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Axesrus "Single Coil" Assembly - For Fender® Stratocaster®
Axesrus "Single Coil" Assembly for Stratocaster
 
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Main Description

What is an Assembly?

This is something I’ve been a little lax with over the years, because the photos were a little self explanatory, but because we’re putting out more and more information on the products nowadays, it’s a nice opportunity to actually explain what an Assembly is.

In short, its all of the electronics, all wired up and working, mounted onto a pickguard, and ready to drop into a guitar. It’s a VERY easy way to completely overhaul your guitar, without having to do an awful lot of soldering, or, frankly, really understanding what’s going on.

And that’s about it really – the pickups are complete pickups, they’re wired to the switch, which is then wired into the volume and tone pots, all the had works been done, and its just a case of dropping it into a guitar, getting some strings over it, and getting back to playing!

Now, with our assemblies, we cut no corners. Its CTS pots throughout, Cornell Dubilier caps, Oak Grigsby Switch, 22 AWG cloth covered wire and a Switchcraft mono socket.

We don’t connect the mono socket to the assemblies, but this is because on 99% of guitars, you’d only have to remove it to thread the wires through a hole into the sockets cavity, and, we obviously cant connect the ground wire to your bridge/trem claw to earth the strings.

so, whilst no completely solder free, what soldering you do need to do, is pretty minimal (and we’ll even throw in a little solder and heat shrink to do the job – purely to save you any extra expense)

You will need a soldering iron I’m afraid, that’s unavoidable, because of the way most guitars are designed, but beyond that? It’s a dream job installing assemblies frankly. Very little to go wrong, very little to actually learn, and it opens the door to making a huge modification to your instrument.

The Pickups

Late 60s - A timeless formula

Our Late 60s single coils are one of those pickups that are based on such a wide range of pickups, that, really, they could have been called the mid 60s, the 70s, most of the 80s and 90s – this spec was the “final” formula that answered all the questions the Stratocaster could ask.

Snapping, bright, raking, capable of playing cleaner then clean, crisper then crisp, but mainly, incredibly adept when driven, even at relatively high levels of gain! 60s Strats could do it all.

Wound using 42 AWG Plain enamel wire, wrapped drum tight around 3/16” Alnico 5 poles, the evolution of what would become “THE” Stratocaster pickup is actually driven a little more by cost cutting and stream lining then any sort of drive for tonal magic, but… whatever the root of the design, if worked, and with that in mind? Lets dig a little deeper.

Not quite Late 60s

So, right off the bat, we call these pickup the “Late” 60s, and that’s a little bit of an over simplification, purely because the original design started to appear in 1963, when Fender, in an effort to streamline production, changed from the wire they were using from 42 AWG Formvar (the bright orange, heavy build wire used on our late 50s singles) to the wire they’d been using to make Telecaster® pickups, 42 AWG, single build Plain enamel.

Some argue it was driven by cost, which would make sense (factoring in any quantity discount that may have existed on the wire, and the labour costs of swapping between wires etc) some argue that it was driven by a desire to decrease the failure rate of pickups (a 6K pickup wound with 42 Formvar is FULL thanks to that heavy build insulation taking up a lot of space – and the fuller you make a frame, the more likely it is that the coil will break!) some argue that it was driven by the never ending quest for tone (which I doubt, purely because VERY little in guitars is driven forward by “tone”, its cost first, sound second!)

Whatever the driving force behind the change, in 1963/64, we see the first plain enamel single coils turning up! Little brownie purplish coils.

And that highlighted a little flaw with the design (one which had been evident on the Telecaster® but never addressed!) – winding this brown wire onto a frame built with black fibre boards, was quite tricky! It was actually difficult to see the start and ends of the coils during termination, so, in 1965, we see Fender® switching over to grey fibre boards on the bottom of the frames (The Telecaster® and Jaguar® had the same treatment, whilst most other pickups changed both top and bottom boards to grey)

And that’s what were working with here – Grey base, Black top, Plain enamel wire – so, even though, electrically, a 1963 single coil is the same as a 1965, the boar colours differ. Nothing that really matters, but considering everything else about this build is historic, we might as well split hairs eh? (and Late 60s sounds miles catchier then “mid 60s” right?)

Tonal change
So, with that change from Heavy build, Formvar insulation to Single build plain enamel, the sound of the pickups changed ever so slightly. Strats became more “defined”, more “focused”, whilst not, strictly speaking, brighter, you’d be forgiven for perceiving them that way! They’d trimmed down a little bit of that “flab” that was present in the late 50s pickups, and honed the pickup into a razors edge.

Now, by modern standards, where we look upon the 1950s with some pretty hefty rose-tinted glasses, that seems like a terrible idea (idea is maybe the wrong word, because, remember, cost before tone!) – but at the time? It was timed to absolute perfection!

Guitar music had changed dramatically by 1965 – and it was being forced to, by the other component in the circuit we don’t really talk about – amplifiers!

In the early 60s, amplifiers “changed” – we see a big shift from relatively small amps designed to be played clean, to 100 watt amps designed to be pushed, and pushed hard.

