
Replacing key components—such as the pickups, string nut, and tuners—can turn a workhorse guitar into a killer axe!
Rather than spending a cool grand or two on a new Custom Shop or topline American Stratocaster, many guitarists opt to find a solid Mexican or Japanese Fender Strat and trick it out. Often my clients ask me how they can upgrade one of these instruments to make it gig-worthy. There are several ways to customize a budget Strat without spending a fortune. Replacing key components—such as the pickups, string nut, and tuners—can turn a workhorse guitar into a killer axe!
The Project
To illustrate this process, we'll use a 2004 Fender Mexican (MIM) Strat. When it landed on my bench, it was in great structural condition, but I knew some mods and a good setup could make it a pro-level instrument.
My first step was to sonically evaluate the guitar. Though it played well, it didn't have a lot of sustain and the stock tuners tended to drift out of tune. The single-coil pickups sounded weak and too bright, and I decided to begin the transformation by upgrading them.
Install new pickups.
The owner wanted to stick to a traditional single-coil configuration. There are dozens of great options made by independent pickup makers, as well as excellent upgrades from Fender. Based on feedback from other clients, I chose a set of Seymour Duncan Five-Two single-coils, which employ a combination of alnico 2 and alnico 5 magnets. The three treble pole pieces are made from alnico 2, which produces a warmer sound. This reduces that "ice-pick-in-the-ear" tone when you play a solo. Conversely, the three bass pole pieces are alnico 5, a magnet known for producing a bright, clear tone. This is perfect for adding clarity to rhythm parts and chord voicings. Duncan Five-Twos sound louder than traditional Strat pickups, but when adjusted properly, they offer excellent tone and balance.
Whenever I replace a trio of single-coil Strat pickups, I use a reverse-wound/reverse-polarity (RW/RP) middle pickup. In position 2 or 4 (the combined neck/middle and middle/bridge settings) of a 5-way switch, the paired pickups become humbuckers. The benefit? You cancel the 60-cycle hum that plagues single-coils, but still get that traditional Strat tone we all love.
Adjust pickup height.
Fig. 1: Measuring the gap between the pole piece and the 6th string on a Strat.
This is commonly overlooked during a setup. It's important to set the pickups at the right distance from the strings. If the pickups are adjusted too close, you can lose sustain and run into intonation problems because the magnets are pulling on the vibrating strings. But if the pickups are too low, you'll end up with a weak signal.
To adjust the pickups, I fret the 1st and 6th strings at the last fret. Then, using a 6" metal machinist ruler, I measure the gap between the top of the pole pieces to the bottom of the 1st and 6th strings (Fig. 1) Carefully turning the screws on either side of the pickup lets me raise or lower its height to my preferred measurements:
- Bridge pickup: 2/64" 1st string, 3/64" 6th string
- Middle pickup: 3/64" 1st string, 4/64" 6th string
- Neck pickup: 3/64" 1st string, 4/64" 6th string
These measurements are starting points, but I wouldn't recommend adjusting Strat pickups any higher. If a pickup is too loud relative to its mates, lower it to balance its volume. Don't bring the quieter ones closer to the strings.
Upgrade the tuners.
Fig. 2: Replacing vintage-style tuners with a set that has a higher turning ratio, like these 16:1 keys, can make it easier to tune a string quickly and accurately.
Upgrading your guitar's tuning keys requires some research. There are many excellent brands available that will retrofit a Strat, and it's important to explore all the options before you drop cash on a set that doesn't fit.
In the case of our Fender MIM Strat, I had to find a quality set that would retrofit the existing holes in the neck. The owner and I decided to use sealed Gotoh keys with a 16:1 turning ratio (Fig. 2) This ratio determines how many times you have to completely turn the button in order for the post to make one full revolution. The higher the ratio (i.e., 16:1, 18:1), the finer the tuning. Most vintage keys have a 12:1 or 14:1 turning ratio. Keys with lower turning ratios can make it frustrating to tune a string because it's so easy to jump past the desired pitch as you approach it.
Replace the string nut.
Fig. 3: The string nut plays an important role in a guitar's sound and performance. Most guitars sport a stock plastic nut, and replacing it with a bone nut can yield sonic benefits and improve tuning stability.
Believe it or not, the nut material makes a noticeable sonic difference. Most guitars come from the factory with a plastic string nut (Fig. 3) Plastic is easy (and cheap) to install, but it insulates the guitar from string vibration and thus negatively impacts tone and sustain.
Other materials I've seen used are graphite, bone, ivory, brass, and aluminum. Each has specific tonal properties and varying sustain, and based on years of working with guitars, here's my take on these materials: Graphite is great for keeping your guitar in tune (especially if you use a tremolo) because strings slide easily through the nut slots, but it sounds rather dead. Bone has excellent sustain and broadens the dynamic range of virtually any guitar. Ivory has good sustain and produces a warmer tone. (Of course, there are serious conservation and even legal issues surrounding the use of ivory, but that's beyond the scope of this column.) Brass and aluminum produce a bright tone but have little sustain.
Bone is always a good choice for string nuts—it's very hard, it lasts longer than plastic and graphite, and produces a sweeter tone than metal.
