Home > Fender Stratocaster Strat Plus
Leo Fender's concept for the Stratocaster was a timeless innovation in guitar construction and design that reverberates to this day. This model has remained in almost constant production since its inception and continues to spawn countless imitations as the most copied design in guitar history, and still sells extremely well--despite challenges from world-wide competition. The Stratocaster was so well conceived, in fact, that it changed very little over the ensuing years as there was very little reason to make any changes. After CBS bought out Fender in the mid 1960s, the new company decided to make 'improvements' to the guitar in the name of cost-cutting, production efficiency, and to ehnace the guitar's design. Complaints began to emerge from the guitar-playing public regarding quality and playability issues. Some of these issues were valid, others were imagined, and some very subjective. As time went by and designers began to look beyond the post-CBS era, it was more a glance over the shoulder at the past than a forward gaze to the future. In the waning years of CBS and the next few years beyond, it was the Vintage Reissue--namely the '57 and '62 models-- that returned the Fender name to one of reverence and quality. However, by then, the basic design of the Strat was 30 years old. As versatile as the instrument was, the music had changed a great deal--as had amplification technology. The old designs were magical in practicality and tone and these instruments--particularly the very early ones--are very collectible and command a premium in price today. But the design was dated. The single coils would hum noticeably at volume, although Fender would continue to improve shielding to combat this problem. The floating vibrato mechanism was notorious for going out of tune and the arm itself subject to breakage, resulting in an after-market vibrato assembly industry. Knock-offs of the Strat design included features to address the aggressive music and techniques required to play it. An upgrade to the Fender Stratocaster was needed.
LEFT TO RIGHT: 1) The Hohner Rockwood is very close in design to the original Stratocaster. 2) Behringer also manufactured a Strat-based clone. Guitars such as these are often sold in 'packs' that include a small amp. 3) The first three guitars listed here are primarily aimed at the economy market. However, even inexpensive models like this Yamaha Pacifica have earned reputations for being very good and reliable instruments. 4) Some manufacturers, such as Ibanez, intended to improve upon the original with higher-end pickups, more advanced electronics, and premium hardware--as the case with this Steve Vai model--essentially making them 'Super' Strats. A cape with an 'S' on it was not included. The Strat Plus was the response: a genuine Fender that addressed many of the issues players had with the old design. Running from 1987 to 1999, the line came in three models which included the Strat Plus, Strat Plus Deluxe, and Strat Plus Ultra. The focus of this page is the Strat Plus, essentially an upgrade of the American Standard and which served as the premium end of the regular production model line. Intended to rebuild the reputation of Fender that was damaged by the CBS years, the Strat Plus possessed a number of innovations to bring the guitar into the modern age while maintaining its characteristic heritage.
This guitar was purchased new in 1994. The guitar is in like-new condition with none of the characteristic wear one would expect for a nearly 20 year-old guitar--a true 'closet classic'. The finish maintains its mirror-like glaze, no doubt enhanced by numerous polishings, long term storage in the case, and wipe-downs after each use. The heart of the model line was the inclusion of three Gold Lace Sensor pickups. Fender retained the single-coil design but went with an aftermarket developer to reduce the 60-cycle hum that often plagues this kind of configuration. The 'radiant Field Barrier system' surrounds the coil and magents which in turn enables the use of weaker magnets, increasing sustain via less pull on the strings. The Gold Lace Sensor pickups were 'designed to duplicate an early Fender single coil pickup. Crisp top end and bell-like tone, the Lace Sensor Gold utilizes the latest technology to provide excellent tone for today's players.' Unlike the Vintage Reissues which had minimal shielding, the Strat Plus employed 'swimming pool' body routing that included greater sheilding features. BELOW: Excerpts from the Fender-Lace Sensor Pickup Booklet included with the Strat Plus package.
LEFT: The Fender-Lace Sensor pickups are characterized by a lack of visible poles, hidden by a plastic cover. This gives the guitar a more modern look. RIGHT: The bottom of a Fender-Lace Sensor pickup. Another improvement addressed the issues with the old-design vibrato system and the associated tuning problems. The 'Hipshot Tremsetter' was a system designed to keep the guitar in tune, even in the event of string breakage, by equalizing the tenson. The American two-point floating bridge, which had upgrades of the old-style string saddles, was a part of the mechanism. The strings still went through the body and springs were still the main component of the device, but operation was much improved.
LEFT: The Schaller locking tuners makes changing strings a breeze. The brushed metal is in line with the modern-looking design. CENTER: Making the original design saddles look like the antiques they are, the re-designed saddles on the two-point floating bridge are both modern-looking and improved and do not require an ashtray bridge cover. RIGHT: Another feature on the Strat Plus is the 'Hipshot Tremsetter,' which helps maintain stability in tuning by evening out string tension. Still applying two vibrato springs, the mechanism resides in the same type of cavity as in other models.
