Brian baker guitar setup

Brian started out his career as a founding member of Minor Threat and joined Bad Religion in Are you much of a vinyl guy? What do you make of the vinyl revival? I was but my wife is the collector of the family now.

Unfortunately, all my great, old records were sold over the years for rent, food etc. The vinyl revival is fantastic. For me, records sound better, period. Plus, playing an LP gives you a cover to hold onto and digest while you listen! I have a great Marshall I pulled off the road because I was afraid to ruin it.

It has real ghost mojo. It only weighs around five pounds! Are you tough on your guitars? Do you set your guitars up differently for live performance compared to recording? How do you guys work as a guitar team? Do you consciously coordinate your gear and tones to complement each other or does it happen pretty organically by this point? I came into Bad Religion playing Les Pauls with high gain humbuckers.

When our new guitarist, Mike Dimkitch, came in a few years back with P90 Juniors, I liked his sound so much that I bought one myself! Now we are both playing P90s through Marshalls, and letting our sound guy worry about tonal variation from stage left to right.

He hates us! Are you a guitar collector? Do you own anything unique that might surprise people? Signature pickup coming soon perhaps? If someone can give them deets, I have the perfect Chibby LP that will have a set of them in a week later… maybe a U.

I run a Gibson p94r in the neck of said SG, and it is super thick and bassy. I like it. Not that Baker would put it that way.

Nobody knew anybody would care. To see that happen over and over again inspired me. There was something electric about this combination. With time at a premium, Baker and Hampton settled on a pedal-free, no frills style that prioritised their own enjoyment. His fucking computer is so old that every time you try to put something in the stack in ProTools the thing crashes. Image: Glen E Friedman. With engineer Geoff Sanoff and Hampton co-producing, the studio setup was similarly bare bones, even if the desire to take a detour through classic rock history was always lurking just out of shot.

Instead, Gurewitz immediately jumped on it. But he had a curveball up his sleeve: in his opinion, these demos were the record. There was not a lot of time spent sitting back in chairs and imagining what could be. We just put down what we were playing in the rehearsal space. Back then there was no such thing as a demo. When you went to the studio that was your record.

Unknowingly, we did the same thing. This twist in the tale also meant that Baker and Hampton ended up tracking their album with a motley crew of guitars that they felt comfortable with or excited by, which feels apt in hindsight.

I also have a Nash Esquire and a really neat Rickenbacker , which I never get to play. You know, Paul Weller , gold Rick. Gotta have it. He was trying to create a community. He was aligned with the same values and commitments that he still exhibits today. I was not really aware that I was part of something that was well thought out. Fake Names capture some of that beauty in amber. We were playing acoustic guitars together at sleepovers. Nita Strauss becomes first solo woman to top Billboard Mainstream Rock Airplay chart in over three decades.

Six stunt guitars that changed the way we thought about live performance. Electric Guitars.