For this project, we decided to carve a new string nut from bone. Bone is always a good choice for string nuts—it's very hard, it lasts longer than plastic and graphite, and produces a sweeter tone than metal. You can buy pre-slotted string nuts, but I find the spacing is never quite right. I prefer to use a "Stratcut" bone blank from Allparts or Stewart-MacDonald.
Caution! When replacing a string nut, be aware that they're often glued into the nut slot from the bottom or they may be lacquered in. You want to avoid damaging the end of the fretboard facing the tuning keys when removing the nut. If you're not sure how to safely remove a nut, take your guitar to a qualified repair tech or luthier.
Carve a bone nut.
Fig. 4: Carving a new nut is an art. You need to consider string spacing, slot width and depth, and the string angle over the headstock.
Carving a string nut requires skill and patience (Fig. 4) One cut too far and you'll have to start all over again with a new nut blank. If you don't have the proper experience, training, and tools, turn this part of the project over to someone who does.
Fig. 5: The saying "measure twice, cut once" certainly applies to getting the correct string spacing on a new nut.
To see photos and read a detailed explanation of the process I use to cut a bone nut and what tools are required, read the March 2012 feature "How to Convert Your Axe to a Baritone."
Fig. 6: A nut slot needs to angle down toward the tuner, and its highest point must be right at the leading edge where the nut meets the fretboard.
Step 4 in that article explains how to carve a nut, measure string spacing (Fig. 5), and cut the string slots (Fig. 6).
Consider your moves before you make them.
Fig. 7: Gig worthy! Tricked out with 16:1 tuners, a new bone nut, and a rockin' set of replacement pickups, this imported Strat is now ready for prime time.
When upgrading the parts on your guitar, always buy quality hardware that can be installed without any major modification to your instrument. In other words, if you have to route out the body or drill new holes, it's best not to do it. The more holes, routing, or finish work you do, the less your instrument is worth. Keep the upgrades clean, simple, and reversible.
[Updated 10/13/21]
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New RAT Sound Solution Offers a Refined Evolution of Distortion
ACT Entertainment ’s iconic RAT brand has unveiledthe Sterling Vermin, a boutique distortion guitar pedal that blends heritage tone with modernrefinement. With a new take on RAT’s unmistakable sound, Sterling Vermin delivers a new levelof precision and versatility.
“The Sterling Vermin was born from a desire for something different — something refined, withthe soul of a traditional RAT pedal, but with a voice all its own,” says Shawn Wells, MarketManager—Sound, ACT Entertainment, who designed the pedal along with his colleague MattGates. “Built in small batches and hand-soldered in ACT’s Jackson, Missouri headquarters, theSterling Vermin is a work of pure beauty that honors the brand legacy while taking a bold stepforward for creativity.”
The Sterling Vermin features the LM741 Op-Amp and a pair of selectable clipping diodes.Players can toggle between the traditional RAT silicon diode configuration for a punchy, mid-range bite, or the BAT41 option for a smoother, more balanced response. The result is a pedalthat’s equally at home delivering snarling distortion or articulate, low-gain overdrive, with a wide,usable tonal range throughout the entire gain spectrum.
The pedal also features CTS pots and oversized knobs for even, responsive control that affordsa satisfying smoothness to the rotation, with just the right amount of tension. Additionally, thepolished stainless-steel enclosure with laser-annealed graphics showcases the merging of thepedal’s vintage flavor and striking design.
“From low-gain tones reminiscent of a Klon or Bluesbreaker, to high-gain settings that flirt withBig Muff territory — yet stay tight and controlled — the Sterling Vermin is a masterclass indynamic distortion,” says Gates, an ACT Entertainment Sales Representative. “With premiumcomponents, deliberate design and a focus on feel, the Sterling Vermin is more than a pedal, it’sa new chapter for RAT.”
The RAT Sterling Vermin is available immediately and retails for $349 USD. For moreinformation about this solution, visit: actentertainment.com/rat-distortion .
The Miku was introduced about 10 years ago and is based on the vocal stylings of Hatsune Miku, a virtual pop icon. But it does much more than artificial vowels and high-pitched words.
It’s tempting to think of this pedal as a joke. Don’t.
It all started a few years ago through a trade with a friend. I just wanted to help him out—he really wanted to get a fuzz pedal but didn’t have enough cash, so he offered up the Korg Miku. I had no idea then, but it turned out to be the best trade I’ve ever made.
Here’s the truth: the Korg Miku is not your typical guitar pedal. It won’t boost your mids, sculpt your gain, or serve up that warm, buttery overdrive you’ve always worshipped. Nope. This little box does something entirely different: It sings! Yes, sings in a Japanese kawaii accent that’s based on the signature voice of virtual pop icon Hatsune Miku.
At first glance, it’s tempting to dismiss this pedal as just a gimmick—a joke, a collector’s oddity, the kind of thing you buy for fun and then forget next to your Hello Kitty Strat. But here’s the twist: Some take it seriously and I’m one of those people.