Now, remember, this all happened by pure chance! Fender didn’t invent a more biting, snappy, defined pickup because amps were pencilled in for a big change, and Marshall didn’t design the JMT45 aiming to get the best out of a new pickup Fender were working on! It was just a perfect storm that worked, and it came together to make a genre of music that hasn’t ever really gone away! Rock! Pure, unadulterated, blistering, biting, aggressive, rock music!

Now, to understand why it works, we have to consider whats happening to a guitar signal when its hitting a “big” amp (or, even a small amp that’s being pushed to max volume) – so, I’ll keep this short and sweet, but, basically – the harder you push a valve amp (purely in terms of volume) the more likely it is to produce a square wave signal (clipping), and that signal is, by its very nature, causing compression. The transients between the bass frequencies and the treble, are shortened.

And in these situations? The best sounding guitars, are the ones that naturally have an absolute bucket load of definition, producing very little bass, and an insane amount of top of “ping”, because once its under compression at volume, once the wave form has been shortened to the point of clipping, you retain “most” of the character.

In simple terms, a late 50s Strat, didn’t benefit from being overly compressed/clipping because it was producing more bass and lacked a little of the definition in its highs, but the late 60s? Absolutely loved it.

The problem, however, is that you cant have your cake and eat it – a late 60s Strat® (and any pickup based off of it) is going to go great guns under gain (or fuzz, the overdrive of the day!) BUT its maybe not the best pickup for “warm and luxurious” cleans.

Now, don’t get me wrong, there hasn’t been a Stratocaster® invented that couldn’t clean up with the best of them – it’s a country instrument at heart, and the relatively minor changes made between 1954 and 1964 don’t really change that, but its worth bearing in mind that, in 1965? You weren’t hearing a lot of clean from a Strat®, so that slightly more brittle, snapping, dare I say, anaemic single coil tone, whilst perfectly usable, might be a little alien.

When you say “70s/80s/90s”… really?
Honestly, once Fender® had settled on the idea, and after a bit of teething problems with the board colours? They didn’t really change the design AT ALL until the 90s! It worked! (about the only thing that did change, was the hookup wire, changing from cloth covered wire to a plastic coated wire (cost over tone remember?!) – pretty much every Strat® produced, from 1963 until this morning, will have a pickup installed that’s 5.8-5.9K, plain enamel wire, with 3/16” Alnico 5 magnets. The grey boards disappear in the late 70s (because of the maligned X1 pickup turning up) but, on the whole? Yeah! The Late 60s design hasn’t ever really gone away!

There are exceptions, and that spec is unheard of on far eastern produced guitars, with an insistence on using 0.06mm wire rather then 42 AWG (and remember, not all American made guitars have American made pickups!) and there are times when preformed ABS bobbins are used rather then fibre boards to make the frames, and we’ve got account for “signature” models and vintage re-issues, but I’m not exaggerating when I say these are the exceptions. The “standard” remains, electrically, something very similar to the Late 60s.

How to use the late 60s

For me, these are a pickup that sound best when your playing them like you stole them! Hard, fast, aggressive, pushing the amp to the point of break up, and getting the guitar under as much compression as your comfortable with! They are an absolute dream in that regard.

Personally, I find them a little sterile and “over bright” when being played “cleaner then clean”, maybe that’s your thing, but if I was looking for that, I’d be seriously considering a 50s spec pickup myself, just to bump up the warmth a little – let the pickup give you a touch more compression because your amp isn’t.

So, bigger blues, big rock, blues rock… guitar music. If you’ve heard a Fender ®Stratocaster®, chances are, you’ve heard a pickup that was near identical to the Late 60s. They’ll do it all… but they wouldn’t be my first choice for cleans! I think that about sums it up eh?

Late 50s - Come and ride the tone!

The Late 50s single coils are one of a new range of pickups we're winding, along with the Late 60s, which aim to accurately re-create the pickup from certain notable points from the electric guitars history.

What you're looking at here is a pretty cool design, and one that really captured players imaginations right from the very off, because of some interesting little design ideas that weren't really seen before or since.

The most striking feature on offer here, is the actual height of the bobbins being used - slightly squater then most other single coils, the late 50s are wound up to a fairly weighty 5.8 Kohms in neck, middle and bridge positions, and whilst it might not seem the most suited of winds to give a beautifully warm, rounded tone, the way the coils lay really does give some fantastic results.

Tonally, the pickups are actually much warmer then you'd maybe expect too, a nice tight bottom end, a very chimy, bell like upper register, and a fair pressence in the mid range mean they're actually pretty far removed from some of the razor sharp 50s style pickups we've tried in the past. Think very early Rock & Roll - that sort of fairly thick, textured tone, capable of being delivered over a fairly broad spectrum of gain settings. Very biting, very throaty in the bridge, mellowing to a creamy, also chewy, marshmellowy warmth in the neck positon.

The magnets are, as you'd expect, an Alnico V, heavy bevel as standard to really focus the field of influence, and retain a little more "snap" in the EQ - obviously, all parts of a pickup work in combination to produce the overall tone, but for us, a heavy bevel on an Alnico 5 pole really does help bring out a healthy dose of pick attack, and in turn that goes a long way to really eccenuate your playing.
And keeping firmly with that 50s theme, we've wound these up with 42 AWG heavy build formvar, all by hand, here at Axesrus in the UK, all fed by hand, and wax potted in a 50/50 blend of parafin and bees wax.