Other innovations helped playability and intonation. A roller nut eliminated the need for string trees and helped the vibrato work more smoothly. Locking tuners kept string slippage at bay. the Micro-Tilt adjustment eliminated the need for shims and was accessible through the neck plate. Schaller strap locks were included in place of old-style buttons. Finally, the model included a 'Treble Bass Cut' (TBX) tone control on the lower pot.
LEFT: Like the locking machine heads, the roller nut helps maintain intonation and works to help the vibrato system by reducing friction. Both the machines and the nut were changed in the early 90's to the units shown here. MIDDLE: The micro-tilt makes neck adjustments not possible on previous models. Control of action and tuning is a big part of the 'plus' in 'Strat Plus'. RIGHT: The bottom tone potentiometer contains a circuit that 'provides both the conventional guitar sound and unique new sounds,' according to the owner's manual. 'Advancing the knob counterclockwise from the detent position gradually filters off high frequencies... Rotate the knob clockwise from the detent position, and you add presence and brightness by allowing the pickups' natural resonance to come through.'
This Strat Plus was purchased new from Quigley Music in Kansas City on April 2, 1994 for a grand total of $770.39 including tax and a free tuner. The guitar came with a hardshell case and the usual case candy. It was purchased to replace the Fender '57 Vintage Series Reissuesince the latter suffered from a broken tremolo arm and tended to pick up localized interference and buzz during performances. Not wanting to modify the rare guitar to address the issues of unwanted noise and tuning difficulties, I elected to retire it and replace it with something more practical and run-of-the-mill. The Strat Plus was a model that looked as if it were specifically made to suit my needs since the features directly addressed the issues of shielding, tuning, and a beefier vibrato arm and mechanism. LEFT: The original invoice still resides in the case. This particular music shop in no longer in business. RIGHT: Case candy included the Fender Musical Instruments slip, hang tag, orange truss rod notice, specification booklet, owner's manual, Fender Lace Sensor booklet, invoice, 'tremolo' arm and strap. Note the corrected error on the part number line of the hang tag, which was scratched out and updated by someone at the factory. BELOW: The nice hard shell case has the embossed shape of the guitar on its ventral.
The Strat Plus has a little bit of a history to it. I was drafted into playing in a band at work. As the 'new guy,' I had very little say in the matter and The All * Star Monsters of Rock Faculty Band performed each year for about the next ten years at the annual talent show. Around 1993 or so, only a couple of years into the band's history, I tore up the whammy bar on the Fender '57 Vintage Series Reissue and replaced it with the Strat Plus. The '57 was retired into its case where it remained for about a decade and a half. Meanwhile, the Strat Plus became my main guitar, mostly used for noodling, jamming, and home recording. In time, I slowly lost interest in guitars and the Strat Plus was also stored away for about four years following the last All*Star Monsters of Rock performance.
BELOW: The All*Star Monsters of Rock Faculty Band was made up of various teachers and administrators in our building. Despite a lack of proper rehearsal, we managed to please the crowd of screaming kids, closing the Annual Show for ten years with a mix of 50's and classic rock tunes and always ending with 'Smoke on the Water'. The last performance was in 2001, during which our rhythm guitarist drove his Harley onto the stage (hence the helmet, far right photo), followed by our female keyboardist who followed--on a scooter. Shortly thereafter, several members retired and moved on. Rumors regarding a reunion are untrue!
STONE DEF In 1999, our jazz band instructor encountered a conflict and needed help working with some members of the jazz band. The task included merely playing and jamming with a few kids for about an hour before school everyone once in a while. Awkward at first, these sessions were both good for me and for the kids as the numbers were worked around an agreed-upon key then everything else was improvised as we followed the drummer. Before long, these long jams were taking a shape and a 'song' began to form. In addition, we began to attract a small crowd of students who happened to be in the building at the time. It was both a lot of work and great fun. We practiced on the high school stage early in the morning. This also allowed us access to a nice white baby grand piano. At times, I would walk over and start soloing on the piano while still wearing the guitar. Before long, the transitions were clean as we developed a routine. Things got so wild that I literally would cut my hands on the keys from the slides. Before long, we began to record what we were doing. The job of working with a couple of jazz band students expanded into a major project. We called ourselves Stone Deaf--because, I joked, if you're not before you hear us--you will be after. The name was promptly modified by our bass player to a more trendy Stone Def--short for Stone Def Jam. LEFT: Stone Def in Concert. Note the ubiquitous wipe-down rag next to the open case. MIDDLE: It was quite a hop to get to the piano located on the gym floor. RIGHT: Have you ever seen a more serious-looking group of chaps? The author used the '57 case instead of the Strat Plus' hardshell case because the former could carry more gear inside.
