STRAT PLUS
The Strat Plus was intended as a modern take on the Stratocaster that would appeal to professional musicians while preserving the integrity of the Stratocaster. It was the first Fender to be equipped with Lace Sensor pickups—designed to eliminate the typical 60-cycle hum of single-coils—and it received the 1989 Music & Sound Award for Most Innovative Guitar from Guitar Player Magazine.
Before conceiving the Strat Plus, Fender had been developing another model—the Vintage Plus Stratocaster. It even appeared on the 1986 price list, sharing the same part number as the Strat Plus, but it never went into production.
At the time, Fender aimed to create a guitar featuring special pickups and hardware, and after discarding several prototypes that were too far outside the original design of the Stratocaster, they eventually released the Strat Plus.
George Blanda: “Working on the Vintage Plus, we were talking with Don Lace, Trev Wilkinson, Bob Sperzel—all these boutique hardware and pickup people. We were looking for cutting-edge modifications. Some of the new Strat protos even had locking tremolos and humbuckers, but at that time it was decided those things were too far outside the realm of the Strat.”
Before conceiving the Strat Plus, Fender had been developing another model—the Vintage Plus Stratocaster. It even appeared on the 1986 price list, sharing the same part number as the Strat Plus, but it never went into production.
At the time, Fender aimed to create a guitar featuring special pickups and hardware, and after discarding several prototypes that were too far outside the original design of the Stratocaster, they eventually released the Strat Plus.
George Blanda: “Working on the Vintage Plus, we were talking with Don Lace, Trev Wilkinson, Bob Sperzel—all these boutique hardware and pickup people. We were looking for cutting-edge modifications. Some of the new Strat protos even had locking tremolos and humbuckers, but at that time it was decided those things were too far outside the realm of the Strat.”
The Strat Plus
The result was a Stratocaster equipped with three Lace Sensor Gold pickups (described here), a TBX Tone Control (described here), a 2-Point Synchronized Tremolo, Locking Tuners, Roller Nut, BiFlex truss rod, and Micro Tilt.
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The Strat Plus featured the same 2-Pivot Synchronized Tremolo system with brushed, offset cast-block saddles as the American Standard models of the late 1980s and 1990s (described here), equipped with a powder-coated cast steel inertia block. Early production examples occasionally came with nickel-plated tremolo blocks, while others were painted in black or grey paint. The system included a steel tremolo arm with a 10-32 threaded insert and knife-edge pivot points for smooth operation and tuning stability.
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Many parts of the Strat Plus featured a brushed or satin finish—such as the bridge saddles and tuning machines—giving them a slightly muted, less reflective appearance compared to fully polished chrome.
The body was made of alder, with the notable exception of the Natural model, which featured an ash body. In the early ’90s, poplar was also used due to deforestation regulations in Oregon.
Unlike earlier models, where each pickup occupied a separate cavity, the pickups were now installed in a larger compartment known as the ‘swimming pool’ route, similar to the American Standard model.
The body was made of alder, with the notable exception of the Natural model, which featured an ash body. In the early ’90s, poplar was also used due to deforestation regulations in Oregon.
Unlike earlier models, where each pickup occupied a separate cavity, the pickups were now installed in a larger compartment known as the ‘swimming pool’ route, similar to the American Standard model.
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Although the Strat Plus appeared on the March price list, it was available only a few months later.
In fact, two Strat Plus prototypes—one in Surf Green and the other in Graffiti Yellow—were built by John Page at Fender Marketing’s request for the 1987 Summer NAMM show. The event was held from June 27 to 30 at the McCormick Place Convention Center in Chicago. As shown in the Custom Shop log, the bodies and the unfinished necks came from the “line” (they came from the same stock used for the American Standard Stratocasters). |
Then John finished and assembled them with the Wilkinson Roller Nut, Lace Sensor pickups, and Sperzel Locking tuners only in June —just in time for the NAMM Show.
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In 1989, the Strat Plus was promoted in the UK through an advertisement titled “New Kids on the Block.”