Beyond that, its business as usual really - everything is pretty much customisable, huge range of colours on the covers, you can get them built up in right handed, left handed or non staggered, you can pick up a set with a RWRP middle or not, you can buy each pickup individually if you want to mix and match them with different pickups, and if you REALLY know your stuff, you can even stipulate the wind direction and polairy - all you'll ever need to get exactly what you want!

Strings Ransom

With the Strings Ransom single coil, we set out to make a pickup that’s primary purpose was as a “companion” for Alnico 2 Humbuckers – Pickups like our Bourbon City, The Mucky Puppy and the Knee Jerks – fantastic pickups, but very difficult to balance out with in a Fat Strat® - Alnico 2s generally lend so much mid-range to humbucker that single coils will sound incredibly brittle and scooped by comparison (doubly so in the same guitar, with the same amp on the same settings!)

So the strings Ransoms were originally conceived to give anyone using a Hum/Sing/Sing some real balance in their pickups voicing by using those all-important Alnico 2 poles – and, in fairness to them – they do that brilliantly! They’re full and rich in the mid-range, they’ll take similar levels of gain to an Alnico 2 bucker, and when they break up, they’ve got that rich, chewiness to them that means it really works.

However (and this came as a bit of a surprise to us too) – they’re an absolutely fantastic pickup in their own right! The tones capable from this little rascal when stuck in the bridge are absolutely amazing! There’s a classic Strat® rock vibe to them that’s to die for – real plug and play stuff, and you’re not dealing with huge amounts of output, so they’re actually very well behaved when it comes to string noise and hum.

Texas Blues - The Malice from Dallas

Our Texas Blues have been on the go for what feels like decades at this point, and, frankly, they've come a long way– originally part of the “cheap and cheerful” range of pickups we designed and had produced in the far east back in the dark old days, they survived, thrived and evolved into their current, hand wound, high spec incarnation you see today, and they’re doing what they do better then ever in my opinion.

Hotter, grittier, capable of being driven harder without becoming too brittle or loose, very much a classic Strat® tone, but with a more muscular feel, a throatiness and capability that really lends itself to that “play it like you stole it” attitude that makes a Strat® a Strat®! Absolutely ideal if you’re going at the harder end of Blues really! Hot Amps, tube screamers, fast, heavy picking, raking strings and breaking hearts, these things will lap it up without ever leaving you feeling under gunned.

Where does the idea come from?

So, on the face of it – the Texas blues just look like another one of those “modernized 1960s” pickups, and, honestly? Yeah – they kind of are – but there are a few little considerations built into that idea that, for me, inches them just outside of that rather broad category of “we’ve put more wire on a 60s!”, and into something a little more unique, so lets get into it.

Straight off the bat, this is a “matched set” of single coils – which means your getting a “specific bridge” pickup, which, as you’d expect, is a wound that little hotter and behaves little more aggressively then the neck and bridge, purely in an attempt to “beef up” the often acerbic pos 1/bridge position that has plagued the Stratocaster® since day one – its certainly not a unique idea to the Texas blues, and has been common place since this “style” of pickups came into being in the 1990s.

And when I say “this style”, and as I mentioned earlier, when we boil it down, what we’re dealing with here, are an evolution on the sixties spec used on single coils from 1964 right up 1983 (exclusively at least, the actual spec survives as “the norm” on most guitar to this very day!)

So, when we say “a modernized 60s pickup” – what we actually mean, is a single coil, wound with 42 AWG Plain enamel wire, on Alnico 5 rod magnet, generally with a little more wire on there to take them past the 5.8K you’d see on a “proper 60s” – not exactly revolutionary thinking really, but it did throw fuel on the fire of “resistance is everything!!” that was everywhere in the 90s and 2000s.

As these hotter 60s specs became a little more refined, we see the idea being fine tuned a little, and leaning heavily on the much maligned Fender® X1 “lets make a hot bridge pickup!” and the bridge pickups just start creeping up in resistance a little more and a little more, until we end up on “the spec” – and its common as muck – you go on any pickup winders page, you’ll find them making a set of single coils, with Alnico 5s, it’ll have a 6.0-6.2K neck and middle, and it’ll have a 6.5-6.7K bridge pickup – it’s a good spec frankly, and I wont call anyone for riding on its coat tails! (I’d maybe gripe that we could all come up with better names then “southern US State” Blues Pickup – but hey, we’re as guilty of that as the next man!) Some get it right, some get it wrong, but on the whole? It’s a nice refinement of the single coil idea, and it’ll cover a hell of a lot of ground! Musically, its more then capable of doing Rock, Blues, anything 60s, 70s, 80s, it’ll do a pretty decent swing at 50s frankly… If I could have one single coil for the rest of time? It’d be a modernized 60s pickup.