The drama teacher at the time needed something for the intermission of the school play. We were asked to play a short set to pass the time between acts. The drum riser was set up in the gymnasium bleachers and a piano on wheels was placed in front of me within rang of my 20-ft. cable. Our bassist's dad provided some proper amplification and mixing and miked the piano, and I set up a four-track recorder connected to the soundboard. Unfortunately, the output overloaded the recorder and the resulting sound was too distorted for use--but the event was videotaped. Everything was fine until a noticeable crackle developed from somewhere. We ignored the problem and continued to play on. The audience seemed ambivalent to the occasional noise. We played our own long jam and then closed with an instrumental version of the requisite 'Smoke on the Water'.
Playing with Gillan's Inn
In 2006, my wife encouraged me to enter a guitar competition. Based on a submitted recording, I was chosen to play 'Smoke on the Water' with Deep Purple's Ian Gillan during his solo Gillan's Inn tour that same year. The performance took place at the local casino. Fortunately, the gamblin' house did not burn down as described in the song!
BELOW LEFT: 'There you go!' MIDDLE: Gillan laughs as he does his 'air guitar'. RIGHT: Cheered on by little sister.
The Gillan's Inn performance took place at Harrah's VooDoo Lounge. LEFT: Gillan and the author during the verse. MIDDLE: The Big Finish. RIGHT: During the solo.
LEFT: Ian Gillan with the author in the green room after the show. RIGHT: Gillan reluctantly signed the Strat Plus' pick guard with a purple Sharpie. 'Are you sure?' he asked me. Absolutely.
In order to preserve the signature, the guitar could no longer be played on a usual basis as over time, the writing could get rubbed off. Eventually, I would remove the pick guard and have it framed for display in the Guitar Bunker. This also provided the opportunity to look inside of a Strat Plus, and to date the neck while I was at it.
The procedure for removing a pick guard is relatively simple but should not be attempted without proper knowledge and care. Part of the genius of the Strat design is that the electronics are screwed onto the underside of the guard, making easy access to the potentiometers, switch, and pickups. The pick guard itself is held onto the guitar by 11 screws. Once removed, the pickguard and electronics come out as a complete assembly. However, in this case, since the entire pick guard was being replaced from the guitar, the electronics had to be extracted from the guard, necessitating removal of the pot knobs and switch cover--as well as the pickups. Care had to be taken not to drop and lose the tiny pickup
The original pickguard, left, has clean, neatly-installed shielding. Note the presence of a piece of masking tape with a 'T' written on it (middle). The tape has serrated edging. The replacement pickguard, right, has sloppily-installed shielding. Wrinkling in the foil is clearly visible. The author re-created the masking tape with the 'T' as closely as available materials allowed. The original, signed pickguard was then framed and displayed. Routing in a Strat Plus is different than that of the Vintage Series. Instead of a shaped route for each pickup with a 'channel' for wiring and a 'box' for the pot assemblies, the Strat Plus' main cavity has been described as a 'swimming pool route'. It is rectangular and thus avoids the problem of fitting pickup assemblies into routes of the wrong shape--a problem that plagued the early run of Fullerton Vintage Reissues--and in effect creates a rather large hollow area in the guitar. According tohttp://xhefriguitars.com/page2.html--a great resource for those interested in the Strat Plus--the cavity was then sprayed with a shielding paint. A large foil shield was also installed underneath the pickguard--a huge improvement over the Vintage Series design. The interior of the guitar had the usual dirt and debris from the manufacturing process. None of this was cleaned or disturbed. LEFT: Potentiometer cavity. CENTER and RIGHT: The 'swimming pool' routing.
Aficionados no doubt already have spotted the incorrect replacement pickguard. The Strat Plus should have a three-tiered pickguard while the replacement is not of this type and was merely one straight from off the shelf. I did not realize this when I purchased the replacement. Bear in mind that bringing back the guitar to original OEM specs is a simple matter, and the main reason for the switch was to preserve Ian Gillan's signature. The two-tiered guard has no effect on playability and very little effect on the look of the guitar as only those well-versed in Stratocaster schematics would notice. As a side note, however, the shielding on the replacement part was sloppily done. The replacement was not manufactured in the United States.
ABOVE LEFT: The replacement pickguard was purchased off-the-shelf. MIDDLE: The pickguard sub-assembly in progress. ABOVE RIGHT: Reinstallation.
BELOW LEFT: The finished product, proudly displayed in the Guitar Bunker. BELOW RIGHT: The Strats among friends.
