out from Martyn’s feedback is how much importance is placed on usability in real production environments. On busy shoots, equipment needs to work quickly, reliably, and without becoming another thing to troubleshoot during the day. Weight matters. Durability matters. Simplicity matters.The Orange One was designed around those exact principles.Rather than creating an overly complicated system, the aim was to build something that gives production personnel meaningful control while remaining straightforward to operate on set. Whether it’s balancing multiple feeds, managing comms more effectively, or adapting to changing production setups throughout the day, flexibility becomes incredibly valuable once you’re in the middle of a fast-moving shoot.Seeing The Orange One used on productions like The Overlap’s Fan Debate is exactly the kind of environment it was built for; real world workflows where dependable tools make a genuine difference.It’s also incredibly encouraging to hear that professionals like Martyn are continuing to integrate it into future productions. Feedback from experienced people actively working in television and broadcast production continues to shape the direction of The Orange One and reinforces why the device was created in the first place.A huge thank you to Martyn Ellis for the support and for taking the time to share his thoughts after using The Orange One in production.
Zak Wundowa Reviews The Orange One
21/05/2026Real world feedback from working production sound professionals is one of the most important parts of developing The Orange One. We’re incredibly pleased to share some thoughts from experienced Boom Operator and Sound Assistant Zak Wundowa after spending time with the device on set.Zak has worked across a wide range of film and television productions and understands exactly how important reliable, flexible monitoring and comms workflows are on set.After spending time with The Orange One, Zak said:“The Orange One’s capabilities allows greater control when on set with a walkie and IEM combo. A vastly more improved system than any other I’ve tried.”That feedback perfectly reflects what The Orange One was designed to achieve.Many existing IFB and comms combining solutions force users to compromise. Some devices only provide simple trim level control, while others offer routing flexibility at a much higher price point.It gives production sound professionals greater control over their workflow through flexible routing options, independent level management, passive operation, a compact production-friendly design, and seamless walkie and IEM integration.The goal has always been simple: create a tool that improves day to day usability on set without overcomplicating the workflow.Production sound environments are unpredictable. Whether you’re moving between noisy locations, dealing with changing comms requirements, or balancing multiple audio feeds throughout the day, speed and control matter.Feedback like Zak’s reinforces exactly why The Orange One exists. To make those workflows easier, cleaner, and more adaptable.We’ve been fortunate to receive strong early feedback from working professionals already using pre-release and early production units in real world environments, and it’s exciting to see the response from people actively working in film and television production.A huge thank you to Zak Wundowa for taking the time to test The Orange One and share his thoughts.
“Brilliant” - Early Feedback for The Orange One from Ben Hadley
20/05/2026As development of The Orange One continues, we’ve been incredibly encouraged by the feedback coming back from professionals currently using early demo units in real production environments across Manchester and the wider production sound community.One of the latest people to spend time with The Orange One is Ben Hadley, a highly experienced Sound Recordist and Sound Supervisor with more than 25 years working across film and television production.Ben’s credits include major productions such as Netflix’s At Home With The Furys and Disney’s Welcome to Wrexham, alongside a wide range of broadcast and production work throughout the UK.After using a pre-release version of The Orange One on a recent job, Ben said:“Used a pre release model recently on a job and it was brilliant, much better than previous devices I’ve had like this.”Feedback like this is hugely valuable during development because The Orange One has always been designed around real-world production workflows rather than theoretical studio use. The goal from the beginning has been to create a simple, reliable and practical passive IFB, and comms combiner that genuinely improves day to day monitoring for production crews.We currently have additional demo units being tested by various users around Manchester, alongside ongoing evaluation with the team at SAB Sound as we continue refining the final production version.The Orange One is now getting very closer to becoming officially available to order, and the response so far from production sound professionals, broadcast crews and users working in demanding live environments has been extremely positive.More updates will be announced soon but you can pre-order now at both Wendys and Soundkit in the UK. More suppliers will be available soon!