However, personally, I don’t think it gives quite enough of a difference to a “normal” 60s pickup to really justify its existence frankly – if you take a pickup from 1965, and shoe horn another 500 winds of 42 AWG on there… sure it’ll be a bit pokier, but its still going to have a that “60s” character!

So, with the Texas Blues, we changed something else – rather then slavishly sticking to the traditional 3/16” poles on the sixties spec, we swapped over to 5mm poles!

Now, this means the pickup has a higher inductance in comparison, because it contains more iron within the coil, and with an increase in inductance, not only do we get more “power” but also a much increased “darkening” of the pickup, with the resonant peak coming down, and bringing that characteristic single coil “ice pick” snap down just enough to be perceived as a more rasping, raucous snarl then the traditional “ping” – and I think that’s exactly what your looking for with a pickup like this – not just a 60s pickup “but more”, but a pickup that’s more aggressive, more capable, more composed, without losing that characteristic single coil-ness!

And that, for me, sums up toe Texas blues absolutely perfectly for me. It’s a Strat®, but it drives better!

TB754S

We've always had a thing for doing pickups a little bit differently over the years - lets be honest, if you want a historic recreation, or something quintessentially Fender® or Gibson® flavoured - there’s already a million and one pickup companies making something that'll tick the boxes - and whilst its true to say we do the traditional, and we do them very well, its not really where our heart lies.

And nothing sums up that ethos any better then the TB754S single coils!

Wound up HOT (the bridge coming in at a blistering 7.2K!) but using traditional 42 AWG plain enamel, all with an aim of giving you more heat, more spank and bite, but retaining all of that head room and inherent single coil tone you can only get with 42 AWG! (not into head room? Want compression and bite? Check out the Yorkshire jacks – the evil twin to the TB745)

Using Alnico 4 magnets to mute a little of the top end you’re going to get with an over wound coil, smoothing out a few of thouse piercing highs thanks to its slightly weaker pull – all in all, If you like a single coil but always wanted it to be a bit more lively, then these are the pickups for you.

A Closer Look — And What to Look Out For

Difference between modern and 50s switch on a Strat

Mounting Holes

1954–57 (early vintage / 8-hole system)
Early Stratocaster® pickguards used an 8-hole mounting pattern. These are most commonly found on vintage reissues and represent the earliest production specification before the layout was refined.

Structurally, this design is the least stable of the Strat® family. With fewer mounting points and a tendency toward thinner 1-ply material, these plates are more prone to warping over time, particularly “environmental” movement.

Important note on overlap (reissue era production)
It is worth noting that Fender® began producing reissue-style instruments during the late 1970s and early 1980s, sometimes without explicit distinction in marketing.

As a result, 54–57, 58–62, and 63–70 spec pickguards can appear across 1971–82 instruments, depending on production line and intended specification.

This overlap is further complicated by Fender’s production shift in 1980, when US manufacturing was temporarily reduced and Japanese production increased significantly. Early Japanese-made instruments in particular often mixed specifications, leading to inconsistent pickguard conventions throughout the 1980s and into the early 1990s.

Fender Strat Switch slot with and without countersunk holes

Pickup and Switch Bolts

1954–57
Across all Stratocaster® production from 1954 through to 1982, the switch and single-coil pickup mounting system remained consistent.
All Stratocaster® pickguards in this period were designed to accept countersunk (or oval head) #6 machine screws, used for both pickup and switch mounting points.
This is one of the defining mechanical constants of vintage Strat® construction — regardless of era-specific changes to mounting patterns, pickup spacing, or neck pocket geometry, the hardware interface for pickups and switch assemblies remained countersunk throughout this entire period.

A notable design quirk
One interesting detail in the original Fender® design is that pickup mounting hole spacing in the pickups themselves is slightly narrower than the corresponding spacing in the pickguard.
As a result, when mounted, the countersunk screws typically sit at a slight angle rather than perfectly flush within the pickguard holes.
This creates a small but consistent misalignment that has existed since early production. Whether this was intentional or simply a manufacturing tolerance issue is unclear, but it remains a characteristic feature of vintage-spec Strat® construction.

 

Humbucker and non–single coil configurations
Historically, Stratocaster® models were produced almost exclusively with three single-coil pickups until the mid-to-late 1980s. As a result, vintage-era pickguard specifications are primarily defined around single-coil mounting conventions.
In the context of the pickguard customiser, this distinction matters as follows:

  • 54–82 vintage-spec pickguards
    → Switch and single-coil mounting points use countersunk #6 hardware

This is intentional, reflecting real-world pickup construction standards: while Fender® used countersunk mounting for Strat® single coils and switches during the vintage era, most other pickup types have always relied on dome head or surface-mounted hardware.

Historic Truss Rod Notch on Fender Stratocaster

Truss Rod Access

 

1954–57 (early vintage / pre-notched specification)

Early 1950s Stratocaster® models pre-date the introduction of the truss rod access notch system.

Officially, these instruments require neck removal for truss rod adjustment, as the pickguard does not provide access to the heel-adjust mechanism.

In practical terms, however, this was rarely treated as a strict service procedure. Many instruments from this era show evidence of users manually modifying pickguards to create their own access relief, effectively “backdating” the later notch concept before it was standardised.

