In the case of Orange’s new Baby series entries, these possibilities exist in triplicate: the compact, highly controllable Gain Baby 100, Tour Baby 100, and Dual Baby 100 amps. These grab-and-go solid-state units with strong metal chassis are a mere 6 1/2 pounds, come with a durable shoulder bag for transport, and can be dropped atop a cabinet or into a rack. (These amps measure 12.8" x 3.13" x 7.68".) Each model has two radically different channels, guaranteeing versatility, plus a class A/B power stage for clarity and heavy lifting. They all offer the fat, midrange growl and the fast touch-sensitivity I associate with the classic, Orange sounds of players ranging from Peter Green to Slipknot’s Jim Root, which is perhaps a result of their single-ended JFET preamp stage.
I tested these Babies with a vintage Les Paul, a PRS Silver Sky SE, and a Zuzu custom with coil-splitting, to get a wide variety of tones. I also switched between a 1x12 cabinet with a G 12M Greenback and another with a 50-watt Eminence Red Coat Private Jack. Both cabs were 8 ohms, but the amps can also run 70 watts into 16 ohms. While the Celestion drilled down on nasty, Hendrix- and early ’70s-era voicings, the 50-watter really let the amps breathe in lush harmonic detail.
Each of the triplets has a footswitch option for channel and volume switching, an effects loop, and a balanced XLR out, and can be easily used with a DAW, cab sims, and IR captures. These units can also be switched for 100, 110, and 220 volts AC. Short take: I found a lot to like about these sonic siblings.
Gain Baby 100
While I’m not typically a high-gain player, I took to the Gain Baby 100 immediately, enjoying the edgy tone, responsiveness, sustain, and articulation in its dirty channel. Dirty offers gain, volume, presence, and 3-band EQ, plus the footswitchable volume has its own level control, and it delivers a stinging rock voice where chords hang and bloom. This channel’s real “dirty” secret is a toggle that can be flipped to “tight” mode, which functions like an additional EQ stage that polishes lows and focuses the mids, making them really singing and dimensional.
I initially viewed the clean channel on the Gain Baby and Tour Baby as pedal platforms, with just a volume control and bass and treble, but the clean side’s built-in, single-knob compressor pushes the Gain Baby’s volume and low-end character to the fore, conjuring memories of that ’70s uber-beast, the Sunn Beta Lead (and the Melvins’ King Buzzo). Ultimately, the Gain Baby 100 delivers very distinct and appealing bookends of heavy for just under 600 bucks.
Key: Dirty channel rhythm > dirty channel rhythm with tight switch engaged > dirty channel lead > dirty channel with tight switch lead > clean channel rhythm > clean channel lead
Tour Baby 100
The road-oriented Tour Baby seems the most versatile of the trio. The dirty channel has the same control panel as the dirty side of the Gain Baby, minus the tight switch. And while overall the amp seems to have a bit less gain, it’s still easy to get into Wayne Kramer territory by cranking up the gain control when you want to kick out the jams. Sweet, sustained tones were a snap to achieve by dialing back the guitar’s tone pots, riding the amp’s mid control high, setting treble to about 7 or 8, and dialing in the bass at 3.5 to 4. And, again, like the Gain Baby, the 3-band EQ offers plenty of range. If even more crunch is desired, the presence knob helps dial it in.
The Tour Baby’s clean channel also mimics the Gain Baby’s clean setup, but the compressor doesn’t lean into the low end like it does on the Gain Baby. It does, however, sculpt and define tones in a very appealing way, warming and pushing midrange. While I preferred the dirty channel here, my colleague Tom Butwin fell for the clean side, and his excellent demo video online is well worth watching. For me, this amp’s strength is that it stands on its legs and growls from the dirty side, and provides a characterful pedal platform on the clean side. All three amps, by the way, sound terrific with a reverb pedal, though less so at higher-gain settings.
Dual Baby
For players devoted to traditional British voicings, the Dual Baby may be the most enticing option, providing at least two recognizably classic sounds in one small, efficient package. Channel A is based on the company’s Rockerverb series, minus the reverb, and both A and B channels on the Dual Baby have 3-band EQ. The B side has the same setup and tonal characteristics as the dirty channel of the Tour Baby, sans the footswitchable volume, so you can’t pump up the level for solos with a quick stomp. However, it does have a “tight” toggle, so it’s easy to get into the same spanking, airy terrain as the Gain Baby’s dirty side or play it relatively clean.
But the A channel has another asset: a “tubby” switch, which is new for Orange. With gain pushing toward 7 and presence at about midway, and the treble rolled back, the tubby setting’s low-end boost evokes Black Sabbath—dark and ominous and perfect for sustained power chords. If your tastes run toward nasty, there’s a lot to like with the Dual Baby.
Key:
Channel A rhythm > channel A lead > channel A rhythm tubby > channel A lead tubby >
Channel B rhythm > channel B lead > channel B rhythm tight > channel B lead tight
The Verdict
Orange’s three versatile Babies cover a lot of ground in small, very affordable, well-built packages. Their response and rich-hued sounds–available even at low volumes–never left me pining for tubes, and their 100-watts make them useful for any stage. For travel, studio, or at-home playing, they are well worth investigating. These Babies can unquestionably run with the big boys. PG
This set faithfully captures the tone of one of Joe's most cherished instruments. These period-correct pickups feature precisely staggered Alnico 5 magnets and an authentic design that recreates the magic of this special '64 Strat. Handcrafted in the Seymour Duncan Custom Shop, each set includes gray bottom flatwork and a pad-printed signature from Joe. The first 500 sets will be aged, packaged in limited edition boxes, and include a certificate of authenticity signed by Joe Bonamassa and Seymour W. Duncan.
