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.

“When I joined the band, I was mainly playing shredder guitars like a Kramer SM-1 with a Floyd Rose and Seymour Duncan Distortion humbuckers,” says Gina Gleason. “But it just seemed inappropriate for Baroness—if not aesthetically, at least tonally.” So, when first jamming with Baizley, she gravitated to his collection of G&L T-styles that offered a new, full-range vocabulary she had not enjoyed in years. Prior to touring with the band in 2017, she scored this 1992 G&L ASAT Classic that was a longtime No. 1 until recently. Its previous owner upgraded the pickups with a set of Fender N3 Noiseless Tele models. She uses D’Addario .010–.046 or .010–.052 (for lower tunings) strings goes with Dunlop Gator Grip .96 mm picks.


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

Advanced

Beginner

• 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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Johnny Winter's Burning Blues by Corey Congilio

Learn to rip like one of the all-time masters of modern electric blues.

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