These blue-collar storytellers electrify their tales with lunch-pail Les Pauls and trusty Telecasters that hit some British tube beasts and are tastefully spiced with varied stompboxes.
The Menzingers’ albums are storied time capsules. Starting in 2007 with teen angst and rebellion, they’ve refined and reshaped their narratives into self-reflective numbers that continue to balance melody and might. Their most-recent installment—2023’s Some of It Was True—was their eighth chapter that stares down aging with acceptance rather than anger. But don’t get it twisted, these rockers will still charge.
“This record just feels different for us,” Barnett explains. “It’s a really important one in our catalog, and a pivotal moment in our history. We have the liberty of our fans growing with us now, and after writing these lyrical songs about where we are in life, we decided to take other peoples’ stories and make something bigger out of it.” “It brought us back to our energetic side as a band,” May concurs. “We got to let loose, which is what drew us to the energy of being in a band in the first place. This is a live band—why shouldn’t we record live songs? As a result, we’re back to why we started this band in the first place.”
In support of Some of It Was True, the Philly crew toured the States and touched down in Nashville mid-November for a romper at the Marathon Music Works. Before their headlining set in Music City, both singing-guitarists Greg Barnett and Tom May welcomed PG’s Perry Bean onstage to converse about their setups. Barnett explained the pros and cons of being a left-handed player, while May divulged the inspiration for his loved Les Pauls. Both detailed why they prefer a two-amp rig, and each demoed the various sounds set off from their respective pedalboards.
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'57 Knockoff
Cofrontman and guitarist Greg Barnett is a lefty, so his relationship with guitars has been a double-edged sword. On one hand, stores don’t often stock instruments to his picking orientation, however, finding a needle in a haystack has proven more fruitful than a righty’s quest since there’s more of a demand. But when he can’t find something in the secondary market, he’ll go straight to the source as he did when ordering this 2022 1957 Custom Shop Les Paul Goldtop reissue from HQ in Nashville, Tennessee. “This has pretty much become my number one touring guitar,” he says. “It’s all stock and I usually play half the set with it.”
All the guitars used by Barnett and May take Ernie Ball Nickel Wound Custom Gauge strings (.011–.052).
Just For Jawbreaker
Barnett bought this grizzled 1992 Gibson Les Paul Custom while on tour. “We had just played Riot Fest with Jawbreaker the night before and I saw Blake Schwarzenbach playing a White Les Paul Custom and thought, ‘Damn I need one!’ We had the next day off in St. Louis and I saw one for sale. I hit the guy up and we drove the tour bus right to his house. He was so stoked!” Greg dropped in a set of Seymour Duncan Antiquity humbuckers and upgraded its pots.
Take a Bow!
For a band that started in Scranton, Pennsylvania, it makes sense that one of their gear meccas is Russo Music in Philadelphia. And that’s where Barnett scooped this Gibson 1957 Custom Shop Les Paul Junior that’s all stock and was used exclusively during the band’s Nashville encore that included “Tellin’ Lies” and “Casey.”
The Waiting Is the Hardest Part
An Electric Spanish model from Gibson has been on Barnett’s bucket list. It took some time and online sleuthing, but he uncovered his dream ride—this 2015 Gibson Custom Shop 1964 ES-335—during a late-night surf of Reverb. It’s all stock. It can be heard specifically on “Come On Heartache” off of Some of It Was True.
Marshall Matters
Barnett is a two-amp sort of player. The left side is his 100-watt 1985 Marshall JCM800 that was his first “pro” amp. He acquired it off Craigslist over a decade ago and “it’s been the most reliable piece of gear I’ve ever owned.” The right side of the equation is a 2023 Marshall JTM45 that represents the cleaner side of the twin Marshall blend.
Greg Barnett's Pedalboard
A Korg Pitchblack tuner is where the guitar hits the pedalboard. Barnett loves how much the EarthQuaker Devices Hoof Reaper’s Reaper side, that’s based on a 3-knob Bender-style fuzz, cuts through in a mix. It gets introduced for songs “Thick as Thieves” and “Rodent.”
The EarthQuaker Plumes pedal is engaged for all Barnett’s leads and solos. “I really back EQD for creating such high-quality pedals at an introductory price point,” he attests. “And, no, they didn’t pay me to say that!”
