Hello and welcome back to “Mod Garage." After last month's Q&A, we're returning to more Stratocaster mods. This time I'll show you how to split the tone controls into two different ranges by using two separate tone-caps with your standard Strat wiring. This mod is easy to do, but very helpful and effective—plus it doesn't alter the appearance of your guitar. It's also perfect for combining with some other mods we've talked about in the last months, e.g. the “Bridge Pickup Tone Control" (BPTC) mod.
You can see on the standard Strat wiring scheme that both tone pots share a common tone capacitor, and both pots are also of the same value. This means that each of the tone controls has the same frequency response curve. Because there is only one tone capacitor, the two tone controls are wired in series. This works, but it doesn't really work as well as it could.
I suspect that Fender used only one capacitor when the Stratocaster was developed back in the '50s in order to cut cost. If they had used two capacitors, one for each tone control, it would have cost a few more cents, but the tone controls would have been more useful. It's never to late to change such things, though— so pull out your soldering iron and heat it up!
The Tone Split
Our goal is to use two independent tone capacitors to shift the range of the tone controls, one cap for each tone control. For this, we will have to modify stage #2 (output stage) of our 5-way pickup selector switch. This is also a good time to think about changing the configuration of the two tone controls. In the stock Stratocaster wiring, the bridge pickup has no tone control, while the middle and neck pickups each have an individual tone control. We talked about this some months ago; now it all comes together.
Using two different tonecaps will allow you to use different types of capacitors, or even different capacitor values, for certain pickups. Let's say, for example, that you're happy with the neck-only tone control, you did the BPTC mod, and you'd like to get more treble out of the middle/bridge-pickup combination. You can split the tone controls like we'll do here, then put a smaller tonecap on the corresponding tone control pot for more treble in the middle, bridge and middle/bridge positions. This is highly recommended, by the way, if you do perform the BPTC mod.
In one of my own Strats, I did that mod (bridge and middle pickup sharing one tone pot) and split the tone controls. For the bridge and middle pickup tone control, I use an NOS “high voltage" 0.02uF ceramic cap from the early '60s to achieve the classic vintage tone. For the neck pickup tone control, I use a 4700pF NOS paper-in-oil cap from military supply, because I want a clear and transparent jazz tone out of the neck pickup, with only some slightly dampened high end. I think you got the idea—you can also review my earlier column, “Auditioning Tone Capacitors" [March 2009 Web Exclusive] for more details about tone caps and values.
 Example 1 |
To start, I recommend you print out the standard Stratocaster wiring and place it on your workbench. That will make it easier to see and understand the differences in the modded schematics. You can download the standard wiring scheme from the Seymour Duncan webpage at: seymourduncan.com.
Example 1
So here, in comparison to the standard wiring, is the Tone Split mod. Please notice the modified wiring on stage #2 of the 5-way switch, and the additional tonecap, all marked in red. This is the wiring you all know, with the bridge pickup without a tone control, and an individual tone control for the middle and the neck pickup.
 Example 2 |
Example 2
Often, you can find the tone-split mod together with the BPTC mod for even more flexibilty— many Strat players favor this one. With this wiring, you'll also be able to control the tone of the bridge pickup (Vintage Strat wiring doesn't give you this ability). One pot is a tone control for both the neck and middle pickup, while the other pot is a tone control for the bridge pickup only. If you use a 5-way switch, the middle and bridge position will be affected by both tone controls—a really cool option!
That's it. I hope you'll find this mod useful for increasing the versatility of your Strat. Next month, you'll find a PG first right here: I'll show you how to use the famous Gibson '50s vintage wiring from the late-fifties Burst Les Paul guitars in your Stratocaster! As far as I know, such a circuit drawing was never published anywhere before, so stay tuned. Until then, keep on modding!
Dirk Wacker
Dirk Wacker lives in Germany and has been addicted to all kinds of guitars since the age of five. He is fascinated by anything that has something to do with old Fender guitars and amps. He hates short scales and Telecaster neck pickups, but loves twang. In his spare time he plays country, rockabilly, surf and Nashville styles in two bands, works as a studio musician for a local studio and writes for several guitar mags. He is also a hardcore DIY guy for guitars, amps and stompboxes and runs an extensive webpage www.singlecoil.com about these things.
