![Rig Rundown: Brian Setzer [2023]](https://www.premierguitar.com/media-library/rig-rundown-brian-setzer-2023.jpg?id=50348300&width=1245&height=700&quality=85&coordinates=0%2C0%2C0%2C0)
Two-time Grammy Award-winning rockabilly hero Brian Setzer recently played a sold-out show at Nashville’s Ryman Auditorium in support of his new solo album, The Devil Always Collects. Tyler Sweet, who has teched for Setzer for 17 years, took PG’s John Bohlinger through the rig that rocked this town, and just about every other town in the world over Setzer’s 40 years of twanging and sanging.
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With his recognizable arsenal of plucky semi-hollows, Setzer has probably done more for the Gretsch brand than any other player in the last half-century. On this tour, Setzer brought out some old friends, like this 1959 Gretsch G6120 with gold hardware, rebuilt and restored by TV Jones. Jones treated it to a total overhaul, including a neck reset, a refret with a new radius, new inlays in the upper register, fresh binding side dots on the bass side and lacquer on the neck, a new bridge, reversed toggle switches, and an upgraded Wilkinson Delrin nut—plus, he removed the zero and fret-fill behind the nut. Like all of Setzer’s guitars, this supercharged swing machine stays strung with D’Addario EXL 110s (.010-.046), which Setzer strikes with medium celluloid picks.
In a 2014 interview with Setzer, PG featured had a sidebar with guitar guru TV Jones who detailed what he did to Brian’s guitars and how he created his signature pickup: “TV Jones mastermind Tom Jones—who’s been rehabilitating old pickups and winding new ones for Brian Setzer for 20+ years—explains the process behind the Stray Cat’s new signature pickups.
“It’s my job to ensure that all of Brian’s guitars play and sound the absolute best they can possibly be,” says Jones, who debuted the pickups at the March 2014 Musikmesse gear show in Frankfurt, Germany. “A few years back, I found that a few of Brian’s new Hot Rod signature guitars—which were sent to me by Gretsch to set up for his upcoming tours—sounded slightly brighter acoustically. So I decided to design a new pickup to bring out the best in these guitars—higher fidelity on top, with a slight punch in the bottom end—by using sonically unmatched coils and custom steel-alloy pole screws. The results were beyond my expectations.”
Jones also reworked this 1960 Gretsch G6120, which bears nickel hardware. He scraped a new shape in the neck, then refinished the lacquered neck and face cap. Like his work on the ’59, Jones also removed the zero fret and filled behind the nut (another Wilkoloid Delrin), manipulated the pickups, replaced the fretboard binding and inlays with side dots, fit a new bridge, turned around the toggle switches, and gave it a refret and new conical fretboard radius.
For a more modern accent, Setzer plays his 2004 Gretsch G6120T-HR Brian Setzer Signature Hot Rod in magenta sparkle. This guitar is all stock.
Setzer tours with two blonde Bassmans—one from 1962 and the other from ’63, but both with a 6G6-B circuit. They run into matching Bassman 2x12 cabs, which run 12" Oxford speakers. Setzer usually uses one amp and has the other as a backup, but has been known to run both when it makes sense for the venue.
Setzer has a Boss TR-2 Tremolo in his line for the occasional tremolo, and brings as many as six of the stompboxes on the road with him, just in case. Ditto his Roland 301 Chorus-Echos, which range between 1983 and 1986. The units are old and fragile, so in case one taps out, there’s another to take its place. Setzer wires his set up with Mogami cables, with Amphenol silent ends.
Theo Katzman plays with a fluency and fire that makes this guitarist, producer, singer, and songwriter an MVP of modern, funk-fueled rock and pop. At a recent gig at Nashville’s Brooklyn Bowl outpost, Katzman—who’s also a member of the formidable Vulfpeck collective—invited PG’s Rig Rundown team to soundcheck, to see the gear that makes his tone sing. And Katzman’s tech, Nick “Turk” Nagurka, provided assistance.
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Stripped Strat
Theo Katzman’s No. 1 is a Fender 1962 reissue that he’s had since he was 16. He stripped the Strat’s finish down to the bare wood, and then added an Ilitch Back Plate Hum Canceling system, which takes the noise out of the stock single-coil pickups. The Strat stays strung with D’Addario NYXL .010 sets. When Katzman plays with a pick, he uses Strum-N-Comfort SNC-ST/EXH/6 Sharktooth 1.5 mm Heavy Pearl Celluloids.
