Strat Set Up, Part Two

January 10, 2013

By Daniel Brooks

So, you’ve removed your strings and improved the contact between the neck and the body for better resonance. You have, maybe, reconsidered your string gauge before restringing your guitar. You’ve added or adjusted the tremolo springs, adjusted the truss rod, reset the action and fine tuned the intonation. Now what?


Well, most of the time, you can leave it at that, call it a successful set up, and get back to playing in pursuit of the next great musical inspiration. But we are Stratocaster players, and there is always another adjustment or modification that will elevate the quality of our instrument and our ability to play it.

The first of these is a height adjustment on your pickups. As with all parameters of the Stratocaster, there is a considerable range of adjustment, and each end of the spectrum offers a different effect on your sound. Typically, a pick up positioned farther away from the string will give you a lower output with a mellower tone. A lowered pickup also has a physical impact on our playing since it is less likely to snag one’s fingernails, which can be a real distraction for those of us who use our fingertips. For guitarists who prefer a brighter tone, a few turns of the mounting screws will bring the pickup close to the string as possible for a more powerful output that can, with the right pickup, push the balance of guitar and amp toward distortion. Both extremes have their adherents. It is not uncommon to adjust each pickup according to our use, with, for example, a neck pickup lowered a full turn for playing rhythm guitar parts and the bridge pickup heightened as far as it will go for brighter, higher output solo work.

To adjust the pickup height according to Fender’s recommendations, fret the high E and low E strings at the highest fret. Measure the distance between the bottom of each string and the top of the magnetic pole piece beneath it. For pickups with the traditional amount of output like the Standard Single-Coil or the Standard Humbucker, Fender recommends a gap of 4/64” or .0625”, which is a hair thicker than a US Penny. For higher output pickups, like the Texas Specials or the Noiseless Series, Fender recommends a gap of 8/64” or .125” on the bass side and 6/64 or .093” on the treble side.

In the interest of precision, it is well worth the money to buy a feeler gauge. For less than ten dollars at any decent hardware store, you’ll get an organized collection of thin metal leaves, each a precise, specific fraction of an inch thick. You can combine leaves of different thicknesses to get an exact reference for any job that requires a professional level of accuracy, like more precise truss rod and string height adjustments.

To more accurately adjust the truss rod, tune the guitar and capo it behind the first fret. Finger the note on the highest fret on the high E string while measuring the clearance between the string and the 8th fret (C#), which is about half the length of the fretted, capoed string and the point of highest clearance. For guitars with a modern 9.5” to 12” radius, adjust for .010” clearance. If you have a vintage or a reissue guitar with 7.25” radius, adjust for .012” for slightly more curve in the neck to keep your bent notes from fretting out. Inversely, you can get lower with flatter fretboards, as close as .008” for modern, custom guitars with a 15” to 17” radius.

And that’s all there is to a good professional set up. Of course, there are always additional modifications one can make for even better sound. These often involve replacing parts or altering the guitar. You can always try replacing the nut with one made of bone, brass or stainless steel, all of which have better acoustic properties than the plastic synthetic bone used to make the standard nut. At the other end of the string, recognize the role the old bent steel bridge pieces had in shaping the vintage Stratocaster tone. If your Strat has one of the newer designs, and you like that old vintage sound enough to make it worth the effort, then consider replacing your bridge saddles.

It is easy, if not exactly inexpensive, to replace your pickups. Fender makes a variety of replacement pickups, many using the same materials and specifications as the original vintage gear, and some others that deliver much higher output and different tonal responses. Like many Strat fanatics, I have always thought that if the original was good enough for Buddy Holly, Jimi Hendrix, David Gilmour, Robin Trower, Mark Knopfler, Stevie Ray Vaughan and a thousand other greats too numerous to mention, then I’ll take my chances. But if you insist on placing that much importance on your pickups, then it is worth the substantially lower investment in time and money to also consider the electronics. Most stock Fender parts are wired with good components, especially on their high end models, but if you’re playing an imported Strat, or one that has been modified by a previous owner, you might want to examine your wiring, jacks, switches, potentiometers and capacitors and, if necessary, replace them with better quality parts.

If you are really into modifying your Strat, eventually you’ll want to give some attention to the finish. This may seem to be a bit more of a commitment but it is a simple thing to strip away the finish where the tremolo meets the body. Just as with the neck/body connection, the finish adds an unnecessary layer of material between the bridge and the body, absorbing a small but significant fraction of the resonance that comes from the interaction between the two. And while you’re at it, consider removing the finish from any part of the guitar the audience doesn’t see. The next time you take the pickguard off of your Stratocaster, try sanding away the finish in the body cavity. It will allow the wood to breathe and resonate a little better. Some committed players who have one of the modern Strats with the polyurethane finish have gone as far as to strip away the finish altogether, either leaving the wood bare or repainting it with nitrocellulose. This may be a bit off the deep end for most guitarists, but it might not seem so when you’re just one more modification away from Stratocaster perfection.