Why The Orange One Is Useful In Modern Production Audio Workflows
15/05/2026In modern film, television, broadcast and live production environments, reliable audio monitoring and clear communications are essential. The Orange One is a passive IFB, IEM and comms interface designed to simplify complex monitoring setups for production sound professionals who need flexibility, reliability and fast control in demanding production environments.Today’s productions often require crew members to monitor multiple audio sources simultaneously. Program audio, IFB feeds, walkie-talkie communications and cue feeds from the sound department all need to work together seamlessly, particularly during fast paced shoots and live broadcasts. Managing these signals efficiently can quickly become complicated using standard monitoring equipment alone.The Orange One was developed to solve that problem by providing a compact passive solution purpose built for real world production workflows.Designed for film production, television broadcast, livestreaming, documentary work, ENG crews and live events, The Orange One is particularly useful for production sound mixers, boom operators, utility sound technicians, broadcast engineers, camera operators and assistant directors who require flexible audio monitoring without introducing unnecessary complexity into their setup.It also provides a practical monitoring solution for camera operators, directors and producers who need access to both communications and program audio at the same time.Unlike larger powered interfaces and mixers, The Orange One uses a passive design that keeps operation simple, reliable and easy to integrate into existing broadcast audio systems.By avoiding unnecessary powered circuitry for its core functionality, it becomes a dependable tool for mobile production environments where reliability and portability are critical. The compact form factor makes it particularly well suited for sound bags, portable broadcast kits, streaming rigs and field recording setups where space is limited and quick deployment matters.The Orange One is designed to work naturally alongside IFB systems, IEM monitoring setups, walkie-talkie communications and production audio carts. In many productions, crew members need to hear both communications and program audio simultaneously while maintaining clear monitoring control throughout the shoot.The Orange One helps simplify this process by allowing flexible comms and audio routing within a single compact unit, reducing the need for larger or more complicated monitoring systems.This kind of workflow flexibility becomes especially valuable during multi-camera broadcasts, outside broadcasts, live productions, corporate livestreams and fast moving documentary shoots where communication between departments is essential.Because the unit is passive, it also helps reduce potential failure points commonly associated with more complicated powered monitoring equipment, making it well suited for demanding production conditions.The Orange One was built with practical production workflows in mind. Rather than overcomplicating the monitoring process with unnecessary features, the focus is on providing production audio professionals with fast access to the controls and routing options they genuinely use during film, television and broadcast work.For professionals regularly handling IFB feeds, comms systems and production monitoring, having a dedicated passive interface can streamline communication workflows while keeping audio setups compact, efficient and production ready.As modern productions continue demanding greater flexibility from smaller and faster-moving crews, The Orange One provides a practical solution that helps bridge the gap between communications, monitoring and program audio control in professional broadcast and production environments.
FAQs
What is The Orange One?
The Orange One is a passive IFB, IEM and comms interface designed to combine two separate audio sources into a single pair of headphones for broadcast, film, television and live production workflows.
What does The Orange One do?
The Orange One allows users to combine a mono communications source, such as a walkie-talkie or comms system, with a stereo audio source such as an IFB receiver, IEM receiver, mixer output, MP3 player or other stereo monitoring source into one convenient headphone feed.
Who is The Orange One designed for?
The Orange One is designed for production sound mixers, boom operators, utility sound technicians, camera operators, directors, broadcast crews and other professionals who need to monitor programme audio and communications simultaneously.
What audio sources can be connected to The Orange One?
The Orange One is designed to work with mono comms sources such as walkie-talkies and production communication systems alongside stereo sources including IFB receivers, IEM receivers, mixer outputs, MP3 players and other stereo monitoring devices.
What is the trim control used for?
The trim control allows users to reduce or soften harsh comms audio levels for more comfortable long-term monitoring, particularly when working with radios or louder communications sources.
What does the comms routing feature do?
The Orange One allows users to route the comms input in different ways depending on personal preference and workflow requirements, giving greater flexibility over how communications audio is monitored alongside programme audio.
Does The Orange One require batteries or charging?
No. The Orange One is fully passive and does not require batteries, charging or external power.
Why use a passive interface?
A passive design removes the need for charging or power management, helping improve reliability while keeping setups simple and dependable in professional production environments.