I play in a punk band called Cakrux, and lately I’ve been working with a member of a Japanese idol-style girl group—yeah, it’s exactly the kind of wild mashup you’d ever imagine. Somewhere in the middle of that chaos, the Miku found its way into my setup, and weirdly enough, it stuck. It’s quirky, beautiful, occasionally maddening, and somehow … just right. After plenty of time spent in rehearsals, studio takes, and more sonic experiments than I care to admit, I’ve come to appreciate this pedal in unexpected ways. So here are a few things you probably didn’t know about this delightfully strange little box.
It’s Not Organic—and That’s OK
Most guitar pedals are chasing something real. Wah pedals mimic the human voice—or even a trumpet. Tube Screamers? They’re built to recreate the warm push of an overdriven tube amp. Cab sims aim to replicate the tone of real-world speaker setups. But the Miku? It breaks the mold. Instead of emulating reality, it channels the voice of a fictional pop icon. Hatsune Miku isn’t a person—she’s a vocaloid, a fully digital creation made of samples and synthesis. The Miku doesn’t try to sound organic, it tries to sound like her. In that sense, it might be the only pedal trying to reproduce something that never existed in the physical world. And honestly, there’s something oddly poetic about that.
A World-Class Buffer
Here’s a fun fact: I once saw a big-name Indonesian session guitarist—you know, the kind who plays in sold-out arenas—with a Miku pedal on his board. I was like, “No way this guy’s busting out vocaloid lines mid-solo.” Plot twist: He only uses it for the buffer. Yep, the man swears by it and says it’s the best-sounding buffer he’s ever plugged into. I laughed … until I tried it. And honestly? He’s not wrong. Even if you never hear Miku sing a note, this pedal still deserves a spot on your board. Just for the tone mojo alone. Wild, right?
“The Miku is one of those pedals that really shouldn’t work for your music, but somehow, it just does.”
Impossible to Tame
Most pedals are built to make your life easier. The Miku? Not so much. This thing demands patience—and maybe a little spiritual surrender. First off, the tracking can be finicky, especially if you’re using low-output pickups. Latency becomes really noticeable and your picking dynamics suddenly matter a lot more. Then there’s the golden rule I learned the hard way. Never—ever—put anything before the Miku. No fuzz, no wah, no compressor, not even a buffer! It gets confused instantly and says “What is going on here?” And don’t even think about punching in while recording. The vocal results are so unpredictable, you’ll never get the same sound twice. Mess up halfway? You’re starting from scratch. Same setup, same take, same chaotic energy. It’s like trying to recreate a fever dream. Good luck with that.
Full Range = Full Power
Sure, it’s made for guitar, but the Miku really comes to life when you run it through a keyboard amp, bass cab, or even a full-range speaker. Why? Because her voice covers way more frequency range than a regular guitar speaker can handle. Plug it into a PA system or a bass rig, and everything sounds clearer, richer, way more expressive. It’s like letting Hatsune Miku out of her cage.
The Miku is one of those pedals that really shouldn't work for your music, but somehow, it just does. Is it the best pedal out there? Nah. Is it practical? Not by a long shot. But every time I plug it in, I can’t help but smile. It’s unpredictable, a little wild, and it feels like you’re jamming in the middle of a bizarre Isekai anime scene. And honestly, that’s what makes it fun.
This thing used to go for less than $100. Now? It’s fetching many times that. Is it worth the price? That’s up to you. But for me, the Korg Miku isn’t just another pedal—it’s a strange, delightful journey I’m glad I didn’t skip. No regrets here.
Two guitars, two amps, and two people is all it takes to bring the noise.
The day before they played the coveted Blue Room at Third Man Records in Nashville, the Washington, D.C.-based garage-punk duo Teen Mortgage released their debut record, Devil Ultrasonic Dream. Not a bad couple of days for a young band.
PG’s Chris Kies caught up with guitarist and vocalist James Guile at the Blue Room to find out how he builds the band’s bombastic guitar attack.
Brought to you by D’Addario.
Devilish Dunable
Guile has been known to use Telecasters and Gretsches in the past, but this time out he’s sticking with this Dunable Cyclops DE, courtesy of Gwarsenio Hall—aka Jordan Olds of metal-themed comedy talk show Two Minutes to Late Night. Guile digs the Dunable’s lightness on his shoulders, and its balance of high and low frequencies.
Storm Warning
What does Guile like about this Squier Cyclone? Simple: its color. This one is also nice and easy on the back, and Guile picked it up from Atomic Music in Beltsville, Maryland.
Crushing It
Guile also scooped this Music Man 410-HD from Atomic, which he got just for this tour for a pretty sweet deal. It runs alongside an Orange Crush Bass 100 to rumble out the low end.
James Guile’s Pedalboard
The Electro-Harmonix Micro POG and Hiwatt Filter Fuzz MkII run to the Orange, while everything else—a DigiTech Whammy, Pro Co Lil’ RAT, and Death by Audio Echo Dream 2—runs to the Music Man. A TC Helicon Mic Mechanic is on board for vocal assistance, and a TC Electronic PolyTune 3, Morley ABY, and Voodoo Labs Pedal Power 3 Plus keep the ship afloat.
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Ernie Ball: Pino Palladino Signature Smoothie Flats Bass Strings
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