The cosmic-country cowboy touts a rig inspired by the greats and powered by a mix of vintage and modern-day gear.
Hot on the heels of his new record, Horizons, Daniel Donato took PG’s John Bohlinger on a trip through his live setup, which spans more than 70 years of electric-guitar history.
This Fender Custom Shop 1963 Telecaster has “everything that a great traditional Telecaster needs,” says Donato.
Jack of All Trades
This DGN Custom Guitars T-style, built by Dan Neafsey, is dubbed the Epoch. Donato wanted a Tele that he could play all night without tiring of the tones, so Neafsey assembled this do-it-all electric. Its body is an eighth of an inch smaller than a traditional Tele’s, and its flame-maple neck sports a compound radius. Neafsey wound the PAF-style pickups, which can be configured as overwound single-coils via a coil-tap function. The steel ashtray bridge was cut to fit a humbucker.
Donato plays Dunlop Jazz III picks, and loads his guitars with a .010–.052 set of Ernie Ball Slinky strings.
Pro Tip
This 1966 Fender Pro Reverb is the first black-panel amp Donato ever purchased. It’s been converted to a 2x12 configuration in place of the usual 1x15, and it’s loaded with Weber 12F150 speakers.
Daniel Donato’s Pedalboard
Donato says that while the Pro Reverb is the steak, the Fender Tonemaster Pro is the best thing to season it with. His effects run into this floor unit, which is set to a black-panel Twin Reverb program, through a Radial Highline, and out to the front of house at a clean, crisp level. Donato uses some of the Tonemaster Pro’s onboard effects, too, like a graphic EQ and tape echo.
The rest of the board, designed by XAct Tone Solutions, carries a Dunlop X Volume Mini and CAE Wah, Gamechanger Audio Plus, Greer Lightspeed, a Keeley Noble Screamer, Cosmic Country Phaser, and Rotary, a Strymon TimeLine, Walrus R1, Universal Audio Max, DigiTech FreqOut, and Eventide H90.
An EHX Hum Debugger, always on, rests on top of his amp to keep his Teles in line.
ENGL Amplifiers proudly introduces the RAVAGER IR, a 20-watt, 2-channel tube amp that blends vintage tone with modern technology. Designed for musicians seeking a versatile, portable solution, the RAVAGER delivers exceptional sound quality in a compact lunchbox-style chassis.
The E725 RAVAGER use 12AX7/ECC83 in the preamp and EL84 in the poweramp section, producing dynamic, harmonically rich tones. Its dual-channel design provides pristine cleans and aggressive overdrive, making it ideal for stage, studio, or home use.
A key feature is its built-in IR Loader, enabling users to use four impulse responses (IRs), three of them can be loaded via USB for unparalleled cab simulation. This makes recording and silent practice effortless while delivering a professional sound. The amp is also equipped with an XLR output for live and studio applications, along with a headphone out for private practice. Additionally, the integrated Power Soak feature allows users to reduce output power for cranked tube tones at lower volumes, perfect for home or studio environments.
Key Features:
20W, 2-channel tube amp
ECC83 preamp & EL84 power amp section for authentic tone
Built-in IR Loader with four Irs (three customizable slots)
USB connectivity for easy IR management
Headphone output for silent practice
XLR direct output for live and recording setups
Integrated Power Soak for adjustable power (20 Watts, 5 Watts, 1 Watts, Speaker off) ∙ Compact, portable lunchbox design
The ENGL E725 RAVAGER is a powerhouse for modern guitarists who need a flexible, compact amp without compromising on tone. Whether performing live, tracking in the studio, or practicing at home, this amp offers professional-grade sound and features.
E412XXLK Eminence Karnivore
Engl unveils the new E412XXL with Eminence Karnivore speakers — a powerhouse 4x12"cabinet built to meet the demands of modern high-gain players. This updated version of the legendary E412XXL combines Engl’s precision-engineered oversized enclosure with the aggressive tonal character of the Eminence Karnivore speakers, delivering bone-crushing low end,razor-sharp attack, and exceptional clarity at high volumes.
Features
Four Eminence Karnivore 12" Speakers
Designed for modern metal and hard rock, offering tight bass, cutting mids, and controlled top end for maximum definition under high gain.
Oversized Straight Cabinet Design
Deep enclosure for massive low-frequency response and room-filling projection.
High Power Handling
240-watt total power at 8 ohms, ready to handle the most powerful tube heads without breaking a sweat.
Tour-Grade Construction
Robust birch plywood build, reinforced corners, metal grille, and heavy-duty casters for reliable road use.
Huge, crushing sound ideal for drop tunings and extended-range guitars ∙ Precise articulation at high volumes for tight rhythm work
Designed from the ground up by Kristian Kohle and the Eminence engineering team, the Karnivore delivers all the bite and all the meat
Availability
The new E412XXL with Eminence Karnivore is available hrough authorized Engl dealers and distributors worldwide.