This eye-catching campaign was more than just a nod to the wildly popular boy band dominating the charts at the time—it was a clever play on words designed to introduce Fender’s revitalized American production line to a new generation of players. The ad emerged as part of a broader marketing push that followed Fender’s internal restructuring after CBS sold the company in 1985. During the CBS era, Fender had suffered widespread criticism for a perceived decline in quality, and the new leadership was determined to restore the brand’s reputation. “New Kids on the Block” was Fender’s way of saying, “We’re back—and better than ever.” The campaign featured several of their latest American-built models, including the American Standard Strat, the Deluxe American Standard Strat—which bore some similarities to the Strat Plus, though it lacked the roller nut—and, most notably, two newly released Strat Plus models, representing the high-performance edge of Fender’s American offerings at the time. |
1989 Fender advert: American Standard and Plus Series
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DELUXE STRAT PLUS
The Strat Plus, introduced in 1987, was designed to be the top-of-the-line production Stratocaster—offering modern upgrades while preserving the classic design. In January 1989, Fender expanded the lineup with the Deluxe Strat Plus, a higher-tier variant within the same series.
To highlight these improvements, Fender published a well-known advertisement in 1989 featuring the tagline: “After we perfected the Strat Plus, we decided to improve it.”
To highlight these improvements, Fender published a well-known advertisement in 1989 featuring the tagline: “After we perfected the Strat Plus, we decided to improve it.”
The ad proudly noted that the Strat Plus had received the Music & Sound Award for Most Innovative Guitar, while also emphasizing technical advancements. Among these were the introduction of the Hipshot Trem-Setter (used in both the Strat Plus and the Deluxe Strat Plus) and the use of different Lace Sensor pickup configurations between the two models.
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Initially, the Deluxe Strat Plus came equipped with Lace Sensor Silver pickups in the neck and middle positions, and a Lace Sensor Blue at the bridge. In 1990, the bridge pickup was upgraded to a Lace Sensor Red, offering higher output, and the Silver pickup at the neck was replaced by a Lace Sensor Blue, refining the tonal balance even further.
Other differences between the Strat Plus and the Deluxe Strat Plus included the body wood, pickguard, and bridge. The body of the Strat Plus was typically made of alder, though poplar and ash were also occasionally used. The Deluxe Strat Plus, by contrast, featured an alder body with ash veneer on the top and back—except for the Natural finish, which had a body made entirely of ash. The pickguard on the Strat Plus was a 3-ply white type. In 1996, it was updated to a 4-ply white shell version, but only on models finished in Candy Apple Red, Vintage White, and Sonic Blue. The Deluxe Strat Plus adopted the 4-ply white shell pickguard earlier, in 1994, for all finishes except Natural, which featured a brown shell pickguard instead. |
Deluxe Strat Plus Body
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Initially, the Deluxe Strat Plus was equipped with the same 2-Point American Standard Tremolo as the regular Strat Plus, featuring a screw-in tremolo arm. However, in 1991, it was replaced by the Deluxe Strat Tremolo System, which introduced a pop-in tremolo arm and often came with a distinctive black inertia block.
Fender/Floyd Rose Locking Tremolo System
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In 1994, Fender introduced the Fender/Floyd Rose Locking Tremolo System—also known as Fender Deluxe 2-Point Locking Tremolo System and “Mini Floyd.” While it shared the same string-clamping mechanism as the classic Floyd Rose, it was a different design overall, tailored specifically for Fender guitars.
According to Xhefri’s Guitars, the Fender/Floyd Rose Locking Tremolo System was designed by George Blanda. He explained that the unit was clearly inspired by the original Floyd Rose, but Fender aimed to create a more user-friendly locking tremolo. At the time, many players were looking for a locking system without the complications and drawbacks of the original Floyd Rose. Blanda recalled that the project began internally at Fender, but by the time the prototype was completed, Fender had entered a distribution agreement with Floyd Rose. To fill a gap in Fender’s Floyd Rose-equipped lineup, both parties agreed to promote this new bridge as a Floyd Rose-branded product. This strategy helped give the design added credibility and extended Floyd Rose’s appeal to a broader audience. |
The arrangement proved successful for both companies. After the distribution deal ended, Fender continued to offer the tremolo system, but without the Floyd Rose branding. As Blanda noted, it was then marketed simply as the Fender Deluxe Locking Tremolo System.
THE EVOLUTION OF THE STRAT PLUS AND THE DELUXE STRAT PLUS
LOCKING TUNERS
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At first, the Strat Plus was equipped with the Sperzel Trim-Lok Locking Tuners.
