我自己蠻喜歡 Strat 兩個 Tone 的設計。因為使用 neck 與 middle 兩個 pickup 的時候，可以做出蠻多變化。 我習慣的用法是 comping 時用 neck 與 middle 兩個 pickup，tone 分別關到約 3~4 (neck)、2~3 (middle)；solo 時切換到 neck pickup 剛好差不多。
不過有些Fender Strat外觀上即使是五段鍘刀開關跟one volume two tone control，也不一定就是傳統的那種控制模式。像有的Strat靠近導線插孔的tone control是同時控制middle跟bridge的pickup。有的五段鍘刀開關靠近導線插孔的那一段，姑且稱作第五段，是把middle跟bridge的pickup串聯同時上線使用，以區別於傳統第四段middle跟bridge的 pickup並聯同時上線使用。關於tone control的模式可以輕易的用耳朵聽出來何者控制何者（但前提是你要先確定五段開關的操作模式）；然後關於五段鍘刀開關模式的判斷可能就沒有那麼直接的辦法（有人是用金屬物去敲擊magnet pole去聽反應，不建議這麼做），可能去Fender網站查會比較快（前提是你的Strat未停產或改版過），或是利用“調整pickup高低會造成音色變化“的特徵，來判斷哪一段是用哪個或哪些pickup。當然， 以上聽音辨位時請用類比amp的clean channel。 至於原來的問題，“三個pot“跟“兩個pot“我覺得各有所長，前者就是如Jeff所說音色變化相當豐富。不過後者（通常是一個master volume、一個master tone控制所有pickup)有操控一目了然、即時（彈奏中）控制方便迅速的好處，此外為了做電路室所挖掉的木頭“理論上“也可以少一點（這算不上好處或壞處，只是琴的共鳴特性會不一樣而已）。不過 大部份典型的Strat有個缺點是control layout的問題，如果是用SRV的大動作彈奏方式，五段開關的地理位置正好在一般人downstroke的下風處，刷下去很容易順便動到五段開關造成意外的音色變化。
請問Blash，並聯與串聯的tone 有何不同？ 我的strat 位於input jacket 上方的tone pot 只有切換於二至四段時有影響，在1,5段時沒有作用。 Volume pot 下方的tone pot 只有1,2(neck position) 段都有作用， 這好像與Jeff 的wiring 不太相同。哪一種是比較實用的wiring？ Thanks!
串聯的聲音通常會比並聯有力而亮一些，有興趣看電學上理由的話可以去www.guitarnuts.com看看，裡面也有一些電路圖（尤其站主也是個Fender guy）。至於你的琴也許是custom shop的Strat還是二手琴被前手改過的關係，聽你的形容似乎有兩種可能： 一、不經過開關跳線，直接把位於input jack上方的tone pot接到某顆pickup甲、把另一個tone pot直接接到pickup乙；這樣做的好處是開關會空出一個迴路，可以做出與眾不同的pickup組合，例如像是neck + bridge pickup。 二、或是用了特殊的五段開關（例如用接腳有十幾二十隻的多迴路開關）。 至於實不實用當然是看個人的需要，像之前提到那個“第五段是M+B in series“的變化，其實是很多人根本用不到傳統Strat第五段only bridge singlecoil那種本質通常乾乾禿禿的音色（除了人工泛音時往往不得不用它，因為node點剛好都不會在bridge pickup上空處），所以Fender才在某些款的琴上換個接法。我自己的Strat也基於個人需要把原來的volume pot換成push-pull pot（就是Fulldrive 2上有顆可以轉也可以推拉的旋鈕），除了旋轉時控制音量外，拉起來時是典型的Strat五段開關操作模式，按進去時除了“典型模式“所選到的拾音器組合外，再串聯進位在bridge的humbucker。這樣只要 @個用手掌按下去的動作，馬上就有飽滿又大聲的solo tone，非常好用。
BLASH 兄， PUSH-PUSH POT(是YAMAHA生產的)的確很棒的呢。小弟已將原有的LACE SENSOR接上PUSH-PUSH POT了，變成了第一及第三(LEAD) 組拾音器連在一起，產生了像JAZZ TONE的聲，很潤的呢。各位有興趣可試試看。
關於如何使 Strat 有更多、更實用的音色，大家可以參考下面這個文章。從 http://www.custom-sounds.com/GT_wiring.htm 偷來的： ------------ Getting More Tone out of Your Three Pickup Guitar This circuit was proposed after a discussion on why the Fender Stratocaster is wired so that you have tone controls for the neck and middle pick up only. The answer is probably that there was a need for guitarists to double as bass-players in the fifties, and that way you can go from bassist sound to the most trebly. These day's tone-controls are used in quite a different manner - if at all. The use of such a guitar at high volumes with distortion set different demands on the controls of the guitar than in the fifties. To get the highest volume out of a given pick up it would have to be positioned as close to the strings as possible. However a pick up with directed magnetic pole (south-pole or north-pole) will pull the string, creating a node, at the audible result of ghost tones with certain tones. With three pickups there would be three nodes and thus a multitude of ghost tones. Practice shows that with the pickups distributed in a staircase manner a tolerable balance can be found. The most popular choice has for many years been to have the bridge pick up the highest, but with the advent of certain artists preference has changed. The semi distorted tones of artists like the late Stevie Ray Vaughan and Duke Robillard and many more, have set a new use for the neck pick up, in particular, as main lead pick up. All choke based pickups will have a resonant frequency dependent on the inductance of the coil and capacitance created in the wiring. At resonance sensitivity will rise quite a bit, but only at light load, say a couple of Mega Ohms in parallel with a few hundred Pico Farads. The highest total load at which we still can detect the resonance is somewhere near 200Kohms in parallel with say 500pF. This is in the standard wiring only possible with the bridge pick up, and would equal only 4 meters of standard guitar cable coupled into an amplifier with an input impedance of 1Mohm in parallel with 100pF. One of the reasons why the neck pick up was chosen for leads is that it is less throne to feedback than the bridge pick up. Many have therefore requested better means of controlling feedback in the bridge as well as a bit more treble from the neck pick up and even a bit less bass. The latter would also help combating the hum problem with single coil pick ups. The circuit purposed will have the following benefits over the standard wiring: 1. Much lighter load to the neck pick up, making for a brighter, stronger tone. 2. About the same load for the bridge and middle pick ups but with a tone control to help combat feedback. 3. A Master Bass control for brightening the tone as well as lowering hum-sensitivity The values shown are chosen to work well into a load of 500Kohms - a very common load e.g. that of most buffered effects. They are also standard and the potentiometers can be had split shaft. Notice that the treble-cap value is different than the standard. This value have been decided upon empirically, after listening tests. Ceramic disk capacitors often have very poor tolerance, something like 80% +. So if you have no means of measuring the actual capacitance it is much easier to go with the close tolerance, plastic film types. Tips One easy way to make a good, solid ground and a clean layout is to use an aluminum sheet in the shape of the pick-guard. It may be held in place underneath the pick-guard by the controls and pick ups. Solid aluminum 0,5mm thick gives superior results as compared to aluminum tape. Strings should be grounded either directly or through a capacitor rated at least 500V. A good quality, low capacitance cable will aid in getting the most out of the circuit. ----------------------------- Bjorn Juhl / BJF Electronics