Pre-CBS Fender Stratocasters have long held the mystique and imagination of Fender’s biggest fans. By early 1964, Fender had started to build their Strat® pickups with gray flatwork, and these gray bottom pickups were known for a notably punchy sound and higher output. Finding a pre-CBS Strat® with these rare pickups can be a challenge.
However, as Joe Bonamassa discovered, sometimes looking beyond a guitar’s originality can lead to uncovering a truly exceptional example. Joe’s 1964 Stratocaster® started its life with a three-tone sunburst finish and stock gray-bottom pickups, but was refinished with a unique “Greenburst”, which instantly captivated Joe. With the powerful sounding pickups, great playability, and striking look, Joe knew it was “an instant star”.
Lucky for guitar players everywhere, Joe Bonamassa has once again collaborated with the Seymour Duncan Custom Shop to offer the magic sound of one of his favorite instruments through a new set of signature gray bottom Strat® pickups. The Joe Bonamassa “Greenburst” Stratocaster® Set is made with period-correct wiring and staggered alnico 5 magnets. The gray bottom flatwork is pad printed with Joe’s signature, and the first 500 sets will be aged, and include limited edition packaging and a certificate of authenticity signed by Joe and Seymour W. Duncan.
Fans of Joe Bonamassa have seen the Greenburst Strat® light up the stage on tour with Joe, and now the powerful sound of “the coolest, most hideous guitar” in Joe’s collection can be attained in a Strat® of your own.
For more information, please visit customshop.seymourduncan.com.
The Joe Bonamassa “Greenburst” Stratocaster® Pickup Set - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Seymour Duncan Custom Shop Joe Bonamassa Greenburst Stratocaster Set Prewired Pickguard
CIOKS DC-7
This power supply features a 1" profile, seven DC outlets with four switchable voltages (9, 12, 15 and 18V) on each outlet, plus a 5V USB outlet and can be expanded for even the most power-hungry boards.
$259 street
cioks.com
Strymon Zuma
Strymon Zuma is the quietest and most powerful pedal power supply of its kind, capable of powering a huge number of guitar pedals silently and reliably with a staggering 500 mA.
$279 street
strymon.com
Mission Engineering 529i
This powerful power supply offers eight 9V isolated outputs and an internal rechargeable battery. It powers your pedalboard for four hours on a single charge via USB port or 12V input. It also includes a doubler cable that allows two 18V outputs.
$199 street
missionengineering.com
Voodoo Lab Pedal Power 3 PLUS
From standard battery-operated stompboxes to high-current DSP effects, the expandable 12-output Pedal Power 3 PLUS combines cutting-edge technology and time-tested analog engineering to ensure any pedal will sound its best.
$179 street
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D’Addario XPND Pedal Power Battery Kit
If you need portable, wireless power, this unit offers 10,000 mAh that can last up to 10 hours on a single charge. It also includes a USB-C power supply and a patent-pending Gateway hub for ultra-quiet operation.
$169 street
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Introduced on Smith’s birthday, February 18, the Charcoal Phoenix Limited Edition is part of the PRS Guitars 40th Anniversary celebration. Only 150 of these instruments will be available worldwide, with each including a 40th Anniversary certificate hand signed by Paul Reed Smith himself.
"When we released the Private Stock John McLaughlin Limited Edition in 2023, I was inspired by its exceptional sound and playability. For the Charcoal Phoenix, I wanted to create something equally remarkable but with a stoptail bridge," said PRS Guitars Founder & Managing General Partner, Paul Reed Smith. "Using chaltecoco for the neck and ziricote for the fingerboard, I achieved an instrument that sustains beautifully and rings with clarity. The deep crimson back and the charcoal microburst top inspired the name ‘Charcoal Phoenix,’ evoking the imagery of a phoenix rising from fire and ashes.”
Over the past year, Smith has road-tested this guitar, refining its design and tone. Most recently, he played this model on stage at the late-January 2025 PRS Guitars 40th Anniversary concert at the House of Blues in Anaheim. A deep crimson back contrasts with the Private Stock-grade figured maple top in a charcoal microburst finish. The ripple abalone “Old School” bird inlays on the ziricote fingerboard add a vintage touch.
The Charcoal Phoenix also features the PRS TCI pickups, newly updated for 2025, and EQ mini-toggle switches. The TCI pickups are crafted with American Alnico magnets and slightly modified winding, wiring and electronics specifications. Based on Smith’s experience playing this guitar live and in the studio for more than a year, these pickups offer clear tones from spanky single coils to full soapbars. The EQ mini-toggles act as tuned high-pass filters when engaged, removing shelved low end and allowing the high frequencies through for more clarity and musical highs.
Rounding out the details are the PRS Stoptail bridge and PRS Phase III Non-Locking Tuners. The bridge is engineered with curved string slots, brass inserts and steel studs. It is designed to maximize the transfer of the strings’ vibrations through the guitar. The lightweight tuners promote tone transfer for a louder, more resonant instrument.
PRS Guitars is planning a year full of new product introductions. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year at www.prsguitars.com/40 and by following @prsguitars on Instagram, Tik Tok, Facebook, X, and YouTube.