Bob Sperzel’s company originally specialized in form-tool grinding before branching into the music industry. He had been manufacturing tuning machines since 1977, and in 1983, he designed the Sperzel Trim-Lok Locking Tuners. These tuners feature a unique locking mechanism that secures the string at the post, eliminating the need for multiple wraps and enhancing tuning stability. “Our tolerances are plus or minus a half a thousandth,” said Bob. “So, I could make tuning keys with a precision the business hadn’t seen.” |
Bob Sperzel
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The earliest Sperzel locking tuners installed on the Strat Plus had a star stamped on the locking knob.
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Sperzel Locking Tuners
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Between late 1987 and early 1989, Sperzel locking tuners were replaced by Schaller Locking Tuners. This change was likely driven by supply chain and business considerations, rather than any technical or quality issues.
- Schaller, based in Germany, was a long-established supplier of high-quality hardware to Fender, notably bridges and tuning machines. By the late ’80s, Schaller had proven to be a more scalable and consistent partner, especially as Fender expanded its American Standard line and other models that demanded reliable sourcing for large-scale production. Since Schaller was already producing standard tuners for Fender, transitioning to their locking models likely simplified both procurement and logistics.
- Sperzel’s locking tuner design was innovative but protected by patents, and dealing with licensing or production limitations may have made Schaller’s in-house locking designs more appealing from a cost or legal standpoint.
- Furthermore, Sperzel, a much smaller company compared to Schaller, may have had limited production capacity. As demand increased, especially with Fender’s push into modernized instruments in the late '80s and early '90s, Fender may have opted for a supplier that could meet higher volume needs without delay.
Schaller Locking Tuners
ROLLER NUT
The Wilkinson Roller Nut was designed by British engineer Trevor Wilkinson to help guitars with traditional tremolo bridges stay in tune. It used steel rollers in the string grooves to reduce friction during tremolo use.
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After graduating from college, Trevor Wilkinson started working in the automotive industry, handling a wide range of brands—including Aston Martins and Ferraris—throughout the early 1980s. However, it was while working on a Toyota that Wilkinson found the inspiration for his groundbreaking guitar innovation. “I was rebuilding a Toyota rear wheel bearing when I noticed the needle rollers and I thought, ‘if I could put that in a nut, it could allow the strings to go backwards and forwards — and that tinkering is what led to the Roller Nut,” Trevor explained.
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Trevor Wilkinson
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Wilkinson developed an initial prototype, but several steps remained before true success followed. He secured a patent for his design and, in 1984, moved from Australia to California to market the Roller Nut in the U.S. A chance meeting with Fender led to a warm reception of his invention, and his nut was eventually installed on the Strat Plus.
Between late 1987 and early 1989, the first-generation Roller Nut—commonly called the “Split” Roller Nut—was phased out in favor of the second-generation, commonly called the “Full” Roller Nut.
On the Full Roller Nut, each string passed over a front roller and under a second roller at the back of the nut—so every string had two rollers. On the Split Roller Nut, however, the wound strings lacked the second roller at the back of the nut. Because of this, it was sometimes referred to as the ‘Single Roller’ Nut, although each roller was independent and specifically sized to maintain the correct fingerboard radius.
Between late 1987 and early 1989, the first-generation Roller Nut—commonly called the “Split” Roller Nut—was phased out in favor of the second-generation, commonly called the “Full” Roller Nut.
On the Full Roller Nut, each string passed over a front roller and under a second roller at the back of the nut—so every string had two rollers. On the Split Roller Nut, however, the wound strings lacked the second roller at the back of the nut. Because of this, it was sometimes referred to as the ‘Single Roller’ Nut, although each roller was independent and specifically sized to maintain the correct fingerboard radius.
Wilkinson Roller Nuts
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Roller Nut radius
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“Trev Wilkinson happened along with his roller nut at just the right time. He redesigned it with exclusive, built-in hold-downs to do away with string trees on the headstock face. Our first model had rollers on the top three strings only. Soon, we installed them on all six strings to get better down-pressure on the wound E, A, and D string rollers.”
Dan Smith
However, the Wilkinson Roller Nut occasionally exhibited the following issues:
- Rollers seizing and failing to rotate freely
- String notches that were too tight, causing some strings to bind and not return to pitch—optimal only for string gauges up to .010–.046
- Rattling or buzzing noises
Bill Turner, co-founder of EMG Pickups, joined Fender's R&D team in 1995 and was also involved in the development of Fender’s Vintage Noiseless pickups and the S-1 switching system.