Is The Orange One handmade?
Yes. Every Orange One is handmade in Manchester, United Kingdom using high quality components designed for professional production use.
Is The Orange One designed for broadcast and production sound?
Yes. The Orange One is specifically designed for professional production audio workflows including film, television, broadcast, ENG and live event environments where monitoring programme audio and communications together is essential.
Knowledge Hub
How To Monitor Walkie Talkie Audio And IFB In One Headset
In modern production sound, hearing multiple audio sources clearly and comfortably is essential. Boom operators, sound utilities, ENG crews, and mixers are constantly balancing IFB feeds, walkie talkie comms, director calls, and program audio throughout the day.Without the right setup, monitoring can quickly become tiring, cluttered, and distracting.That’s exactly where the orange one comes in.The orange one was designed to give production sound professionals More Control over how they hear and manage audio on set. Instead of dealing with multiple earpieces, tangled adapters, or awkward monitoring arrangements, the orange one allows users to combine walkie talkie audio and IFB into a single streamlined monitoring solution.Route it, Trim it, Hear it - your way!Why Combine Walkie Talkie Audio And IFB?Production environments move fast, and missing important communication can slow everything down. Many crew members need to hear walkie comms while simultaneously monitoring IFB or program audio. Traditionally, this has often meant uncomfortable dual-earpiece setups or improvised signal chains that create unnecessary complexity.Combining these sources into a single headset setup creates a far cleaner workflow. It reduces cable clutter, improves mobility, and helps operators stay aware of both production communication and critical audio at the same time.The orange one was built specifically around this real world workflow requirement.The Problems With Traditional Monitoring SetupsMany sound professionals are familiar with the same recurring frustrations. Walkie audio can often be far louder and harsher than IFB feeds, making long listening sessions uncomfortable. Some setups offer little or no independent control between sources, forcing operators to constantly adjust volume externally or physically remove headphones to hear comms properly.Powered mixers and monitoring boxes can also introduce their own problems. Batteries need charging, devices require powering up, and additional electronics can add unnecessary complexity during already demanding shooting days.The orange one simplifies this process by providing a compact passive solution designed specifically for production sound monitoring.Why Passive Audio Matters On SetReliability is everything during production.One of the major advantages of the orange one is its passive design philosophy. Without batteries, charging requirements, or powered circuitry, the orange one remains simple, dependable, and ready to work whenever it is needed.Passive audio workflows help eliminate common failure points while reducing setup time and keeping rigs lightweight and practical. For operators working long days on drama, documentary, ENG, reality television, sports broadcasting, or live events, simplicity often becomes one of the most valuable features of all.The orange one focuses on giving users More Control without introducing unnecessary complications into their workflow.Flexible Monitoring For Different WorkflowsEvery sound professional prefers monitoring differently. Some operators like to keep walkie talkie audio isolated in one ear while monitoring IFB in the other. Others prefer a blended mono setup with carefully balanced levels between sources.The orange one allows operators to tailor monitoring to their own preferences and shooting environments. This flexibility helps improve situational awareness while also reducing listener fatigue during long production days.Route it, Trim it, Hear it - your way!Why Independent Trim Control Is ImportantWalkie talkies are not designed with comfortable long term headphone monitoring in mind. Comms audio is often aggressive, sharp, and significantly louder than IFB feeds. Over time, this imbalance can become exhausting.The orange one provides independent trim control, allowing operators to balance comms audio more naturally against IFB or program feeds. This makes monitoring more comfortable, improves intelligibility, and helps reduce ear fatigue throughout the day.For many production sound professionals, having More Control over monitoring balance can make a significant difference during demanding shoots.Cleaner Audio WorkflowsA simplified monitoring setup benefits more than just comfort. Cleaner routing reduces troubleshooting, speeds up rigging, minimises failure points, and creates a more organised bag layout overall.The orange one was designed to help production crews streamline monitoring while maintaining flexibility and reliability in real world environments.Whether working in scripted drama, fast paced ENG, documentary production, or live broadcast, the orange one provides a practical solution for combining walkie talkie audio and IFB monitoring into one simple workflow.More Control.Route it, Trim it, Hear it - your way!