After their Covid-delayed, smash-success reunion tour a few years back, My Chemical Romance plotted the Long Live the Black Parade North American stadium tour this past summer.
PG’s Chris Kies joined the run at Soldier Field in Chicago, and before the show, he rendezvoused with techs James Bowman, Josh Schreibeis, and Joe Saucedo—who handle Frank Iero, Ray Toro and Mikey Way’s rigs, respectively—for a look at the axes, amps, and effects the heavy-hitting emo titans are using these days.
After Iero got this Castedosa Marianna Semi Hollow, it became the show starter for this summer’s tour. This, and all other guitars, are tuned down a half step with Ernie Ball Paradigm strings (.011–.052).
Bury Me in White
Iero favors Ernie Ball StingRays like this one, in matte “Stormtrooper” white. The only mod on this guitar is the addition of Luminlay dots on the side of the neck.
One and Done
This 1992 GibsonLes Paul gets played only for the title track off the band’s 2006 record, The Black Parade.
Under Pressure
This tiny, light Abernethy Guitars electric takes Bowman forever to string. If anyone has tips, send them his way.
Purple Reign
After using Marshall Super Lead heads with the Dookie mod on the previous tour, Iero found these slick purple heads and brought them to Dave Friedman to match the Dookie specs and add some EQ tweaks. These two, a main and backup, are responsible for the bulk of Iero’s sounds.
A Fender Twin Reverb onstage is responsible for “small-amp sounds,” while a Twin Reverb Tone Master underneath it sends a clean DI signal for the mix in Iero’s in-ear monitors.
Welcome to the Rack Parade
Iero’s backstage rack includes three main racks of effects, all powered by Strymon Zumas.
The first carries a Mesa Boogie 5-Band Graphic EQ, Amaze by Analogman Prince of Tone, Bowman Audio Endeavors Bowman Overdrive, JHS Hard Drive, and Hayashi Craft Trick Gain.
Drawer two is about modulation, and includes a Boss TR-2, MXR Phase 100, Boss DM-2W, EarthQuaker Devices Ghost Echo, EHX Micro POG, and EHX Holy Grail.
The last drawer bears a Jackson Audio Twin Twelve, EHX Deluxe Memory Man, Ibanez Tube Screamer Overdrive Pro, and Bowman Audio Bellyacher.
Toro’s Top
Toro plays this 1978 Les Paul to start the show, including tracks “The End.,” “Dead!,” and “House of Wolves.” He runs .011–.052-gauge strings on all his guitars.
Second Fiddle
This sunburst Les Paul has been outpaced by the black ’78, but it still comes out for “Welcome to the Black Parade” and “Famous Last Words.”
Super 6
This 2005 Fender Custom Shop Telecaster sees action on six tunes in the band’s set.
Ray Toro’s Amps
A head combo of a Marshall JMP and Metropoulos Amplification Metro (both running into Fryette PS-100s) comprise Toro’s main tones, while an Amplified Nation Wonderland Overdrive 1x12 combo is used for solo sounds, and a Fender Deluxe Reverb handles cleans. Toro’s signal is pumped through two 4x12 cabs—one Marshall, one Bad Cat.
Ray’s Really Rockin’ Rack Rig
A Shure Axient wireless system sends his guitar’s signal to this system backstage, where it hits a Radial JX44 and a pair of RJM Effect Gizmos.
One drawer holds an MXR Duke of Tone, MXR Custom Badass ’78 Distortion, Boss GE-7, Boss CH-1, Kernom Moho, Kernom Ridge, and Wampler Gearbox.
In the next are two Boss GE-7s, two Bowman Overdrives, a Death by Audio Fuzz War, a Source Audio EQ2, a Bowman Bellyacher, and a Keeley Compressor Mini.
The third shelf is home to an EHX POG2, 1981 Inventions DRV, Chase Bliss Preamp MK II, Boss TR-2, MXR Carbon Copy, Keeley Loomer, and MXR EVH Phase 90.
A fourth level hosts a Strymon TimeLine, Strymon BigSky, and Source Audio EQ2.
Out onstage at his feet, Toro keeps a pedalboard with a TC Electronic PolyTune, a custom RJM Mastermind PBC/6X, Ibanez TS808, Bowman Audio Bowman Overdrive, EHX Micro POG, Boss TR-2, MXR Carbon Copy, and Strymon BigSky.
Strymon Zumas keep everything chugging along.
Comeback Kid
This silver-sparkle Fender Jazz bass was built for the band’s reunion tour, intended to mimic Way’s earlier signature model. It’s since been treated to more affordable Mexico-made production runs. Way runs Ernie Ball Hybrid Slinky strings (.045–.105) and plays with Clayton triangle picks.
Red!
This eye-catcher was made by Fender’s Brian Thrasher, and is equipped with pickups from the Adam Clayton signature bass. Way relies heavily on this one, then switches to an identical one for down tunings.
Dodger That
Way secured permission from Major League Baseball and the Los Angeles Dodgers to use the team’s exact hue of blue on this custom instrument.
