Main Description

Plate for Fender® Stratocaster® with Locking Tremolo

Officially, “The Stratocaster® with a Locking Tremolo” only really started to pitch up around 1984, during the time when Fender® were trying to tap into the “metal” market, and they were pretty rare, and very on/off in production (because, strictly speaking, only Fender® can make a Stratocaster®, right?) but unofficially, the idea of a “proper Super Strat®”, whilst it probably doesn’t pre-date the Fender® offerings by long, has been an almost ever present throughout the last few decades of guitar history.

It’s a simple concept – it just looks a little bit alien when you port it onto a bog standard Strat® - but, basically, it’s a guitar that’s been routed to take a locking trem, and as such, the pickguard needs to be routed in the same way (locking trems being slightly larger then normal ones) – and that’s what we’ve got here – standard pickguard for a Stratocaster® but with a deeper/wider cut out to take that bigger trem footprint.

Its worth noting too, that a lot of the time, these guitars/plates are called “Floyd Rose® Strat®” – and whilst that’s sort of true, it’s a little bit of a misnomer – Floyd rose® are a company that make locking tremolos, and its sort of become to go-to name to cover the whole selection – but in reality, theres a whole host of companies making them - so, worth remembering that you do see some variation in the things.

Now – this product listing is a bit of a departure from the norm for us – but its bordering on custom plates at this point, so why now.

Rather then having 3 listing (at least!) for the pickup configurations, whilst the external dimensions all remain the same – we figured it’d be easy to just build all the options into the one listing, so theres a little drop down in the options for SCSCSC, HBSCSC and HBHB variants – make sure you pick the one you need eh?

Beyond that, all as you expect really – it’s a Pickguard for a strat that’s been fitted with a locking trem, you can have it in 3 possible pickup routes (more might turn up down the line, depending on how they go) – and yeah, check the specs to make sure it’ll fit your guitar – easy!

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

A Closer Look and what to look out for

Why Can/Cant I move pot holes?

Right then - this has been in the offing for a while now, so probably worth explaining whats going on with the pot hole options!

We're, slowly but surely, switching all of our pickguard stock over to "No pot" versions - and that means we can drill them out to order - so if your in the mood for switching over to master tone, master volume? Just Volume? No holes? Or just moving the volume pot out of the way so you dont keep hitting the thing? You can - its an easy job, so its all done at no extra cost, and it gets you dangerously close to custom pickguards without the supidly long lead times and eye watering costs!

What is Pickguard Style/Mount?
Rather then having multiple product listings on the site to cover "minor" variations within pickguards (especially in the more specialist stuff!) - we're just building them in as options within single products - so with common plates, like an Modern Strat? You can pick between left and right handed versions - more niche stuff? Like the Locking Trem plate - thats got loads more options in there, right down to pickup options (HBSCSC, SCSCSC and HBSCHB) - just keeps the site looking tidy, even if it does hide a few of the options a little deeper. Easier to dig deeper then have to trawl through 10 pages of completely irrelivent plates though!

Hole Postitioning

This is, despite my best efforts - dull as dish water! I'm describing the space between holes here, so dont expect anything life changing - but, worth having the details, and i'll try and include a few little tit-bits to watch out for. Just remember, that the holes are drilled out to 10mm, so they'll take Alpha, CTS and Bournes pots.

And in closing - Pickguards, once drilled away from the standard hole plan, come under the remit of Custom work and as always, if you've got any questions what so ever, please feel free to get in touch with us and we can talk through all the finer details of your proposed build.

Returns and Refunds?

Because these plates are, essentially, custom built due to the pot hole positioning being variable - they come under the remit of Custom work as laid out in our terms and conditions.

Once the plates are drilled, that means they're no longer returnable or refundable - so please, check and double check EVERYTHING - there are dimension diagrams under the tech spec tab, all of the colours are detailed under the "White/Tortoise/Pearl explained" tabs - there isn't much more we can do to detail what these plates are, and what they will fit.

Tortoise Shell Explained

You’ve probably noticed with the pickguards, we do A LOT of different variations in tortoise shells – and even then, we barely scratch the surface when it comes to completing the line-up.

Basically, Tortoise shell, originally, way back when, when it first started (long before the electric guitar was a thing) was just that – pieces of a tortoises shell, fixed together into a shape, and polished until semi-transparent (some of the early acoustic pickguards were actually made this way)

Now, obviously, none of us want to see a return to those practises, but seemingly, everyone liked “the look” – so with the advent of plastic in the early part of the 20th century, science found a cheaper way (it wasn’t until the seventies when trade in hawksbill turtle (the main source of Tortoise shell) shells became illegal!)

The first “plastic” Tortoise Shells were made from Nitrate plastics, usually Celluloid – and, frankly, it’s pretty gorgeous! Its semi-transparent, it’s got a sort of leopard skin look to it, and it soon worked its way onto guitars (again, most acoustics)

The problem is – Celluloid plastics are astonishingly flammable – they have a low point of combustion, and once they’re burning, they don’t go out until the fuels gone, or they flame is deprived of oxygen. As you can imagine, no one really liked working with Celluloid. It was risky to use (cutting = friction = heat) it was dangerous to store, and it wasn’t really suitable for the job at hand ( it changed colour when exposed to sunlight, it warped, it shrank, it was generally, pretty badly behaved!)
Never the less, it did eventually find its way onto electric guitars by the late 50s and early 60s, but was soon replaced for something more suitable and much safer.

Nowadays, you see Tortoise shells in either Polyoxymethylene (more stable as a material, but still very flammable) or PVC (which is fairly bomb proof, but does give off toxic fumes if burnt)

Now, getting to the modern day – Tortoise shell comes in 5 “variants” for us (ignoring the Celluloid offerings, they’re still out there, and great for historical accuracy, but just be VERY careful with them – not only in buying them/storing your guitar once its fitted, but also in actually sourcing the stuff, we’ve yet to find a factory who will even consider making a plate with it (too big a fire risk) and even when we do, its very cost prohibitive (more expensive to buy the things then we could ever dream of selling them for!) – there are guys out there making them though – but as a rough guide, expect to pay upwards of £150+)

Pearls Explained

Pearloid plates are similar to the tortoise shells, but theres a little less subtly between them, and they dont really have anything overly interesting in their history - as far as i can tell, they're always been PVC, and the variations in colour and pattern are pretty easy to follow.

So lets take a closer look.

"Whites & Creams" Explained

Ok, even i'll conceed that this isn't the most thrilling of toics at this point, but there is actually plenty of confusion when it comes to the "off white" pickguard colours, so seeing as we're ticking off pearls and tortoise shell varients, we might as well address the parchments, mints and creams too.

So lets get stuck in