These 15 pioneering Fender Stratocaster players made the model their own – learn their trailblazing approaches

Fender’s septuagenarian double-cut has been in the hands of a zillion guitar icons over the decades, and appeared on far more legendary recordings than we could possibly count.

When it comes down to it, the sound of this electric guitar is familiar to us all. It’s part of the background to our lives. And for us guitarists, that means there’s a lot to learn from.

In this lesson, we’re looking at the signature styles of 15 Strat-wielding icons – a mix of rock pioneers, virtuosos and modern-day greats.

Of course, you don’t have to own a Fender Strat to follow our lesson –there’s something for everyone here – and we have given you a steer as to which pickup/position to use.

Right, let’s plug in and get those single-coils buzzing!

Example 1. Jimi Hendrix (pickup-selector toggle)

Our first example is inspired by the great Jimi Hendrix, who was a master of manipulating the Strat’s controls – and here we’re using the pickup selector to create a pseudo wah effect.

This is most effective when the neck pickup tone is turned right down. Then, simply move the selector switch back and forth and a wah-like sound is created.

Example 2. Ritchie Blackmore (bridge)

Ritchie Blackmore was famed for playing CBS-era large headstock Strats with various Fender innovations and Blackmore’s own mods.

He’s best known for preferring a scalloped fretboard, which supposedly enhances clarity, from a fingering/fretting perspective. Scallop your pride and joy at your peril, we say!

Example 3. David Gilmour (neck)

Though several Strats would pass through Gilmour’s hands, he’ll always be most associated with the Black Strat, as used on Pink Floyd’s Comfortably Numb and Shine On You Crazy Diamond.

Our example is inspired by David in clean soloing mode. Select the neck pickup and use the tremolo arm to add that signature vibrato to the string bends.

Example 4. Rory Gallagher (bridge)

The Irish blues-rocker was best known for playing a 1961 Sunburst Strat – though most of the ’burst had worn off!

Our example uses a high-output bridge single-coil pickup and a light overdrive tone, combined with a heavy pick attack, to conjure up that signature Gallagher vibe.

Example 5. Nile Rodgers (neck)

Best known for playing his ‘Hitmaker’ Strat, Nile Rodgers’ sound has pretty much stayed the same throughout his career.

For our example, we selected the neck pickup, dialing in a trebly clean tone with a little compression to even out those funky 16th-note rhythms. To get a more even attack, experiment with a thin pick just like Nile does.

Example 6. Mark Knopfler (neck/middle)

Knopfler’s early Dire Straits tones were primarily the product of his Strat’s bridge/middle or neck/middle pickups, the latter being more for incidental licks and the former for the ‘big solos’.

Plugging into clean Music Man or Fender amps, Mark augmented his tone with a Dan Armstrong Orange Squeezer compression pedal – a key trick for increasing sustain in this typical Dire Straits-style lick.

Example 7. Jeff Beck (Bridge)

A true innovator, Jeff Beck pushed the possibilities of the Strat to the limit. It’s mostly to do with his playing than the guitar’s spec – although his signature axe’s high-output noiseless pickups, two-point trem and roller nut help!Our example is a good workout for the tremolo arm, and also features Jeff’s trademark use of natural harmonics.

Example 8. The Edge (bridge/middle)

The opening tracks on U2’s The Joshua Tree album represent some of the finest Strat clean tones ever recorded – and that’s our inspiration here.

Our example combines 16th-note strumming with that all-important dotted eighth-note delay. At 120 bpm, you’ll need your delay set to 375ms.

Example 9. Eric Johnson (middle)

Here, we’re looking at some open-voiced triads to create a colourful chord part. This is one of many signature components of Eric Johnson’s style.

Our clean chords are a simple introduction to the concept, but you can transfer the shapes into some complex EJ-style soloing by playing them as arpeggios. Give it a go!

Example 10. Mike McCready (bridge/middle)

This example is inspired by Pearl Jam’s heavy blues-rock riffing. We’ve dialled in a grungy fuzz tone with the bridge and middle pickup position.

Bear in mind, Mike needs his Strat tones to sit in a mix with a second guitar – usually one of Stone Gossard’s Gibson Les Pauls.

Example 11. John Frusciante (bridge)

Since the Californication era, Red Hot Chili Peppers guitarist John Frusciante has most favoured a beaten up 1962 sunburst Strat – and it’s appeared on many of the band’s biggest hits since.

Our example is inspired by the Chilis’ classic loud, grungy chorus riffs. Select your bridge single coil and a medium overdriven Marshall amp tone.

Example 12. Tom Morello (bridge humbucker)

Tom Morello’s Soul Power Strat features a locking tremolo system, a high-output Hot Rails humbucker and wiring modifications such as a kill switch.

Our example uses drop D tuning which makes moving between powerchords a lot easier. The final high-pitched effect is created by strumming the strings behind the nut.

Example 13. Steve Lacy (bridge)

The Steve Lacy People Pleaser signature Strat comes with a built-in fuzz tone circuit, so we’ve dialled in a little fuzz here to create some Lacy-inspired riffing.

The riff is played in unison with our bassline and uses the trusty A minor pentatonic scale as a canvas.

Example 14. H.E.R. (middle)

This example showcases H.E.R.’s R ’n’ B rhythm style – and we’ve used some common chords and embellished them in a slow groove.

Glassy noiseless pickups (as found on the H.E.R. signature Strat) are perfect here, and, combined with some vintage-style spring reverb they give the required retro-but-modern tone.

Example 15. Mdou Moctar (bridge)

Our Mdou Moctar riff is inspired by his Hendrixian psych-rock improvised wig-outs. We’re using the open D string as a drone, so keep it ringing and develop our lick with your own ideas.

The G string is used as the melodic string and we’re using some Middle Eastern-sounding semitone intervals.