Mikey Way’s Amp
Way runs through a Fender Super Bassman head into matching 8x10 cabs, with a DI signal also running to front of house.
Mikey Way’s Effects
Way keeps things simple. Along with an Origin Effects DCX Bass and Cali76 set to push his Super Bassman, his setup includes a pair of Aguilar Agros, an MXR Sub Octave Bass Fuzz, and a Malekko B:assmaster.
PG contributor Tom Butwin introduces the Clementine from @orangewoodguitars, a semi-hollow guitar that blends classic style with modern functionality. It features a unique belly carve and a satin-finished mahogany neck for enhanced comfort and playability. Equipped with Seymour Duncan Seth Lover humbuckers and a coil split, the Clementine delivers a range of versatile tones. It also includes practical features like an accessible electronics panel and Grover Roto-Grip locking tuners, making it a reliable and easy-to-maintain instrument.
This fantastic ’59 was treated to a refret and pitch-perfect setup by the techs at Carter Vintage in Nashville, so it still plays like a dream, 66 years later.
It’s been a minute since we’ve gotten to share something truly special with you all, and today’s subject is one of the finest: a 1959 GibsonLes Paul Custom.
Gibson introduced the first Les Paul Customs in late 1953, following a couple of prototypes built for Les Paul a year earlier. Les wanted what he called a “more elegant” version of the Les Paul Standard, something that looked sharp on the booming new medium of television. His request was specific: a black guitar with refined appointments and design tweaks to match his playing style.
The original Customs carried two pickups: an alnico “staple” single-coil in the neck and a P-90 in the bridge. They featured black finishes, white binding, gold hardware, and the split-diamond headstock inlay we now associate with the model. The headstock was slightly larger than the Standard’s, and the carve at the scarf joint was lengthened for easier play near the nut.
Perhaps the most distinctive feature was the fretwork. Les requested low, wide frets, which led to the nickname the “Fretless Wonder.” While iconic, these frets can feel unusual to modern players. Still, Les’ highly developed technique probably made frets almost unnecessary for him. Another major innovation appeared on the Custom: the debut of the ABR-1 Tune-o-matic bridge, finally giving players accurate intonation adjustment.
Here’s an interesting twist in the Custom’s story. Les’ original vision called for the Standard to be built from solid mahogany with a gold-painted top, and the Custom to use a maple cap on mahogany, finished in black or white. Gibson flipped those specs. The production Standard ended up with a maple cap, while the Custom was built entirely of mahogany.
The all-mahogany build gave the Custom a darker sound, so Gibson used an ebony fretboard to restore some brightness. Meanwhile, the maple-topped Standard was paired with a warmer Brazilian rosewood ’board. Ironically, it wasn’t until 1968 that the Custom attained the maple top Les had wanted all along.
“Instruments like this inspire players across generations.”
The next major leap came in 1957, when Gibson introduced Seth Lover’s groundbreaking humbucking pickups. By mid-year, the Les Paul Custom carried not two but three humbuckers. This gave players a wide tonal palette spanning jazz, pop, country, blues, and eventually rock. In time, artists like Keith Richards and Jimmy Page made unforgettable recordings on Customs, further cementing the model’s place in music history.
That brings us to the stunning 1959 Les Paul Custom currently here at Carter Vintage. I had the chance to spend a morning with it, and it’s easily one of the best-playing guitars in the shop.
Remember my earlier complaint about the “Fretless Wonder” frets? This one has been given a perfect refret by our repair shop. The result is transformative. Suddenly the Custom plays effortlessly, like a hot knife through butter. The setup is dialed in to perfection, and honestly, I walked away a little jealous. It convinced me that a couple of my own guitars need some attention from our techs.
Plugged into a Deluxe Reverb, the guitar absolutely sang. The original PAF pickups deliver remarkable clarity and punch. There’s excellent balance between the bridge and neck, and the middle position, often prone to phase issues, sounds smooth and full-on. Perfect for bluesy bends or country runs.
The neck deserves its own praise. It’s the quintessential ’59 carve: not too big, not too thin, with shoulders that make it feel more manageable than its actual measurements (.89" at the nut, 1.01" at the 12th fret) suggest. Simply put, it’s a neck that disappears in your hands, feeling comfortable, fast, and inspiring.
This particular Custom has been thoughtfully maintained. Aside from the refret and a new nut, the electronics and pickups remain untouched, and the finish is all original and in excellent condition. At about 9.5 pounds, it’s substantial, but its balance makes it feel lighter than the number on the scale suggests.
The Les Paul Custom has always been a guitar steeped in history. Born from Les Paul’s vision, refined by Gibson’s innovations, it was carried into legend by the players who made it sing. This 1959 example embodies all of that and more. With its perfect refret, killer PAFs, and ideal ’59 neck, it’s a joy to play and living proof of why this model continues to hold such a revered place in guitar history.
For me, it wasn’t just another morning with a guitar—it was a reminder of why instruments like this inspire players across generations.