The Klon KTR works as a boost with the gain all the way down, to boost choruses and some heavier intro parts. The Boss DD-3 is from 1988 and has a “long chip.” It sounds incredible and Greg employs it for “Try.” “When we recorded the song, I layered a lot of feedback over the outro. To mimic that, I have the pedal set with the feedback almost all the way up. I let the first note oscillate into infinity and then try to create a bunch of different artifacts over it.”
The remaining three pedals include a MXR Analog Chorus, a Strymon Flint, and a Strymon El Capistan.
Everything You Always Wanted to Know About Guitar (*But Were Afraid to Ask)
Ever since Tom May saw John Carvalho of A Wilhelm Scream, Sheena Ozzella of Lemuria, and Scott Brigham of the Flatliners rock a walnut Gibson The Paul, he wanted one to join their outsider squad. He scored his 1981 Paul “Woody” from Emerald City Guitars in Seattle.
Finger-Lickin' Good
May’s “Tasty” 1982 Gibson Les Paul Custom was purchased from one of his guitar heroes, the Bouncing Souls’ Pete Steinkopf. Tom said Pete used it on the Souls’ first two albums (The Good, the Bad, and the Argyle and Maniacal Laughter) and it has been featured on the Menzingers’ work starting with 2014’s Rented World. It was nicknamed “Tasty” by May’s friend Kate Hiltz. Ironically enough, Kate and another friend opened a vegan diner in Philadelphia and called it The Tasty.
Monotrapa Uniflora
May’s 2023 Fender American Vintage II 1975 Telecaster Deluxe is named “Ghost Pipe” as it features a sticker of the peculiarly white parasitic plant that grows off nutrients from tree roots. It’s his newest addition and has already proven to be a steady steed that’s “the real one.”
Transatlantic Tones
Tom has plugged into this Fender ’65 Deluxe Reverb (or a variation of it) on every record since After the Party and every single tour since 2017. British flavorings come from the handwired Vox AC30HWH that runs into an Orange 4x12. It’s loaded with a pair of stock Celestion Vintage 30s, and May replaced the other V30s with a couple of Celestion G12M Greenbacks.
Tom May's Pedalboard
The J. Rockett Archer was a helpful suggestion from Greg, and it hasn’t left May’s pedalboard since the purchase (and even has two spares). It’s always on and May loves how it can attenuate his signal and highlights his more expressive playing.
He works out the Strymon TimeLine by utilizing nearly 10 settings throughout a set that ranges from a quick 100 ms bit to thicken up leads to a full reverse delay-signal-only mix preset for pad-sounding ambient layers. Even though he’s fine-tuned it to Menzingers’ sets, he’s still discovering new sounds with it.
The Boss RC-5 Loop Station launches a little sample they use: “Incredibly powerful pedal I use for one-trick.”
The 1980s Maxon FL-301 Flanger is close to the one used in the verse guitar parts of “There’s No Place in This World for Me.” “I used one in the studio as a half joke after having a bit of a bout adding flanger to Some of It Was True, but sure enough it made it,” says May. He bought it from a small shop in Paris, Guitar Street on 24 Rue Victor Massé.
And while it made the video, the Fulltone OCD has since been retired from touring duties.
Finally, the 7-channel American Looper allows May to instantly switch between effects combinations with one toe kick.
Shop the Menzingers' Rig
2022 1957 Custom Shop Les Paul Goldtop Reissue
Ernie Ball Nickel Wound Custom Gauge Strings
Seymour Duncan Antiquity Humbuckers
2015 Gibson Custom Shop 1964 ES-335
1985 Marshall JCM800
2023 Marshall JTM45
Korg Pitchblack Tuner
EarthQuaker Devices Hoof Reaper
EarthQuaker Devices Plumes
MXR Analog Chorus
Strymon Flint
Strymon El Capistan
2023 Fender American Vintage II 1975 Telecaster Deluxe
Fender ’65 Deluxe Reverb
Orange 4x12
Celestion Vintage 30s
Celestion G12M Greenbacks
J Rockett Archer
Strymon TimeLine
Boss RC-5
Fulltone OCD
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
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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
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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
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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.