  1. charles Christensen says:

    Nice… good info

    posted on January 11, 2013 at 3:07 am
  2. Jim Murdoch says:

    Great article Daniel,...  Some very useable ideas covered. 
    The one suggestion I am querying is your suggestion to remove the finish within the body cavity under the pickguard.  My problems with pickup hum on an “Officially Licensed” Stingray clone ocassionally still nags at me, even though I’ve used copper shielding throughout to create a mini faraday cage.  If you remove the resin “shielding” from around the pickups, won’t this be creating a problem which would make any benefits gained irrelevant… ?

    posted on January 11, 2013 at 4:09 am
  3. Brizzle says:

    Kind of a bummer you can spend 1 or 2 grand on a fender strat and you still have to mod the heck out of it for it to sound right, intonate and stay in tune.  Ever played a mid 60s strat? Those were budget instruments with interchangeable parts that sounded professional. Too bad fender can’t seem to muster the will to build anything close.

    posted on January 11, 2013 at 5:42 am
  4. Kaz says:

    David Gilmour used EMG’s in his Strat later on. So not quite accurate that he stuck to the old school sound.

    posted on January 11, 2013 at 11:05 am
  5. blaine says:

    Lots of good ideas and I know there’s allot of players that tweak finishes as you suggest.  Of couse it has some minor impact.  But, honestly its more likely in one’s mind - we convince ourselves we can hear a difference.  I don’t belive that removing finish under the bridge pivot does anything. What will make an impact on sound are 5 springs and a cranked up claw pulling the bridge tight to the body.

    Removig finish iniside the body cavity - won’t give a real change - a better change is to foil ground that cavity and shield the back of the pickgaurd.  You’ll hear that difference for sure!  Changing out wires and pots - more or less again is in your head - unless they are just worn out or dirty - you’ll not hear any big diff - but, its honestly cheap to through some quailty CTS pots and swithcraft parts along with some cloth wire.  At least you’ll feel good about it - especially if you do a nice solder and wire job.  Its kind of like washing the engine under the hood - only you know its clean - ah, but it must run better - right?  What makes a big diff are scatter wound - hand built pickups by Lollar or Bareknuckle or Fralin etc.  You will hear this big time and its worth every penny - and while your in there its a good to throw in the new pots and cloth wire since you have it apart.  Also, learn to solder - don’t attempt if this isn’t your skill, you can watch some YouTube videos and practice.  No cold solder joints - PLEASE! 

    I know your saying - OK smart guy why are you qualified to say this!  Well, for 20 years I was an active luthier and built hi-end tele and strats for my cusotmers. I am talking from scratch - fixtured pin router and hand carved necks - poly finishes and lacquer finishes, you name it. Every wood you can think of - exoctic to tradional alder body or ash.  I can in all honesty tell you there are special instrumets - that no matter what my hands created - one out of 30 would be truly special as if touched from above.  I would finish assemble the guitar and it was immedialy apparent it was “the one” - its hard to explain - just think of how many small minor tolerances can shift any part of a guitar from scratch - even when you’ve heavily fixtured everything. Then there’s the one guitar that magically comes together and needs almost no adjustment - it immediatly feels differnet and it sounds different. I don’t care if you are a custom boutique builder or a mass producer that uses CNCs for everything - somewhere in a batch of a few or run of many there will be “the one”.  Don’t spend allot of time tweaking a lemon - go play dozens of Strats and you will find that special one. I would always set aside the “special ones” and gave as a gift to my favorite clients - they knew the minute they picked it up that it had a life of its own.

    posted on January 11, 2013 at 12:51 pm
  6. Randall Ayers says:

    As far as pick up height is concerned so players love the characteristic quack produced by a Strat. to adjust this try lowering the middle or front PU to different heights, it’s having a different adjustments on the pickups that accentuate this. Makes a strat sound more straty?Or visa versa?

    posted on January 11, 2013 at 3:45 pm
  7. Fsdjff says:
    posted on January 11, 2013 at 6:44 pm
  8. laurens says:

    Again a great article PGS!

    Just one thing: a modern day Fender part is not identical to a vintage part. For example: pickups. Back in the day these were handwound with scattered windings. Regular Fender pickups don’t have this anymore. This is one of those parts that gives an old strat that typical pickresponse.

    Another great mod is changing your saddles. The old fender saddles where made from much softer material than the newer ones. The old saddles had a dampening effect on the icepick frequencies even noticable when played acoustically. Raw vintage has identical material for their saddles, but the graphite ones kinda sound the same.

    Just my 2ct, see what you like and how far you are willing to go, ‘cause if you don’t here a difference, you shouldn’t pay for it…

    posted on January 11, 2013 at 10:36 pm
  9. Tyler says:

    as far as tone goes, lets not forget there is one variable we cannot control… the very wood the guitar is built from.  If you try several of the same model guitar, regardless of who makes it and what model, there will be differences in tone (sometimes drastic differences) even though all the guitars are supposedly equal.

    So the quest for a perfect strat starts LONG before doing setups and mods - if you’ve taken the time to seek out the guitar that you feel is the best of the batch available to you, then you will be that much closer to ultimate strat tone. 

