Josh Scott drops in to chat about all things JHS, going back to his early days doing debunking deep-dives into vintage gear. “I love the mythbusting element of this stuff,” he says. “I love telling people … this is not witchcraft…. The tech of a Big Muff is from the ’50s.”
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He continues: “I know that we need to feel magic. I like it too.… But I love that element of proving simplicity of all this stuff and making it digestible to younger players and taking the chaos out of decisions. So, for me, that’s where the collecting started happening. Everything I’d ever heard anyone say about a pedal, I immediately needed to find the pedal and see if it was true.”And while the trio have plenty of inside-baseball stuff to cover, from how they’ve approached their YouTube content to how they tackle endorsement cold calls to branding—“products are not that important in the long term. Brand is more important than products.” But Josh is here to talk about his relaunch of the Ross brand and his YouTube documentary about the brand. The story, he says, is “more important than the pedals even. I just love the stories and stuff."
The pedal circuits were the easiest part of the whole thing. It’s awesome to have worked so hard and to see the impact that just a good story has. We got inundated with messages … saying, ‘Man, I cried about pedals.’”“I just really love the history element,” he says later, “so much that it feels like this really natural piece of being able to tell those stories and then move the story forward … One of my favorite things to do is taking some classic thing and replicating it perfectly. Like, I love the science of that.”
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!
