See what guitars and basses the punks, metalheads, and hardcore rockers used during the Windy City’s other 3-day festival.

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Bad Religion’s Brian Baker

Brian Baker—one half of Bad Religion’s guitar buzzsaw—is seen here with his trusty 1955 Gibson Les Paul Junior that has been outfitted with a custom-wound Seymour Duncan P-90 (with ceramic magnet), a MojoAxe compensated bridge, and vintage nickel Grover tuners from the ’70s. Brian on his Juniors: “I love vintage Juniors. I feel there really is a tonality unique to old rosewood, and the simple fact that pretty much every one of them has been a guitar (vibrating, expanding and contracting) for 56 years or more is really inspiring. The only mods I've done on the guitar are for live show playability. The bridge and tuners do make the guitars intonate better and make the tuning more stable. The Duncan P-90 is wound a good bit hotter than the stock pickup, which I need for the gain structure I use in Bad Religion. My main guitar also has a white pickguard, which I had made so I could tell the difference in the dark between it and it's backup, an almost identical 1955 Junior!”

Fender’s American Vintage II Series

For these new recreations, Fender focuses on the little things that make original golden-era Fenders objects of obsession.

If there’s one thing players love more than new guitars, it’s old guitars—the unique feel, the design idiosyncrasies, the quirks in finish that all came from the pre-CNC era of instrument manufacturing. These characteristics become the stuff of legend, passed on through the years via rumors and anecdotes in shops, forums, and community networks.

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The Red Sea was born out of the vision to provide complex signal routing options available to the live/performing musician, that up until now, are only found in a studio mixing environment.

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Stardust V3 was designed to capture the sound and response of 3 distinct amplifier models.

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The Sunn O))) Life Pedal circuit has been meticulously tweaked from the original and includes a third footswitch.

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