His LSR (Linear String Retainer) Roller Nut was an innovative design that featured rotating steel ball bearings precisely set within a compact steel frame. Each string rode over its own pair of ball bearings, positioned in clearance slots that could accommodate string gauges from .008” to .056” without the strings touching the slots themselves. The strings were in contact only with the two steel balls, on which they were centered. A neoprene pressure pad behind the ball bearings applied just enough force to eliminate ringing, buzzing, and rattling—but not enough to restrict the movement of the bearings.
His LSR (Linear String Retainer) Roller Nut was an innovative design that featured rotating steel ball bearings precisely set within a compact steel frame. Each string rode over its own pair of ball bearings, positioned in clearance slots that could accommodate string gauges from .008” to .056” without the strings touching the slots themselves. The strings were in contact only with the two steel balls, on which they were centered. A neoprene pressure pad behind the ball bearings applied just enough force to eliminate ringing, buzzing, and rattling—but not enough to restrict the movement of the bearings.
Bill Turner
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LSR Roller Nut
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HIPSHOT TREM-SETTER
Since the late ’80s, the Strat Plus, Deluxe Strat Plus, and Strat Ultra models came equipped with the Hipshot Trem-Setter, designed by David Borisoff. This was an adjustable, spring-loaded device that replaced the middle spring in the tremolo cavity and connected to the tremolo block via a brass rod.
Its purpose was to compensate for changes in string tension, ensuring the bridge returned to its zero point and stayed in tune after using the tremolo arm.
The Trem-Setter also stabilized the tremolo system, preventing pitch fluctuations on other strings during bends or tuning adjustments. Additionally, it reduced “tremolo flutter”—a loss of string energy caused by uncontrolled bridge movement—and made string bending easier by preventing the bridge from sagging forward when a string was bent. Lastly, it emulated the feel and response of a fixed bridge system.
Since the late ’80s, the Strat Plus, Deluxe Strat Plus, and Strat Ultra models came equipped with the Hipshot Trem-Setter, designed by David Borisoff. This was an adjustable, spring-loaded device that replaced the middle spring in the tremolo cavity and connected to the tremolo block via a brass rod.
Its purpose was to compensate for changes in string tension, ensuring the bridge returned to its zero point and stayed in tune after using the tremolo arm.
The Trem-Setter also stabilized the tremolo system, preventing pitch fluctuations on other strings during bends or tuning adjustments. Additionally, it reduced “tremolo flutter”—a loss of string energy caused by uncontrolled bridge movement—and made string bending easier by preventing the bridge from sagging forward when a string was bent. Lastly, it emulated the feel and response of a fixed bridge system.
David Borisoff
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Trem-Setter
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Despite many legends, one thing the Trem-Setter couldn’t do was keep the guitar perfectly in tune in the event of a broken string. It was never intended to. The amount of tension needed to compensate for a broken string would detract from the Trem-Setter’s sensitivity.
When asked whether the Trem-Setter could alter the feel of a tremolo during dive or pull-up motion, George Blanda responded: “Not too much, and not at all when you pull up, because the pull rod moves through the spring on an up-pull, without affecting the tension at all. The tension of the Trem-Setter's spring is comparable to that of a normal tremolo spring. But rather than the spring stretching when you dump the tremolo, it compresses. A factory setup for a Strat Plus uses three springs and usually .009-.042" or .010"-.046" strings.”
When asked whether the Trem-Setter could alter the feel of a tremolo during dive or pull-up motion, George Blanda responded: “Not too much, and not at all when you pull up, because the pull rod moves through the spring on an up-pull, without affecting the tension at all. The tension of the Trem-Setter's spring is comparable to that of a normal tremolo spring. But rather than the spring stretching when you dump the tremolo, it compresses. A factory setup for a Strat Plus uses three springs and usually .009-.042" or .010"-.046" strings.”
TECH tIP
Trem-Setter Test
Try this quick test to see if your Trem-Setter is adjusted correctly: play the open Low "E" string; as it is ringing, bend the "B" string up approximately 1 step on the 12th fret. Listen to the Low "E": if the pitch drop on the Low "E" is barely audible, the Trem-Setter is doing its job. If the pitch drop is substantial, you’d better perform some minor adjustments.