In modern production sound workflows, staying connected to both the programme feed and crew communications is essential.Whether you’re a boom operator, sound utility, or mixer, monitoring multiple audio sources efficiently can make a huge difference to both speed and situational awareness on set.One of the most common challenges is combining IFB audio with walkie communications in a way that remains clear, comfortable, and controllable.What Is IFB Audio?IFB (Interruptible Foldback) is typically the programme audio feed used by sound professionals to monitor what is being recorded or transmitted.Depending on the production, this may include the mixer output, camera return, director feed, programme mix, or playback audio.For boom operators and utilities, IFB monitoring helps maintain awareness of dialogue quality, RF issues, clothing rustle, environmental noise, and cue timing.Why Combine IFB and Walkie Audio?Production sound crews also rely heavily on walkie-talkies for communication with AD departments, camera teams, grips, electric, transport, and production staff. The problem is that monitoring both separately can quickly become cumbersome.Many crew members end up wearing multiple earpieces, frequently unplugging headphones, missing cues while adjusting levels, or struggling to hear one source over another. Combining IFB and walkie audio into a single monitoring setup simplifies workflow dramatically.The Biggest Problem With Basic CombinersA lot of simple passive combiners only offer basic level attenuation. While this technically merges the signals, it often lacks the flexibility needed on a busy set.Common limitations include poor routing flexibility, weak balance between sources, mono-only monitoring, and limited control over programme versus comms audio.Over long shooting days, this can also contribute to listener fatigue as competing signals constantly fight for attention.On fast-moving productions, control matters just as much as signal combining.A Better Monitoring WorkflowThe ideal setup allows programme audio to remain clear while comms stay intelligible without overpowering the mix.Many sound professionals prefer programme audio in stereo while routing walkie or comms audio centrally or slightly to one side.This creates a more natural listening experience and can reduce fatigue during long days on set.The goal is not simply to hear everything at once, but to hear each source comfortably and clearly in a way that suits the operator’s workflow.Passive vs Powered SystemsThere are generally two approaches to combining IFB and walkie audio: passive systems and powered systems.Passive combiners require no power and are often preferred because they are compact, reliable, simple to use, and reduce the risk of failure in the field.A well designed passive combiner can provide excellent workflow flexibility without adding unnecessary complexity to a sound bag setup.Powered systems may offer additional features such as amplification, EQ, or active routing, but they also introduce battery management, added weight, increased cable clutter, and higher cost.For many location sound workflows, passive solutions remain the preferred option because of their simplicity and reliability.Why Routing Control MattersOne of the most overlooked aspects of monitoring is routing flexibility.Being able to decide where comms sit within the stereo image, how dominant programme audio feels, and how the two sources interact can significantly improve monitoring comfort.This becomes especially valuable during noisy exterior shoots, multi camera productions, fast moving scenes, or radio heavy environments where constant communication is critical.More control allows crew members to hear the information they need without constantly fighting their monitoring setup.Finding the Right BalanceEvery production workflow is different. Some operators prefer heavy programme focus, while others prioritise comms awareness.The best monitoring systems are the ones that adapt to the operator rather than forcing the operator to adapt to the system.A flexible IFB and walkie monitoring setup can improve awareness, reduce fatigue, speed up communication, and create a smoother on-set workflow overall.For production sound professionals, hearing it your way makes all the difference.