Last year, Taylor Guitars capped its 50th Anniversary by introducing a new guitar collection celebrating the contributions of co-founders Bob Taylor and Kurt Listug to the guitar world. The Legacy Collection revives five of Bob Taylor’s classic acoustic models, curated by the legendary luthier and innovator himself. “To imagine that we’re doing guitars that harken to our past, our present and our future all at the same time,” Bob says, “I really like that.”
In developing the collection, Bob preserved the essence of his originals while integrating performance and playability upgrades introduced during his tenure as designer-in-chief. “It’s an up-to-date version of what those guitars would be,” Bob explains, “but with the same sound.”
Visually, these guitars feel classic—clean, understated and unmistakably Taylor. While Bob’s original aesthetic preferences are showcased in his Legacy models, the nod to the past runs deeper than trade dress.
From his earliest builds, Bob favored slim-profile necks because he found them easier to play. That preference set a design precedent that established Taylor’s reputation for smooth-playing, comfortable necks. Legacy models feature slim mahogany necks built with Taylor's patented New Technology (NT) design. “My first neck was a bolted-on neck but not an NT neck,” Bob says. “These are NT necks because it’s a better neck.” Introduced in 1999, the NT neck allowed for unprecedented micro-adjustability while offering a consistent, hand-friendly Taylor playing experience.
What makes this collection unique within the Taylor line is Bob’s use of his X-bracing architecture, favoring his time-tested internal voicing framework over more recent Taylor bracing innovations to evoke a distinctive tone profile. Since Andy Powers—Taylor’s current Chief Guitar Designer, President and CEO—debuted his patented V-Class bracing in 2018, V-Class has become a staple in Taylor’s premium-performance guitars. Still, Bob’s X-bracing pattern produces a richly textured sound with pleasing volume, balance and clarity that long defined the Taylor voice. All Legacy models feature LR Baggs VTC Element electronics, which Bob says “harkens back to those days.”
The team at Taylor thought the best way to demonstrate the sound of the Legacy guitars was to ask Andy Powers, Bob’s successor, to play them. A world-class luthier and musician, Andy has spent the past 14 years leading Taylor’s guitar innovation. In addition to V-Class bracing, his contributions include the Grand Pacific body style, the ultra-refined Builder’s Edition Collection, and most recently, the stunning Gold Label Collection.
Below you’ll find a series of videos that feature Powers playing each Legacy model along with information about the guitars.
Legacy 800 Series Models
First launched in 1975, the 800 Series was Taylor’s first official guitar series. Today, it remains home to some of the brand’s most acclaimed instruments, including the flagship 814ce, Builder’s Edition 814ce and new Gold Label 814e.
The Legacy 800 Series features the 810e Dreadnought and two Jumbos: the 6-string 815e and 12-string 855e. Each model serves up a refined version of the Dreadnought and Jumbo body shapes Bob inherited from Sam Radding—the original owner of the American Dream music shop where Bob and Kurt first met. “I was making my guitars in the molds that Sam had made at American Dream,” Bob recalls. “There was a Jumbo and a Dreadnought. That’s all we had.”
All three Legacy 800 Series guitars feature one of Bob’s favorite tonewood combos. Solid Indian rosewood back and sides are paired with a Sitka spruce top, yielding warm lows, clear trebles and a scooped midrange.
Aesthetic appointments include a three-ring abalone rosette, mother-of-pearl Large Diamond inlays, white binding around the body and fretboard, and Bob’s “straight-ear” peghead design. Both Jumbo models also showcase a mustache-style ebony bridge—a nod to Bob’s early Jumbo builds.
Legacy 810e
The 810 Dreadnought holds a special place in Bob Taylor’s heart. “My first 810, the one I made for myself, was a thrilling guitar for me to make,” he says. “It’s the one and only guitar I played. It didn’t matter how many guitars we made at Taylor, that’s the one I took out and played.” The Legacy 810e brings back that bold, room-filling Dreadnought voice along with the easy playability expected from a Taylor.