Standard Adjustments
1 - Tune your guitar to pitch.
2 - Gently push the tremolo arm down (towards the guitar body). The collar and the knurled thumb nut should move exactly together towards the sustain block. If the collar moves before the thumb nut at point “A”, there is an unwanted gap. To fix, slightly loosen the claw screws on the tremolo by turning them counterclockwise. Recheck point 2. Continue these two steps until the collar and thumb nut at point “A” move together. Do not over-adjust.
3 - Make sure that the thumb nut at point “B” is squeezing the large fiber washer snugly against the Trem-Setter bracket. If even the slightest gap exists there, gently tighten the two claw screws on the tremolo by turning them clockwise until the gap goes away.
Try this quick test to see if your Trem-Setter is adjusted correctly: play the open Low "E" string; as it is ringing, bend the "B" string up approximately 1 step on the 12th fret. Listen to the Low "E": if the pitch drop on the Low "E" is barely audible, the Trem-Setter is doing its job. If the pitch drop is substantial, you’d better perform some minor adjustments.
Standard Adjustments
1 - Tune your guitar to pitch.
2 - Gently push the tremolo arm down (towards the guitar body). The collar and the knurled thumb nut should move exactly together towards the sustain block. If the collar moves before the thumb nut at point “A”, there is an unwanted gap. To fix, slightly loosen the claw screws on the tremolo by turning them counterclockwise. Recheck point 2. Continue these two steps until the collar and thumb nut at point “A” move together. Do not over-adjust.
3 - Make sure that the thumb nut at point “B” is squeezing the large fiber washer snugly against the Trem-Setter bracket. If even the slightest gap exists there, gently tighten the two claw screws on the tremolo by turning them clockwise until the gap goes away.
4 - Retune your guitar.
5 - Gently push the tremolo arm down (toward the body) slightly, then release it. Make sure there is firm, solid contact at points 2 and 3 after the arm is released.
6 - Next, gently pull the tremolo arm up (away from the body) slightly, then release it. Again, make sure there is firm, solid contact at points 2 and 3 after the arm is released.
5 - Gently push the tremolo arm down (toward the body) slightly, then release it. Make sure there is firm, solid contact at points 2 and 3 after the arm is released.
6 - Next, gently pull the tremolo arm up (away from the body) slightly, then release it. Again, make sure there is firm, solid contact at points 2 and 3 after the arm is released.
Super Stability
Players who utilize really aggressive string bending techniques such as double-stop bends, or those who simply prefer the feel of a stiffer tremolo arm should tighten up the buck spring by holding the knurled thumb screw and rotating the knurled thumb nut counterclockwise. Caution: Take it a little bit at a time!
As you tighten the buck spring, the tremolo bar will feel stiffer, you’ll be able to bend strings harder, and the bridge won’t sag forward.
Adjust it to your liking.
Eliminating Drag in a Trem-Setter-Equipped Strat Plus
A slight drag or resistance when pressing the tremolo arm on a Strat Plus equipped with a Trem-Setter is not typical, but it can occur. The issue is often caused by excess grease applied to the brass pull rod. Over time, this grease can create a vacuum effect around the small stop-collar washer as the rod moves, resulting in an unwanted suction sensation.
To resolve the issue, disassemble the Trem-Setter and thoroughly clean off all grease. During reassembly, leave the washer dry or apply only a light coat of WD-40. This prevents the vacuum effect and restores smooth operation. Use caution when taking the unit apart, as small components—especially the washer—can easily spring out and get lost.
Players who utilize really aggressive string bending techniques such as double-stop bends, or those who simply prefer the feel of a stiffer tremolo arm should tighten up the buck spring by holding the knurled thumb screw and rotating the knurled thumb nut counterclockwise. Caution: Take it a little bit at a time!
As you tighten the buck spring, the tremolo bar will feel stiffer, you’ll be able to bend strings harder, and the bridge won’t sag forward.
Adjust it to your liking.
Eliminating Drag in a Trem-Setter-Equipped Strat Plus
A slight drag or resistance when pressing the tremolo arm on a Strat Plus equipped with a Trem-Setter is not typical, but it can occur. The issue is often caused by excess grease applied to the brass pull rod. Over time, this grease can create a vacuum effect around the small stop-collar washer as the rod moves, resulting in an unwanted suction sensation.