The featured Strat Plus was also used to participate in the breaking of the Guinness World Record for the largest guitar ensemble. As part of a promotion for the local rock radio station 99.7KY, 1,721 guitarists played Deep Purple's 'Smoke on the Water' together on cue at the Community America Ballpark in Kansas City, Kansas on June 3, 2007. The record would be short-lived. Hearing of the record attempt, promoters in Leinfelden (near Stuttgart), Germany had scheduled their attempt for only a couple weeks later. With heavy promotion and the inclusion of celebrities and luminaries, the Leinfelden group barely managed to break the record with 1,803 guitarists--also playing 'Smoke on the Water'. The definitive record would come on May 1, 2009 in Wroclaw, Poland. With participation from members of Deep Purple, this group managed a staggering 6,346--all playing 'Smoke on the Water'. Despite the short standing of the Kansas City record, I am proud of the fact that the Strat Plus was a part of the original event--and was a world-record holder--even if for only a few days. BELOW: On 'three'. One...two...durnt DURNT DURRRR!
MIDDLE (BELOW): Success!
ABOVE: Most of the guitars were acoustic--the most practical type of guitar given the circumstances. Others had small battery-powered amps. The author elected to use a small practice amp powered by a portable, emergency a/c power source. DATING THE STRAT PLUS While the pick guard was being removed and replaced, time was taken to date the instrument by removing the neck. Dating a Strat of this type should be relatively straightforward, although sometimes an inexact science due to production inconsistencies and sometimes ambiguous serial numbers. The purchase date of a new instrument, the serial number, the type of standard equipment and the neck date are all considered when dating a guitar such as this. The purchase date of April 2, 1994 denotes that the guitar had to be manufactured before that time but is not a guarantee that the instrument was manufactured in the same year. It is common for guitars to hang on a shop wall for months--sometimes over a year or even more--before they are purchased. The type of roller nut and locking machine heads rules out that this is an early Strat Plus model. The inclusion of Schaller insteal of Sperzel tuners and the lack of a split-style Wilkinson roller nut precludes an early run. According to http://stratcollector.com/scn/models/stratplus.html, LSR roller nuts appeared around the middle of 1993. The equipment on this guitar suggests a manufacture date in early 1993 at the latest. Externally, the best indication of a date of manufacture on a modern-era Stratocaster is the serial number. Despite some inconsistencies and anomalies, the system is relatively stable--with some exceptions. This particular instrument has a prefix of N3, denoting a likely production year of 1993. Jeffrey at http://www.xhefriguitars.com/page14.html indicates that N3 could also be a 1994 serial number; however, in this case, the serial number appears on the front of the headstock. According to stratcollector.com, the numbers moved to the back sometime during the 1993 run. Thus, a production date in early '93 is still likely. When examining the butt end of the neck of the featured guitar for the date stamping, one finds that the final--and most important--digit is partially missing. The stamping ink was either unable to stick to the surface or the stamp did not make full contact, resulting in only a partial number. That is where the problem lies. The final, incomplete digit looks very much like a two (2)--contradicting the serial number. While Fender has been known to be inconsistent in numbers and parts used, particularly during the later Fullerton years, it seems odd that the N3 serial would have a 1992 stamping. The resemblance to a number two is even greater in real life. If this is the case, then the date of manufacture is May 04, 1992--even though 1993 should be much more likely. Given the 1994 date of purchase, the type of hardware, and the N3 serial prefix on the front of the head stock, a manufacture date in early 1993 makes most sense. The alternative is that this guitar has a neck left over from the previous production year--not necessarily unheard of. Unfortunately, the neck pocket was devoid of any pertinent markings and the bottom of the neck butt has no other dating. TOP: The neck date on this unit is unclear. It appears to be May 04, 1992. BOTTOM LEFT: The neck heel provided no additional dating information, and the pocket was clear of any other dates. BOTTOM RIGHT: The N3 prefixed serial appears on the front of the headstock.
The Strat Plus YouTube video is a composite of several videos shot over the years. It includes a look at the Fender Stratocaster Strat Plus and its characteristics, as well as footage of performances in which I participated, including a performance with from Gillan's Inn (shot at Harrah's VooDoo Lounge during their US tour in 2006), breaking the world's record for the largest guitar ensemble, and playing with the *All-Star* Monsters of Rock Faculty Band. Also included is a video of the the signed pick guard replacement and a look at the interior of a Strat Plus. The soundtrack includes snippets of several original compositions--'Cattywompus,' 'Tripping the Light Fantastic,' and 'Out of Whack'--as well as my take on Deep Purple's 'Smoke on the Water'.
NEXT GUITAR: Rolling Stones Fender 'Shine a Light' Telecaster
- Fender '57 Vintage Series Reissue(includes video)
- Fender Stratocaster Strat Plus(includes video)
- Rolling Stones Fender 'Shine a Light' Telecaster(includes video)
- Danelectro Dano Pro Reissue(includes video)
- Switch Vibracell Ultima IV(includes manufacturer video and advertising materials attachments)
- Laguna LE422(includes video)
- Epiphone Pelham Blue Limited Edition Custom Shop SG G-400 & Epiphone Dot (includes video)
Visits
|
|