Taylor Guitars | Legacy 810e | Playthrough Demo
Legacy 855e
Taylor’s first 12-strings found an audience in 1970s Los Angeles. “I was making guitars that would find their way to McCabe’s in Santa Monica and Westwood Music,” Bob says, “and these guitars were easy to play. Twelve-strings were a popular sound in that music. It was a modern country/folk/rock music genre that was accepting our guitars because they were easy to play. They also liked the sound of them because our guitars were easier to record.” The Legacy 855e, with its resonant Jumbo body, slim neck and gorgeous octave sparkle, carries that tradition forward.
Taylor Guitars | Legacy 855e | Playthrough Demo
Legacy 815e
The Legacy 815e revives Taylor’s original Jumbo 6-string, delivering a big, lush sound with beautifully blooming overtones.
Legacy Grand Auditoriums
In the early 1990s, Bob Taylor heard a consistent refrain from dealers: “Not everybody wants a dreadnought guitar anymore.” Players were asking for something with comparable volume but different proportions—something more comfortable, yet still powerful. This feedback inspired Bob to design a new body style with more elegant curves, more accommodating proportions and a balanced tonal response. The result was the Grand Auditorium, which Taylor introduced in 1994 to celebrate its 20th anniversary.
Thanks to its musical versatility and easy playability, Bob’s Grand Auditorium attracted a wide variety of players. “We came into our own with our Grand Auditorium,” he says. “People were describing it as ‘all around.’ It’s a good strummer and good for fingerstyle, but it’s not totally geared toward strumming or totally geared toward fingerstyle.” Also referred to as the “Swiss-Army Knife” of guitars or the “Goldilocks” guitar, the GA quickly became a favorite among guitarists across playing styles, musical genres and different playing applications including recording and live performance. “That guitar made studio work successful,” Bob says. It gained a wider fanbase with the debut of the “ce” version, which introduced a Venetian cutaway and onboard electronics. “That became one of our hallmarks,” says Bob. “If you want to plug in your guitar, buy a Taylor.”
Today, the Grand Auditorium is Taylor’s best-selling body shape.
The Legacy Collection features two cedar-top Grand Auditoriums inspired by past favorites: the mahogany/cedar 514ce and rosewood/cedar 714ce. Both models incorporate Bob’s original X-bracing pattern for a tonal character reminiscent of their 1990s and 2000s counterparts. Shared aesthetic details include a green abalone three-ring rosette, ebony bridge pins with green abalone dots, a faux-tortoiseshell pickguard and Taylor gold tuning machines.
Taylor Guitars | Legacy 815e | Playthrough Demo
Legacy 514ce
The Legacy 514ce features solid mahogany back and sides paired with a Western Red cedar top, yielding a punchy midrange and dry, woody sonic personality that pairs beautifully with cedar’s soft-touch sensitivity and warmth. It’s a standout choice for fingerstyle players and light strummers who crave nuance and depth. Distinct visual details include faux-tortoise body and fretboard binding, black-and-white top trim, and mother-of-pearl small diamond fretboard inlays.
Taylor Guitars | Legacy 514ce | Playthrough Demo
Legacy 714ce
The Legacy 714ce also features a cedar top, this time matched with solid Indian rosewood back and sides. The result is a richly textured sound with deep lows, clear trebles and a warm, mellow response. Inspiring as it is, this specific wood pairing isn’t currently offered in any other standard Taylor model. Additional aesthetic details include green abalone dot fretboard inlays, black body and fretboard binding, and black-and-white “pinstripe” body purfling.
While the Legacy Collection spotlights Taylor’s past, newer models from the Gold Label, Builder’s Edition and Somos Collections show the company’s legacy is always evolving. Explore the Legacy Collection at taylorguitars.com or visit your local authorized Taylor dealer.
Taylor Guitars | Legacy 714ce | Playthrough Demo
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