To resolve the issue, disassemble the Trem-Setter and thoroughly clean off all grease. During reassembly, leave the washer dry or apply only a light coat of WD-40. This prevents the vacuum effect and restores smooth operation. Use caution when taking the unit apart, as small components—especially the washer—can easily spring out and get lost.
sTRAT uLTRA
The Strat Ultra was introduced in 1990 as the flagship model of the Strat Plus line—positioned just below the Custom Shop instruments in terms of prestige.
It was promoted through two distinct print advertisements, both featuring the tagline “Only one can be the best.” One ad depicted a full-body shot of a Strat Ultra resting on a couch, presenting a lifestyle-focused aesthetic; the other was styled like a technical brochure, highlighting its advanced specifications.
Together, these ads reinforced the message that the Strat Ultra represented Fender’s ultimate expression of modern guitar design at the time—a perfect fusion of tradition and innovation.
It was promoted through two distinct print advertisements, both featuring the tagline “Only one can be the best.” One ad depicted a full-body shot of a Strat Ultra resting on a couch, presenting a lifestyle-focused aesthetic; the other was styled like a technical brochure, highlighting its advanced specifications.
Together, these ads reinforced the message that the Strat Ultra represented Fender’s ultimate expression of modern guitar design at the time—a perfect fusion of tradition and innovation.
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One of its most distinctive features was its unique pickup configuration. The Strat Ultra came equipped with four Lace Sensor pickups: two Red Lace Sensors were mounted side by side at the bridge to resemble a powerful humbucker, while a Blue Lace Sensor was placed at the neck and a Silver at the middle position. These pickups were controlled through a standard five-way selector switch—despite an early Fender advertisement incorrectly stating it had only a three-way switch. Additionally, a three-position mini toggle switch allowed the player to choose either of the Red pickups or combine both, greatly expanding the tonal palette.
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The Strat Ultra came standard with Schaller locking tuners and initially featured a Wilkinson “Full” Roller Nut. In late 1993, this was replaced by the LSR Roller Nut, offering even greater tuning reliability during heavy tremolo use.
The bridge was the Fender Deluxe Strat Tremolo System with a pop-in arm, later upgraded in 1994 to the Fender/Floyd Rose Locking Tremolo System. Aesthetically, the Strat Ultra set itself apart with elegant and high-end appointments. It featured a bound ebony fingerboard with abalone dot inlays, giving it a sleek and refined look not often found on standard Stratocasters. he body was made of alder, but to enhance its visual appeal, it was capped on both top and back with highly figured maple veneers. A White Shell pickguard became standard starting in 1994, complementing the upscale appearance. |
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Unlike the Strat Plus and the Deluxe Strat Plus, which featured brushed chrome parts, the hardware on the Strat Ultra was all polished chrome.
Even the neck plate distinguished the Ultra from other models. While the American Standard Strat and other Plus-series guitars bore only the classic Fender logo, the Ultra included the engraved word “ULTRA”—a subtle but clear indicator of its elite status. This feature was absent only in the earliest examples produced. |
jEFF bECK AND THE sTRAT pLUS
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The development of the Strat Plus was closely tied to Jeff Beck. In 1986, Jeff asked Fender for a new Stratocaster to use on his upcoming tour in Japan; his only request was for a thick neck.
Fender’s R&D department built a few guitars for him to try, and Jeff chose a Vintage ‘62 model in Graffiti Yellow—a color suggested by Englishman John Hill, Fender’s Brand and Artist Relations Director, who knew about Jeff’s love for the 1932 Ford chopped Deuce Coupe featured in the film American Graffiti. |
The guitar had a vintage-style bridge, vintage reissue pickups, and no Roller Nut.
After the tour in the summer of 1986, the guitar was returned to Fender, where it received major updates. The vintage bridge was replaced with an experimental two-point pivot bridge taken from one of the American Standard prototypes, and the original neck was swapped for a new one.
The headstock of the new neck featured prototype Sperzel Star locking tuners and the first generation of Trevor Wilkinson’s Roller Nut. This modified guitar became the foundation for the development of the Strat Plus with Lace Sensor pickups.