For this reason, our 1954–57 specification includes a functional access notch, reflecting the way these instruments are commonly encountered in real-world condition, even if it is not strictly period-correct to original factory output.

thin, thick and 3 ply pickguards in profile

Edges

1954–57 (1-ply era / early Stratocaster® specification)

Early Stratocaster® pickguards from the 1950s were produced as single-ply (1-ply) sheets, always in white and typically around 1.8mm thickness.

This construction is historically accurate, but structurally fragile. Thin 1-ply material is highly susceptible to warping, cracking, and general distortion over time, particularly under changes in temperature and humidity.

For that reason, we do not currently offer thin 1-ply plates in the pickguard customiser. While they are historically correct, they are not well suited to long-term use.

Instead, we offer a reinforced 1-ply option (approx. 2.3mm thick), which preserves the original flat-face aesthetic and sharp 90-degree edge profile, while significantly improving stability and durability.

We also offer 1950s-spec plates in a range of colours for customers who prioritise aesthetics over strict historical accuracy.

 

Difference between modern and 50s switch on a Strat

Mounting Holes

1958–62 (transition era / early 11-hole development)
This period marks the transition away from the 8-hole layout toward the now-standard 11-hole mounting system, introduced to improve stability and reduce the warping issues seen in earlier plates.
Ironically, the majority of the layout remains unchanged — 10 of the 11 mounting positions match later 63–modern specifications exactly. The only variation is a single screw position on the upper half, between the neck and middle pickup, which shifts as the pattern is refined.
This era is best understood as a bridging specification between early vintage construction and the fully standardised system that follows.

Important note on overlap (reissue era production)
It is worth noting that Fender® began producing reissue-style instruments during the late 1970s and early 1980s, sometimes without explicit distinction in marketing.
As a result, 54–57, 58–62, and 63–70 spec pickguards can appear across 1971–82 instruments, depending on production line and intended specification.
This overlap is further complicated by Fender’s production shift in 1980, when US manufacturing was temporarily reduced and Japanese production increased significantly. Early Japanese-made instruments in particular often mixed specifications, leading to inconsistent pickguard conventions throughout the 1980s and into the early 1990s.

Fender Strat Switch slot with and without countersunk holes

Pickup and Switch Bolts

1958–62
Across all Stratocaster® production from 1954 through to 1982, the switch and single-coil pickup mounting system remained consistent.
All Stratocaster® pickguards in this period were designed to accept countersunk (or oval head) #6 machine screws, used for both pickup and switch mounting points.
This is one of the defining mechanical constants of vintage Strat® construction — regardless of era-specific changes to mounting patterns, pickup spacing, or neck pocket geometry, the hardware interface for pickups and switch assemblies remained countersunk throughout this entire period.

A notable design quirk
One interesting detail in the original Fender® design is that pickup mounting hole spacing in the pickups themselves is slightly narrower than the corresponding spacing in the pickguard.
As a result, when mounted, the countersunk screws typically sit at a slight angle rather than perfectly flush within the pickguard holes.
This creates a small but consistent misalignment that has existed since early production. Whether this was intentional or simply a manufacturing tolerance issue is unclear, but it remains a characteristic feature of vintage-spec Strat® construction.

Humbucker and non–single coil configurations
Historically, Stratocaster® models were produced almost exclusively with three single-coil pickups until the mid-to-late 1980s. As a result, vintage-era pickguard specifications are primarily defined around single-coil mounting conventions.
In the context of the pickguard customiser, this distinction matters as follows:

  • 54–82 vintage-spec pickguards
    → Switch and single-coil mounting points use countersunk #6 hardware
  • All non–single coil pickups (e.g. humbuckers, HSS, HSH layouts)
    → Use non-countersunk dome head mounting hardware by default, regardless of pickguard era

This is intentional, reflecting real-world pickup construction standards: while Fender® used countersunk mounting for Strat® single coils and switches during the vintage era, most other pickup types have always relied on dome head or surface-mounted hardware.

 

Historic Truss Rod Notch on Fender Stratocaster

Truss Rod Access

1958–62

Across 1958–1970 Stratocaster® production, instruments used a heel-adjust truss rod system, requiring access at the neck pocket end of the neck.

As a result, pickguards from this period feature a truss rod access notch (“half moon” cut-out) in the neck pocket area, allowing adjustment without removing the neck.

In practice, these notches vary slightly in shape and depth depending on production tolerances — ranging from shallow relief cuts to more pronounced semi-circular recesses.

It is also worth noting that this area is not highly delicate in real-world use. Due to the way the neck sits against the pickguard, truss rod adjustment often results in minor contact between tool and pickguard edge. As a result, wear, marking, or “chewing” of the notch area is extremely common on original vintage instruments, and should be considered normaland should generally be considered normal wear.

thin, thick and 3 ply pickguards in profile

Edges

1958-Current

From the late 1950s onward, Stratocaster® pickguards transitioned to multi-ply construction, most commonly 3-ply (or 4-ply in tortoiseshell variants).

This became the long-term industry standard and is used across all major Stratocaster® production eras through to the present day.

