Frontman John Baizley and former Cirque du Soleil shredder Gina Gleason explain the atmospheric metal outfit’s switch to single-coils—and how a fuzz pedal first brought them together.

John Baizley has been a bit of a shifting amoeba when it relates to gear. Dating back to our 2010 Rig Rundown, he was seen using humbuckers (Guild S-300D and a First Act Custom Shop T-style) into a Bad Cat Cougar half stack. During our 2015 magazine interview centered around the Purple sessions, he leaned heavily on G&L ASATs, an ES-330, and a newer First Act Custom Shop that all ran through Fender reissue combos, a JC-120, and an AC30. And now he’s running all Fender single-coils and amps, all the time. “That humbucker sound onstage became stale and was a disconnect for what we used in the studio,” comments John Baizley. “I could hear the difference. I could feel the difference in expression onstage. So, when I got connected with Fender, I finally found an instrument that was as expressive as I need it and as precise and a surgical tool I required.”

While he avoids such labels as “favorite,” he admits to using this stock Fender American Professional Jazzmaster a good chunk of time while onstage. All his guitars on this run were using D’Addario custom strings (.010–.049) and he hammers away with Dunlop Orange Tortex .60 mm picks.

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D'Addario DIY Solderless Power Cable Kit:

Rig Rundown: Adam Shoenfeld

Whether in the studio or on his solo gigs, the Nashville session-guitar star holds a lotta cards, with guitars and amps for everything he’s dealt.

Adam Shoenfeld has helped shape the tone of modern country guitar. How? Well, the Nashville-based session star, producer, and frontman has played on hundreds of albums and 45 No. 1 country hits, starting with Jason Aldean’s “Hicktown,” since 2005. Plus, he’s found time for several bands of his own as well as the first studio album under his own name, All the Birds Sing, which drops January 28.

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Diatonic sequences are powerful tools. Here’s how to use them wisely.



• Understand how to map out the neck in seven positions.
• Learn to combine legato and picking to create long phrases.
• Develop a smooth attack—even at high speeds.

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Knowing how to function in different keys is crucial to improvising in any context. One path to fretboard mastery is learning how to move through positions across the neck. Even something as simple as a three-note-per-string major scale can offer loads of options when it’s time to step up and rip. I’m going to outline seven technical sequences, each one focusing on a position of a diatonic major scale. This should provide a fun workout for the fingers and hopefully inspire a few licks of your own.
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