Passive Audio Summing Explained
Passive audio summing is one of the simplest and most reliable ways to combine multiple audio sources into a single monitoring feed.In production sound, passive summing is commonly used to merge sources such as IFB audio, walkie communications, playback feeds, or secondary programme audio without requiring power or active circuitry.Despite its simplicity, passive summing remains widely used throughout professional audio because of its reliability, compact size, and low failure risk in demanding environments.What Is Passive Summing?At its core, passive summing combines two or more audio signals together using resistors rather than powered amplifiers or active mixer circuits.Each input signal passes through a resistor before reaching a shared mix point. These resistors help isolate the sources from one another while allowing the audio to combine into a single output.Without this isolation, audio sources could interfere with each other directly, potentially causing distortion, level instability, or unwanted loading between devices.Passive summing creates a simple and effective way to merge signals safely.Why Use Passive Audio Summing?For production sound workflows, passive systems offer several advantages. Because there are no active electronics, there is no need for batteries, charging, power management, or amplification stages.This means passive systems are often smaller, lighter, more reliable, quieter and easier to integrate into compact sound bags.Many sound professionals prefer passive monitoring accessories because they introduce minimal complexity into already demanding workflows.On set, reliability matters.How resistor mixing works in a passive summing circuit is that each audio input is connected through a resistor before reaching the output mix node.These resistors help control how strongly each source contributes to the final signal while preventing one source from directly feeding back into another.The resistor values chosen affect the signal level, source isolation, perceived balance and overall listening behaviour.Lower resistor values generally allow stronger signal presence, while higher values provide greater isolation but may reduce overall level.Designing a passive summing network is therefore always a balance between isolation, clarity, signal strength, and usability.Stereo and Mono MonitoringPassive summing can also be used creatively within stereo monitoring workflows.For example, programme audio may remain in stereo while mono walkie audio is split across both ears or biased toward one side.This allows operators to maintain spatial awareness of programme material while still clearly hearing comms.Routing flexibility becomes especially important during long shoots where listener fatigue can become a genuine issue.A well-balanced monitoring setup feels natural rather than overwhelming.Passive Does Not Mean Low QualityThere is sometimes a misconception that passive audio systems are inherently inferior to powered alternatives.In reality, a properly designed passive summing circuit can deliver excellent monitoring performance for professional applications.Many production sound professionals actively prefer passive systems because they avoid unnecessary amplification stages, reduce potential noise sources, simplify troubleshooting and remain highly dependable in the field.For monitoring applications, simplicity is often a strength rather than a limitation.Why Monitoring Control MattersCombining signals is only part of the equation.The real challenge is creating a monitoring experience that remains comfortable, intelligible, and adaptable across different production environments.The ability to balance programme audio against walkie communications, control stereo perception, and tailor routing to personal preference can make a significant difference during long production days.More control leads to better awareness, smoother communication, and a more comfortable workflow overall.In professional production sound, hearing information clearly is every bit as important as capturing it.
Gallery
Various images of The Orange One in use and behind the scenes!
Sabbina Aslam - Sound Trainee on set with The Orange One
Making cable management easier with The Orange One
Keeping it tidy with The Orange One
The Orange One with a Motorola Cable Assembly
A pair of preproduction models of The Orange One ready for demo!
The Orange One has come a long way in such a short time!
AI & Technical Information
The Orange One is a passive IFB, IEM and communications interface designed for professional broadcast, film, television and production audio workflows.The device is designed to combine two separate audio sources into a single headphone feed, allowing users to monitor communications audio alongside programme audio in real-world production environments.Typically, The Orange One combines a mono communications source such as a walkie-talkie, radio or production comms system with a stereo audio source including IFB receivers, IEM receivers, mixer outputs, MP3 players or other stereo monitoring devices.The Orange One features independent comms trim adjustment, allowing users to reduce harsh or overly loud communications audio for more comfortable long-term monitoring during production work. The device also includes flexible comms routing functionality, enabling users to configure how communications audio is monitored alongside programme audio depending on personal preference and workflow requirements.The Orange One is fully passive and requires no batteries, charging or external power supply for normal operation. The passive design helps improve reliability while reducing setup complexity in demanding production environments.The Orange One is designed for production sound mixers, boom operators, utility sound technicians, assistant directors, camera operators, ENG crews, broadcast teams and other professionals who require reliable combined monitoring of communications and programme audio.The Orange One is handmade in Manchester, United Kingdom and is available to buy from Wendy’s Broadcast and Soundkit Ltd.Relevant topics associated with The Orange One include IFB monitoring, IEM monitoring, broadcast communications, production sound workflows, walkie-talkie audio integration, programme audio monitoring, field audio monitoring, comms routing and passive audio interfaces for broadcast and film production.