These pickguards are typically:

  • 2.3mm thickness
  • Finished with a 45-degree bevelled edge
  • Significantly more stable than early 1-ply designs

For customers who prefer a more vintage or stylistically bold look, we also offer 1-ply “thick” variants in later-era specifications. These are not historically period-correct for post-1950s instruments, but are included because they offer a clean, minimalist aesthetic that many builders prefer.

 

Difference between modern and 50s switch on a Strat

Mounting Holes

1963–70 (classic vintage specification / standardisation point)
By 1963, Fender® finalised what would become the long-term standard: the 11-hole mounting pattern used across all subsequent Stratocaster® designs.

The key change from earlier layouts is the finalisation of screw positioning, including the relocation of the upper horn screw between the neck and middle pickup to its now-familiar position.
This is also the last era in which Strat® pickguards typically include a truss rod access notch in the neck pocket area, reflecting the pre-bullet truss rod construction used at the time.

Important note on overlap (reissue era production)
It is worth noting that Fender® began producing reissue-style instruments during the late 1970s and early 1980s, sometimes without explicit distinction in marketing.
As a result, 54–57, 58–62, and 63–70 spec pickguards can appear across 1971–82 instruments, depending on production line and intended specification.
This overlap is further complicated by Fender’s production shift in 1980, when US manufacturing was temporarily reduced and Japanese production increased significantly. Early Japanese-made instruments in particular often mixed specifications, leading to inconsistent pickguard conventions throughout the 1980s and into the early 1990s.

Fender Strat Switch slot with and without countersunk holes

Pickup and Switch Bolts

1963–70
Across all Stratocaster® production from 1954 through to 1982, the switch and single-coil pickup mounting system remained consistent.
All Stratocaster® pickguards in this period were designed to accept countersunk (or oval head) #6 machine screws, used for both pickup and switch mounting points.
This is one of the defining mechanical constants of vintage Strat® construction — regardless of era-specific changes to mounting patterns, pickup spacing, or neck pocket geometry, the hardware interface for pickups and switch assemblies remained countersunk throughout this entire period.

A notable design quirk
One interesting detail in the original Fender® design is that pickup mounting hole spacing in the pickups themselves is slightly narrower than the corresponding spacing in the pickguard.
As a result, when mounted, the countersunk screws typically sit at a slight angle rather than perfectly flush within the pickguard holes.
This creates a small but consistent misalignment that has existed since early production. Whether this was intentional or simply a manufacturing tolerance issue is unclear, but it remains a characteristic feature of vintage-spec Strat® construction.

Humbucker and non–single coil configurations
Historically, Stratocaster® models were produced almost exclusively with three single-coil pickups until the mid-to-late 1980s. As a result, vintage-era pickguard specifications are primarily defined around single-coil mounting conventions.
In the context of the pickguard customiser, this distinction matters as follows:

  • 54–82 vintage-spec pickguards
    → Switch and single-coil mounting points use countersunk #6 hardware
  • All non–single coil pickups (e.g. humbuckers, HSS, HSH layouts)
    → Use non-countersunk dome head mounting hardware by default, regardless of pickguard era

This is intentional, reflecting real-world pickup construction standards: while Fender® used countersunk mounting for Strat® single coils and switches during the vintage era, most other pickup types have always relied on dome head or surface-mounted hardware.

 

Historic Truss Rod Notch on Fender Stratocaster

Truss Rod Access

1958–70

Across 1958–1970 Stratocaster® production, instruments used a heel-adjust truss rod system, requiring access at the neck pocket end of the neck.

As a result, pickguards from this period feature a truss rod access notch (“half moon” cut-out) in the neck pocket area, allowing adjustment without removing the neck.

In practice, these notches vary slightly in shape and depth depending on production tolerances — ranging from shallow relief cuts to more pronounced semi-circular recesses.

It is also worth noting that this area is not highly delicate in real-world use. Due to the way the neck sits against the pickguard, truss rod adjustment often results in minor contact between tool and pickguard edge. As a result, wear, marking, or “chewing” of the notch area is extremely common on original vintage instruments, and should be considered normaland should generally be considered normal wear.

thin, thick and 3 ply pickguards in profile

Edges

1958-Current (3-ply era / standard construction)

From the late 1950s onward, Stratocaster® pickguards transitioned to multi-ply construction, most commonly 3-ply (or 4-ply in tortoiseshell variants).

This became the long-term industry standard and is used across all major Stratocaster® production eras through to the present day.

These pickguards are typically:

  • 2.3mm thickness
  • Finished with a 45-degree bevelled edge
  • Significantly more stable than early 1-ply designs

For customers who prefer a more vintage or stylistically bold look, we also offer 1-ply “thick” variants in later-era specifications. These are not historically period-correct for post-1950s instruments, but are included because they offer a clean, minimalist aesthetic that many builders prefer.

 

Difference between modern and 50s switch on a Strat

Mounting Holes

1971–82 (CBS-era production refinements)
In functional terms, the ’71–82 pickguard is mechanically identical to the ’63–70 specification. The mounting pattern remains unchanged and fully interchangeable.
The primary difference is structural clearance: with the introduction of the bullet truss rod adjustment at the headstock, the traditional truss rod access notch in the neck pocket was no longer required and was removed from production specs.
This era also marks the end of widespread use of countersunk hardware on switch and pickup mounting points, as production methods began transitioning toward more modern assembly practices.