Hole-y Moley!
Katzman’s Tele is an $800 parts guitar with TV Jones pickups that he purchased on Reverb. It lives in open Eb and also has D’Addario NYXL .010s.
Black Hat Strat
This Japan-built ’62 reissue Strat has an oddball headstock, with what looks like black epoxy or resin covering most of what’s at the top of its Mike Cornwall neck. It’s tuned in open D and is used primarily for slide. The stings? Yep, D’Addario NYXL .010s.
Princeton Grad
Katzman uses two amps, sending a dry signal to his Benson Nathan Junior and a wet signal to his 1968 Fender Princeton Reverb loaded with a Celestion Greenback 12. Both amps face 90 degrees offstage, to prevent hitting the front row with a laser beam of awesome. The Princeton gets a Beyerdynamic M88, which complements the punchy midrange of the amp with a healthy proximity effect and rounds the top end out a bit.
Benson, Benson, Benson
The Benson has a bit more grind and a more controlled tone. He uses a Sennheiser 906 for a dry, clear sound with minimal proximity effect. Both amps feed into the in-ear-monitor mix, hard panned left and right. Since there’s some degree of modulation from the pedalboard, that helps Katzman enjoy a sense of space in his sound. The front-of-house mix typically uses the Benson, too, since it has a more refined sound.
Theo Katzman's Pedalboard
DiMarzio Super Distortion T
This single-coil-sized version of the company’s legendary Super Distortion is aimed at T-style players who want the thick sound of a ’bucker in the bridge. It has a pronounced low-mid response with a roll-off on the high end.
$99 street
Seymour Duncan STL-3 Quarter Pound
Centered around a set of alnico 5 magnets, this high-output single-coil crosses into P-90 territory. You can also get a tapped neck variation that allows for both vintage- and high-output sounds within a single set.
$89 street
TV Jones Starwood Tele Bridge
Introduced in 2016, this T-style pickup features the guts of the company’s T-Armond pickup, but with a little more juice. Like many of the pickups on this list, it’s a straight drop-in replacement for standard-sized pickups.
$120 street
Mojo Tone ’52 Quiet Coil
With less than 10 components in a single pickup, Mojotone made these designs very simple. They use their “Quiet Coil” technology to get rid of the hum without batteries or stacked coils. The pickups are also scatterwound for more sensitivity and clarity.
$98 street
Fender Ultra Noiseless Vintage Telecaster
These stacked-coil setups aim to capture the classic sound and sparkle of vintage Tele pickups. They use alnico 5 magnets, Polysol-coated wire, and flat, non-beveled pole pieces. The neck pickup measure about 11k resistance and the bridge comes in around 10k.
$199/set street
Lollar Special T Bridge
Jason Lollar is a bona fide pickup genius, and his take on the classic ’50s Tele sound is represented here with a pronounced mid and bass response along with a smoother top end. Described as slightly hotter than a vintage Broadcaster pickup, the bridge comes in at 8.0k.
$125 street
Fishman Greg Koch Gristle Tone
Wisconsin’s most gristly guitarist teamed up with Fishman to create an entire T-style setup based on their Fluence technology. Each set includes both pickups, a control plate, and an output-jack cup with a USB charging input. With the push of a button, you can easily go between “blackguard” and “whiteguard” tones.
$359/set street
Ron Ellis 52T Bridge
Ellis might be one of the most in-demand pickup designers around today—and the going rate for his offerings bear that out. This particular flavor goes after the “blackguard” tones of classic Tele pickers such as Vince Gill and Brent Mason.
$375 street
Lindy Fralin Steel Pole 42
Described as a cross between a T-style pickup and a P-90, this design houses a ceramic magnet and adjustable steel pole pieces. Sonically, it has a mid-forward tone that offers a faster breakup when playing with distortion.
$115 street
EMG RT
Hate the hum? These active pickups aim to balance the punch and clarity of vintage Tele pickups with the modern convenience of quiet. It uses alnico magnets and a custom winding to increase bandwith and fullness of tone.
$89 street
