![Baroness Rig Rundown with John Baizley, Gina Gleason & Nick Jost [2024]](https://www.premierguitar.com/media-library/youtube.jpg?id=53559996&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
The rockin’ riff lords take Fender’s squeaky-clean sound palettes and blast them with dirt on their latest tour.
Hard rockers Baroness were busy writing during the early days of the pandemic, sharing ideas and bits of songs over weekly video calls until they had enough for a new record. Then, after scouting for potential recording locations, they rented an Airbnb in a tiny town in New York and got to work.
The band brought all their gear along with them: They literally loaded up a U-Haul truck and left no pedal behind—a bit unnecessary in retrospect. At the end of their stay, they’d all but finished their sixth studio album, Stone, which was released in September 2023. On their recent summer tour supporting the record, the quartet played Nashville’s Basement East, where PG’s Chris Kies met up with vocalist/guitarist John Baizley, guitarist Gina Gleason, and bassist Nick Jost to get an in-depth look at their current road rigs.
Brought to you by D’Addario.
Franken-backer
Baizley received this custom-built Rickenbacker during the band’s sessions for Stone. It’s got the body and electronics of a Rick 620 but the neck of a 660 model. The Rick and Gleason’s Tele fill in the sonic gaps for each other.
I Think I Smell a Strat
Baizley’s other two primary guitars are these Fender Stratocasters. The first is an American Pro II with a tortoiseshell pickguard and HSS pickup configuration; the second is an original American Pro. The AmPro II lives in heavier tunings and takes a set of .012–.052s, but Baizley prefers both in the fourth position of the 5-way selector switch to build space around Gleason’s leads.
Tele Twins
Gleason rocks two Fender Telecasters, again from both the American Pro I and II series. She actually prefers the first iteration of the V-Mod pickups for their aggression and grit in live contexts, while the V-Mod IIs make for a smoother recording weapon. One stays in D-standard tuning while the other is in C standard with a dropped A#. Gleason strings them with .009–.046s and .010–.046s, respectively, and the whole band loves D’Addario NYXL sets.
So Bass-ic
Bassist Nick Jost is a Fender man, too, with a Precision Bass and American Professional Jazz Bass that both run through his mini-but-mighty rig: A diminutive Gallien-Krueger Legacy series head powers a classic Ampeg 8x10 cabinet. He usually plays with his fingers, but when he loses a game of dice on the road, he’ll sometimes be forced into playing with a pick.
Dual Stereo
Baizley and Gleason both run stereo amp setups. Baizley changes his amp backline often; he used to run twin Roland JC-120s but just recently switched in this Fender ’68 Custom Deluxe Reverb.
Gleason keeps the Fender train rolling with a ’59 Bassman reissue and a ’68 Custom Princeton Reverb.
John Baizley’s Pedalboard
Baizley’s board is packed with staged dirt boxes and tasteful mod stomps, all held in check with a GigRig G2, Peterson StroboStomp, and Ernie Ball Volume Pedal. The crown drive jewels are a heavily modded EHX Big Muff and Crowther Double Hot Cake, but a Beetronix FX Overhive and Pro Co RAT add some sizzle, too. A Boss DD-3, DM-2W, and TR-2, EarthQuaker Devices Dispatch Master and Tentacle, MXR Phase 90 and Dyna Comp, and EHX Deluxe Memory Man handle the rest, while a DigiTech Whammy lurks for its moment to blast off.
Gina Gleason’s Pedalboard
Gleason’s favorite drive these days is the EQD Zoar, their instant-classic 2023 release. Piling on top of that are a MXR Super Badass Distortion, MXR Timmy, modded EHX Big Muff, and a touchy Philly Fuzz Infidel prototype; an Xotic SP Compressor and UAFX 1176 Studio Compressor tighten things up when needed. Three time machines—the Strymon TimeLine, EQD Space Spiral, and Boss DD-3—handle delay, and a Walrus Slo dishes out reverb. The MXR EVH Phase 90 adds some color along with another DigiTech Whammy. The Ernie Ball Volume Pedal, Peterson StroboStomp, and GigRig G2 keep Gleason’s board in line, too.
Nick Jost’s Pedalboard
Jost’s bass board, powered by an MXR Iso-Brick, is a touch more simple, with an Ernie Ball Volume Pedal and Boss TU-3 for utility duties before an Xotic Bass BB Preamp, Boss ODB-3, DOD FX69B Grunge, MXR Stereo Chorus, and Tech 21 SansAmp Bass Driver DI.
Roland Jazz Chorus-120
Fender '68 Custom Deluxe Reverb
Fender Bassman
Fender '68 Custom Princeton Reverb
Fender American Professional Telecaster
Fender American Professional Stratocaster
Fender Precision Bass
Fender American Professional Jazz Bass
Gallien-Krueger Legacy 800 Bass Amp Head
Ampeg 8x10 Cab
Tech 21 SansAmp Bass Drive DI
MXR Iso-Brick
Boss TU-3
Xotic Effects Bass BB Preamp
Boss ODB-3
MXR Stereo Chorus
Modded EHX Big Muff
Boss DD-3
MXR Dyna Comp
Pro Co RAT
MXR Phase 90
Boss TR-2
EHX Deluxe Memory Man
EarthQuaker Devices Dispatch Master
DigiTech Whammy
Walrus Audio SLO
Boss DM-2w
EarthQuaker Devices Tentacle
Peterson StroboStomp
Beetronics Overhive
EarthQuaker Devices Zoar
MXR Timmy
MXR Super Badass Distortion
Xotic SP Compressor
MXR EVH Phase 90
UAFX 1176 Compressor
Ernie Ball Volume Pedal
D'Addario NYXL .110 Strings
Strymon TimeLine
LR Baggs Align Reverb Acoustic Reverb Pedal
The Align Series Reverb was built from the ground up to complement the natural body dynamics and warmth of acoustic instruments that we love so much. The circuit seamlessly integrates the wet and dry signals with the effect in side chain so that it never overwhelms the original signal. We shaped the reverb with analog EQ to reflect the natural voice inherent in acoustic instruments. Additionally, the tone control adds versatility by sweeping from warm and muted to open and present. The result is an organic reverb that maintains the audiophile purity of the original signal with the controls set in any position.