Important note on overlap (reissue era production)
It is worth noting that Fender® began producing reissue-style instruments during the late 1970s and early 1980s, sometimes without explicit distinction in marketing.
As a result, 54–57, 58–62, and 63–70 spec pickguards can appear across 1971–82 instruments, depending on production line and intended specification.
This overlap is further complicated by Fender’s production shift in 1980, when US manufacturing was temporarily reduced and Japanese production increased significantly. Early Japanese-made instruments in particular often mixed specifications, leading to inconsistent pickguard conventions throughout the 1980s and into the early 1990s.

 

Fender Strat Switch slot with and without countersunk holes

Pickup and Switch Bolts

1971–82
Across all Stratocaster® production from 1954 through to 1982, the switch and single-coil pickup mounting system remained consistent.
All Stratocaster® pickguards in this period were designed to accept countersunk (or oval head) #6 machine screws, used for both pickup and switch mounting points.
This is one of the defining mechanical constants of vintage Strat® construction — regardless of era-specific changes to mounting patterns, pickup spacing, or neck pocket geometry, the hardware interface for pickups and switch assemblies remained countersunk throughout this entire period.

A notable design quirk
One interesting detail in the original Fender® design is that pickup mounting hole spacing in the pickups themselves is slightly narrower than the corresponding spacing in the pickguard.
As a result, when mounted, the countersunk screws typically sit at a slight angle rather than perfectly flush within the pickguard holes.
This creates a small but consistent misalignment that has existed since early production. Whether this was intentional or simply a manufacturing tolerance issue is unclear, but it remains a characteristic feature of vintage-spec Strat® construction.

Humbucker and non–single coil configurations
Historically, Stratocaster® models were produced almost exclusively with three single-coil pickups until the mid-to-late 1980s. As a result, vintage-era pickguard specifications are primarily defined around single-coil mounting conventions.
In the context of the pickguard customiser, this distinction matters as follows:

  • All non–single coil pickups (e.g. humbuckers, HSS, HSH layouts)
    → Use non-countersunk dome head mounting hardware by default, regardless of pickguard era

This is intentional, reflecting real-world pickup construction standards: while Fender® used countersunk mounting for Strat® single coils and switches during the vintage era, most other pickup types have always relied on dome head or surface-mounted hardware.

A Selection of the different truss rod notches on Fender Stratocaster pickguards

Truss Rod Access

1971–83–Current

From 1971 onward, Fender® transitioned the Stratocaster® truss rod adjustment point from the neck heel to the headstock (bullet-style adjustment).

This change eliminated the need for a pickguard access notch entirely, and the feature was removed from standard production specifications.

As a result, all 1971–present Stratocaster® pickguards use a closed neck pocket profile, with no truss rod relief cut required.

This design has remained consistent through to modern production, and is only reintroduced on specific vintage reissue models where historical accuracy is required.

 

thin, thick and 3 ply pickguards in profile

Edges

1958-Current (3-ply era / standard construction)

From the late 1950s onward, Stratocaster® pickguards transitioned to multi-ply construction, most commonly 3-ply (or 4-ply in tortoiseshell variants).

This became the long-term industry standard and is used across all major Stratocaster® production eras through to the present day.

These pickguards are typically:

  • 2.3mm thickness
  • Finished with a 45-degree bevelled edge
  • Significantly more stable than early 1-ply designs

For customers who prefer a more vintage or stylistically bold look, we also offer 1-ply “thick” variants in later-era specifications. These are not historically period-correct for post-1950s instruments, but are included because they offer a clean, minimalist aesthetic that many builders prefer.

 

Difference between modern and 50s switch on a Strat

Mounting Holes

1983–Current (modern standard specification)
This is the current industry standard Stratocaster® pickguard layout, and is fully interchangeable with all 63–82 mounting systems.
In practical terms, the mounting geometry is identical to both the 63–70 and 71–82 specifications. The primary difference lies in hardware mounting and access rather than a change in the plates mounting screw layout.
Modern production typically uses non-countersunk switch and pickup mounting holes, reflecting the adoption of dome-head screw hardware across Fender® manufacturing.
For all intents and purposes, a 63-spec, 71-spec, and modern Strat® pickguard are functionally interchangeable in terms of mounting.

Fender Strat Switch slot with and without countersunk holes

Pickup and Switch Bolts

1983–Current (modern specification)
From 1983 onward, Fender® transitioned away from countersunk hardware for switch and pickup mounting.
Modern Stratocaster® pickguards instead use non-countersunk (dome head) screw mounting, reflecting a broader shift in manufacturing practices and hardware standardisation.
This change affects only the mounting hardware style — not the overall pickguard geometry — and modern plates remain fully compatible with earlier 11-hole mounting systems.