Contrary to popular belief, the first Graffiti Yellow Strat Plus guitars were not prototypes for the Jeff Beck signature model, even though Jeff used a Strat Plus extensively before his signature was released. Interestingly, Graffiti Yellow was used on the Strat Plus—but not on the forthcoming Jeff Beck Stratocaster.
After the tour in the summer of 1986, the guitar was returned to Fender, where it received major updates. The vintage bridge was replaced with an experimental two-point pivot bridge taken from one of the American Standard prototypes, and the original neck was swapped for a new one.
The headstock of the new neck featured prototype Sperzel Star locking tuners and the first generation of Trevor Wilkinson’s Roller Nut. This modified guitar became the foundation for the development of the Strat Plus with Lace Sensor pickups.
Contrary to popular belief, the first Graffiti Yellow Strat Plus guitars were not prototypes for the Jeff Beck signature model, even though Jeff used a Strat Plus extensively before his signature was released. Interestingly, Graffiti Yellow was used on the Strat Plus—but not on the forthcoming Jeff Beck Stratocaster.
tHE lIMITED eDITION aLUMINUM bODY pLUS sTRATOCASTERS
Between 1994 and 1995, Fender produced a limited number of American Standard Stratocaster and Strat Plus guitars with aluminum bodies, manufactured by Spruce Hill Guitars, owned by Marthy Schulte. These aluminum bodies were also used in other special projects, such as the Custom Shop Freddie Tavares Aloha and the Harley-Davidson 90th Anniversary Stratocaster.
These limited-edition aluminum-body Strats were offered in three distinct finishes: Blue Metal Burst, Violet Metal Burst, and Stars and Stripes.
Unfortunately, Fender did not maintain detailed production records for these models, but it’s estimated that around 120 units were made.
They are sometimes mistakenly identified as anniversary models, likely because—like all regular 1994 Strat Plus—they featured the commemorative neck plate and the 40th Anniversary medallion on the headstock. However, despite their limited production and special features, these guitars were not officially released as anniversary editions.
These limited-edition aluminum-body Strats were offered in three distinct finishes: Blue Metal Burst, Violet Metal Burst, and Stars and Stripes.
Unfortunately, Fender did not maintain detailed production records for these models, but it’s estimated that around 120 units were made.
They are sometimes mistakenly identified as anniversary models, likely because—like all regular 1994 Strat Plus—they featured the commemorative neck plate and the 40th Anniversary medallion on the headstock. However, despite their limited production and special features, these guitars were not officially released as anniversary editions.
Stars and Stripes
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Blue Metal Burst
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Violet Metal Burst
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Headstock of the Aluminum Body Strat Plus
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N4 and N9 Serial Number Confusion and Identification
The earliest Strat Plus and Deluxe Strat Plus guitars featured serial numbers with E4 prefix. The E4 prefix continued to be used until 1988. Many people mistakenly believe these guitars were built in 1983 or 1984. However, the “E4” serial numbers were simply leftover decals from the CBS era, applied to new necks after Fender changed ownership. As a result, E5, E6, and E7 serial numbers were never used. In fact, the E4 prefix was likely never used in 1984 at all.
There’s also some confusion surrounding Strat Plus, Deluxe Strat Plus, and Strat Ultra guitars carrying serial numbers starting with N9. The N9 prefix was mistakenly used for guitars built in both 1989 and 1990, as well as for some built in 1999.
So, how can we determine whether a guitar with an N9 serial number is truly a 1989–1990 Strat Plus?
There’s also some confusion surrounding Strat Plus, Deluxe Strat Plus, and Strat Ultra guitars carrying serial numbers starting with N9. The N9 prefix was mistakenly used for guitars built in both 1989 and 1990, as well as for some built in 1999.
So, how can we determine whether a guitar with an N9 serial number is truly a 1989–1990 Strat Plus?
- Logo and Serial Number Placement: Guitars from 1989 and 1990 featured the Modern logo and had the serial number on the front of the headstock. In contrast, guitars from 1999 used a whitish Spaghetti logo and had the serial number on the back—Fender moved the serial number to the back of the headstock starting in 1995.
- Nut Type: These early models used the Wilkinson Roller Nut. The LSR Roller Nut wasn’t introduced until 1993.
The headstock of a 1987 Strat Plus with the E4 Serial number
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The headstock of a 1990-1991 Strat Plus with the N9 serial number
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Antonio Calvosa
