And this sig is done up in Kochwork Orange, which is being exclusive to Wildwood Guitars. Both guitars are strung with D’Addario NYXL strings (.010–.046).
Koch uses Dunlop Primetone III 1.4 mm picks and D’Addario glass slides.
Koch uses no pedals, just a Lava cable running from his guitar straight into his signature Koch The Greg combo. This 50-watt, tube-driven powerhouse is fueled by EL34s and features a harmonic vibrato, juicy reverb, and two channels with an addition boost options. This Sonic Blue tolex combo feeds a pair of 10” speakers to unleash unmitigated savagery.
Greg Koch recently collaborated with Reverend Guitars to build the Greg Koch Signature Gristlemaster. This T-Style was inspired by Koch’s vintage Teles, but jam-packed with modern innovations like a slightly larger, chambered korina body, a roasted-maple, compound-radius neck, Wilkinson Classic 3-saddle bridge with staggered brass saddles, and a set of his signature Fishman Gristle-Tone pickups. He even got creative with the color names. Shown here is the model in Blucifer.
Telemaster Greg Koch met with Premier Guitar’s John Bohlinger before Koch’s sold-out show at Nashville’s 3rd and Lindsley where the groovy noodles and mind-blowing jams were paralleled only by Koch’s warped sense of humor.
Click to subscribe to our weekly Rig Rundown podcast:
D'Addario Auto Lock Guitar Strap:https://ddar.io/AutoLockStrap
Duane Betts enjoys a control set modification that was preferred by his father, the late, legendary Dickey Betts.
Guest Picker - Duane Betts
Betts’ 1961 ES-335 has its toggle and volume-dial positions switched.
A: My favorite mod is the one on my 1961 Gibson ES-335. The toggle switch and neck volume knob positions have been switched so the volume knob is more accessible for volume swells using your pinky finger. This is something my dad had done when he obtained the guitar in the ’90s as he loved using the volume swell effect.
A pedal primed for vintage fuzz sounds.
Obsession: My current obsession is this DanDrive Secret Machine fuzz that JD Simo gave me a few years ago. I don’t use fuzz often but I’ve loved it as a way to change things up and give the listener something fresh. My normal tone is very natural with the amp turned up. This is just a great fuzz tone that gives me a new angle that I really enjoy pursuing both live and in the studio.
Reader of the Month - Steve Nowicki
A: A push/pull knob for humbucker coil split. It’s a sneaky little mod I throw on my tone pots. You won’t get amazing Strat tone, but the ability to instantly swap between Les Paul chunk and Fender twang during a jam opens a ton of possibilities tonally. Plus, no extra switches or routing needed—even though it’s fun to hack guitars apart.
Obsession: The EVH 5150 Iconic EL34 amp. Owning an 80-watt half-stack in a Brooklyn apartment might be overkill, but damn this amp is awesome. It delivers insane amounts of gain and distortion, yet every little nuance of your playing comes through crystal clear. I pair it with a Bugera Power Soak so I can crank the head and get that warm “Brown Sound” tone at lower volumes.
John Bohlinger - Nashville Correspondent
John Bohlinger and his Lukather-ized Strat.
A: I’ve hacked up a bunch of guitars over the years, but my favorite mod remains the highly intrusive, expensive, and quixotic B-bender install. It is the equivalent of open heart surgery, and there’s no going back—but the first time you play the Clarence White “You Ain’t Goin’ Nowhere” intro right, it’s totally worth it.
John at work. When it comes to mods, he know the drill!
Obsession: I recently filmed a PG video where we swapped pickups in my ’90s Strat with an EMG Lukather set. I never thought I’d go active, but what gets me is how smoothly the volume and tone work. I’m rethinking all my gear biases. Like maybe there’s been some progress since 1957.
Jon Levy - Publisher
Let it bleed: Jon dials back the treble on his Tele.
A: Installing a treble bleed on my volume pots has changed how I play electric guitar. Previously, I never dialed back my volume knob because it dulled my sound. Now I can fine-tune loudness and gain while retaining tone—it’s a game changer. I still swap pickups and hardware, but one mod always comes first: the humble treble bleed.
Did you know both John Paul Jones and Jimmy Page played on Shirley Bassey’s iconic recording of “Goldfinger?”
Obsession: John Paul Jones. I’ve always loved his bass (and other instrumental contributions) with Led Zeppelin. But after seeing the Zep documentary [Becoming Led Zeppelin] I searched his session work from 1964–1968, which includes Shirley Bassey, Lulu, Donovan and more. What an amazingly versatile and talented artist he is!