Humbucker and non–single coil configurations
Historically, Stratocaster® models were produced almost exclusively with three single-coil pickups until the mid-to-late 1980s. As a result, vintage-era pickguard specifications are primarily defined around single-coil mounting conventions.
In the context of the pickguard customiser, this distinction matters as follows:

  • All non–single coil pickups (e.g. humbuckers, HSS, HSH layouts)
    → Use non-countersunk dome head mounting hardware by default, regardless of pickguard era

This is intentional, reflecting real-world pickup construction standards: while Fender® used countersunk mounting for Strat® single coils and switches during the vintage era, most other pickup types have always relied on dome head or surface-mounted hardware.

A Selection of the different truss rod notches on Fender Stratocaster pickguards

Truss Rod Access

1983–Current (modern specification)

From 1971 onward, Fender® transitioned the Stratocaster® truss rod adjustment point from the neck heel to the headstock (bullet-style adjustment).

This change eliminated the need for a pickguard access notch entirely, and the feature was removed from standard production specifications.

As a result, all 1971–present Stratocaster® pickguards use a closed neck pocket profile, with no truss rod relief cut required.

This design has remained consistent through to modern production, and is only reintroduced on specific vintage reissue models where historical accuracy is required.

thin, thick and 3 ply pickguards in profile

Edges

1958-Current (3-ply era / standard construction)

From the late 1950s onward, Stratocaster® pickguards transitioned to multi-ply construction, most commonly 3-ply (or 4-ply in tortoiseshell variants).

This became the long-term industry standard and is used across all major Stratocaster® production eras through to the present day.

These pickguards are typically:

  • 2.3mm thickness
  • Finished with a 45-degree bevelled edge
  • Significantly more stable than early 1-ply designs

For customers who prefer a more vintage or stylistically bold look, we also offer 1-ply “thick” variants in later-era specifications. These are not historically period-correct for post-1950s instruments, but are included because they offer a clean, minimalist aesthetic that many builders prefer.

 

Fender®, Squier®, Stratocaster® and Strat® are registered trademarks of Fender Musical Instruments Corporation and Axesrus® has no affiliation with FMIC

.

Sound Clips
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Average Rating: Average Rating: 5 of 5 5 of 5 Total Reviews: 10 Write a review »

  5 of 5 people found the following review helpful:
 
5 of 5 Groovy Thursday, April 2, 2026
Reviewer: Pat Wilson from granadilla de abona, santa cruz de tenerife Spain  
I have an 89 jap fat strat squier m series.. over the years I altered the pickups finally settling with a neck split rails standard middle single coil and a diamondback humbucker at bridge through a coil splitter Over time I wanted a rocky sound but less harsh more bluesy...the class act was in my price range Axesrus supply sound bites so kinda knew what I'd end up with before I got it
Great workmanship and well finished simple enough to fit and set up...wow that and the new dbl pivot bridge from here also just amazing.
I'm still experimenting with sound and tone at moment through my pod xt live and mixer but it hits the spot even without adjustment.
I've got milder distortions/overdrives now and it carries it no probs..even my harsher distortions it never loses the tone I want...the cleans??? I get hairs standing up with them add a bit of chorus??? Its all the and more.
Not the dearest on offer from Axesrus us but it does what it says on the tin lol..I totally recommend it.

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  2 of 2 people found the following review helpful:
 
5 of 5 Amazing value for money Thursday, April 2, 2026
Reviewer: George from Northampton, United Kingdom  
I'm not normally the type to write reviews but I have to say I'm blown away by how good these pickups sound.

Had discussed my order with Craig before purchase and he was super helpful too, definitely recommend these pickups, wired very professionally and sound like a dream.

The only small thing I would say is that these don't include the screws you'd need to attach the pickguard to the guitar, this isn't a problem if you're replacing / upgrading a pickguard but something to consider if you're building from scratch. As I say, only a small thing and shouldn't put anyone off this product, you'll struggle to find better sounding pickups at this price point.

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  1 of 1 people found the following review helpful:
 
5 of 5 Great sound Thursday, April 2, 2026
Reviewer: Anonymous Person from ,  
I am a professional musician and I have had many strats over the years and some sounded better than others. THis is however about the best sound I have had from a strat, (even expensive models) and suits my style of playing.
The service provided was simply excellent. I even changed my mind regarding colours etc after placing the order and it was changed with just a phone call.
Arrived promptly and fitted easily. What more can you ask.
Thanks

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  5 of 5 people found the following review helpful:
 
5 of 5 Fantastic upgrade Thursday, April 2, 2026
Reviewer: Paul M from London  
Tortoise-shell pickguard loaded with Texas Blues pickups arrived this afternoon. Immediately replaced the original Lace Sensor pickups in my 1991 Fender Strat Plus Deluxe. Its a fantastic upgrade. It does what it says on the tin - SRV-style throaty blues tones with lovely warm harmonics, resonant lows and mids, and highs with more bite. Excellent!

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  6 of 6 people found the following review helpful:
 
5 of 5 Loaded pick guard assembly Thursday, April 2, 2026
Reviewer: Steve Mayes from Hampshire, UK  
Fits perfectly, sounds great, beautifully made, prompt delivery, well packaged parcel… what’s not to like? Recommended.

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