Epiphone Firebird I
When Gibson debuted the Firebird I and Firebird V in 1963, the design was as innovative as it was radical. Like the Flying V and Explorer, the Firebird seemed Martian—or at least like a work of futurist art, with its offset body shape, extended lower and upper bouts, reverse headstock, and through-body neck.
Firebirds came in three versions: The single-pickup Firebird I, the two-humbucker Firebird V, and the three-pickup Firebird VII, with the latter two featuring a Vibrola tailpiece, trapezoid inlays, and neck binding. The first time I saw a Firebird in action, it was in the hands of Johnny Winter, who gave no quarter as he ripped conflagrant solos from its fretboard, but Brian Jones, Clapton, Allen Collins, Paul Stanley, and Phil Manzanera also helped make the model a legend. Original ’60s Firebird V’s sell for as much as $35,000, and reissues peak at nearly $10,000 for the Gibson Custom Shop’s ’63 Firebird V. That’s a lot of dough to look badass on stage. But now, Epiphone—in collaboration with Gibson’s Custom Shop—has taken high-quality reissues of the 1963 Firebird I and V into a more affordable realm. They’re still pricey for an Epi’, at $1,299 and $1,699, respectively, but undeniably brimming with panache.
“I was surprised by how sweet and heavy Gibson’s Firebird Mini Humbuckers sound. There is nothing mini about their tone.”
An’ a I, an’ a V
Our review Firebirds arrived impeccably set up, with action low enough for speed, but high enough for slide—my comfort zone, coincidentally. They are handsome guitars too. The I is finished in gleaming cherry, while the V is decked out in vintage sunburst and a shiny Vibrola tailpiece.
The necks are the not-so-secret weapons on these models. They are 9-ply mahogany and walnut (original Firebirds have a 5-ply neck), sandwiched between mahogany wings, but both guitars are still fairly light. The I is 7 1/2 pounds and the V weighs about 9 pounds due to the additional pickup and bridge hardware. There are 22 comfortable, medium-jumbo frets, which allow easy navigation and elegant bends, a Graph Tech nut, dot neck inlays on the I and trapezoids on the V, a classic Gibson-scale neck length of 24 3/4", and an Indian laurel fretboard. The banjo-style Kluson Planetary tuners, as well as the reverse headstock, take time to get to use to, but contribute to the instruments sleek, clean lines. The Firebird I’s electronics are simply a master volume and tone, with CTS pots and Mallory caps inside, in service of a warm-to-cutting single alnico 5 Gibson USA Firebird Mini Humbucker. The V offers more ways to shape your tone: The Vibrola is cool and vibey and there’s a classic four-dial Gibson control set (also routed through Mallory caps and CTS pots), a 3-way pickup switch on the lower bout, and a pair of those Gibson USA Firebird Mini Humbuckers.
Epiphone Firebird V
Trial by Firebird
I was sure I would prefer the Firebird V playing experience, because I am typically a neck-pickup player, but both guitars revealed sonic charms through Carr Vincent and Telstar amps running in stereo, my vintage Marshall Super Lead, and a Positive Grid Spark.
Low-action setups on both accommodate everything from campfire chords to screaming single-note playing past the 12th fret, with the perfectly smooth fret ends and comfortable neck making it all a pleasure. The neck broadens to 2 1/4" at the body, from 1 3/4" at the nut, making it easy to hit high notes accurately. But what really excited me, besides how artful these guitars look, is the power and sound of the pickups.
I was surprised by how sweet and heavy Gibson’s Firebird Mini Humbuckers sound. There is nothing mini about their tone, whether slashing and growling through the Marshall or pouring thick honey out of the Carrs. And through the Spark, a highly pleasing snarl and juicy warmth were all on tap. Despite my predilection for neck pickups, I became really excited by the Firebird I. The simplicity and elegance of its look, streamlined controls, clean surface, and light weight made the I a joy to play, especially with the treble rolled to near-zero. There, early Clapton-esque tone was a cinch to find, and for blues and pseudo-jazz-licks (the best I can muster in that genre), the warmth and clarity were delightful. Despite its basic construction, the Epiphone Firebird I is assuredly more than a rock machine.
Sure, having the addition of a neck pickup on the Firebird V provides a wider selection of tones, but the voices achievable on the I were no less winning and, honestly, I could not find any pickup-and-dial configuration on the V that sounded all that different or better than those available on the I. But, ah, a Vibrola is a very nice appointment—not just for its grand appearance, which is like some antiquarian treasure, but for the subtle bends its enables. If atmospheric guitar tones from the Ventures to Hermanos Gutiérrez are your passion, you’d want the Vibrola, which stays remarkably in tune, given its relatively primitive design.
The Verdict
Make no mistake: With their uncommonly proportioned offset bodies and reverse headstocks, guitars like the Epiphone Firebird I and V require time to get acquainted. But if you’re unafraid to stand out from the crowd, these instruments will serve you visually and sonically. Both play well and offer a good scope of vintage tones—from aggressive to dark maple sugar—with simple dial adjustments. And while many other Epiphone models sell for less, these well-crafted copies of original Gibson designs provide custom-shop or boutique-builder quality at a much lower price. PG