    My strat is on the heavier side (something I’ve read in other articles is not considered ideal generally speaking) and I find it’s got a deeper, more full sound while the lighter guitars of the same model were too twangy sounding for my liking…make no mistake, this guitar still sounds like a strat should sound, but the more dense wood used for my guitar seems to give it a fatter, warmer tone in my opinion.

    So take the time to find the individual guitar that sounds best to you out of the strats for sale in your area… you might find that you’re perfectly happy with that strat with it kept stock, or at the very least, you may have less mods to make in order to get that guitar to be your dream strat.

    I initially looking for either an American Deluxe Strat, a Clapton model or a Jeff Beck strat… I ended up with the American Deluxe because I prefered the feel of the neck and it had most of the features I wanted already there as a stock instrument… tried several examples and found my favorite one.

    posted on January 11, 2013 at 11:44 pm
  10. jerry says:

    Ok Blain Enough about you. Relax Breath.

    posted on January 12, 2013 at 12:33 am
  11. Anjan Ray says:

    Keeping the body without any paint or any coating at all makes the wood lose its liquid content which is trapped inside. As it dries the color of the wood changes to a darker shade and the tone changes for the better. I have made two bodies out of mahogany and had been closely watching the transformation for the last 6 to 8 years.
    Once the wood is coated with multiple layers of paint or any coating , it would stop releasing it’s juice which halts the drying process.

    posted on January 12, 2013 at 12:44 am
  12. Jim Murdoch says:

    For those watching this thread with interest, the comment above from “fsdjff” with the comment : 
    levitra super force… is a crock.

    I followed the link, just in case it was for some wonderful oil for making your Strat super slick, and buffed up,..

    This dickhead has spammed us with an advert for a Viagra clone,... not only that,... the incompetent twat has linked it to a failed web-page,... Seems to me like he should push this stuff up his pointless ass, maybe he’ll get some real value from it up there…
    (Sorry for spewing my “angry” all over a great article, but these guys annoy the hell out of me)  ...
    Thanks all…

    posted on January 12, 2013 at 1:05 am
  13. Tyler says:

    Keep in mind also, by removing the finish the opposite can happen if you aren’t careful about the conditions you store your guitar in. 

    The finish might seal in any moisture the wood still holds, but it also prevents it from soaking up moisture.  My Gibson SG Special Faded has only a stain and a very thin coating (if any) of Nitrocelulose.  I find this guitar tends to be more affected by changes in humidity compared to my Strat and my Les Paul…Even my hollowbody Gretsch seems to be less affected by the humidity of the air than my SG. 

    Don’t get me wrong, my SG sounds awesome, but if not stored properly a guitar with little or no finish can soak up moisture just as easily as it can release it.  I live in an area where humidity changes drastically between winter and summer and despite my best efforts to keep a consistent humidity level in my home, the SG needs more attention when it comes to making setup changes to compensate for seasonal humidity changes than any of my other guitars.

    posted on January 12, 2013 at 1:11 am
  14. blaine says:

    @jerry - sorry don’t mean to be verbose - just trying to share from experience. Not selling anything here - and relaxing is over - hitting the road for the most part of the year.  Should be good for you - no Blaine comments for awhile.

    posted on January 12, 2013 at 1:43 am
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  23. David Wellman says:

    Pickup height is not a “one-size-fits-all” concept. Single coil pickups with magnetized pole pieces cannot be as close as those that use a bar-magnet UNDER the pole pieces. Similarly, Active pickups (E.M.G., Reflex, etc) often have weaker magnets that do NOT affect the string vibration (which creates “Stratitis”.. also known as “wolf-tones”  when pole pieces are too close)
    Also, this article did NOT discuss the concept of “strobe-tuning”., or the effect of differing fingerboard radii, technique, and string-guage on “action”.

    posted on January 15, 2013 at 4:12 am
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  26. Stratman51 says:

    Blaine, Excellent comments! Thanks for sharing your *experience* which is worth a ton more than someone’s off-the-cuff remarks.
    Will someone at Proguitarshop,com please clean up these stupid links to viagra (or whatever)?  And maybe block this knucklehead’s ISP address from further posts. I’m with Murdoch.

    posted on January 15, 2013 at 9:12 am
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  28. Ken says:

    Very interesting article and being a Strat owner and player of many.. many.. years I’ll just pop in my 2 bobs (or cents if you’re American) worth.

    I totally agree with Blaine on this. You can tweak and fiddle and make minor changes that realistically only you will know about because you did them. New pick ups.. sure, but then you are reworking the voice of your guitar. I did precisely what Blaine suggested and I travelled far and wide playing Strat after Strat in many music shops here in Melbourne Australia. After more than 20 guitars I actually found “THE ONE”. The instant I picked it up and played it… even before actually plugging it in.. I knew. It’s a Custom Shop Stratocaster, translucent white with tortoise shell pick guard, highly figured rock maple neck and a sound and feel to die for, brand new and I have done nothing to it.. same Texas Special pickups, same everything. 15 years on, I still love to play it and gig regularly… and now looking at re-fretting it… a whole other world of anxiety I gotta say, but that’s a whole other story.

    Rock on everyone.

    posted on January 16, 2013 at 3:58 pm
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