I'm a sucker for a mystery mini-switch on a 1970s Strat - someone had gone to the trouble of routing a little channel and switch body pocket, studied an Esquire and hoped for a muffled speaker thumper output. They obviously thought they'd killed it as they ended up with a kill switch in both directions. It is harder to kill a 70s MIJ Strat than it is to save one, so I re-purposed the switch with a metre of wire to provide 2 series-connected tones; neck and middle, and bridge and middle, both in series to give a chunk of output, some growl and another dose of character to these already characterful Maxons.
 
Maxons are always entertaining - the early 70s were the short fat ones, never more than 4.9k DCR, bright and airy, and welcoming a 1 meg or 500k potentiometer to bring the inner Hendrix out in you. Being such a low output means they can huddle together in series without the compression and muddiness of doing this with higher output units. Being a little way away from each other lends additional airiness, not just a thicker version of the single. Does it sound like a PAF? No, but it isn't a million miles away, and the tones you do get stand on their own 2 feet (bobbins).
 
The paintwork is either a disaster, or endearing depending on what you need from a guitar. It has been very ungraciously refinished with an old paintbrush, and the quantity of paint probably adds half a kilo; but at least it is black, and no-one is going to notice on stage. Given the number of 600s out there in original finish, let's allow this one to soldier on as it is. The pick-ups and controls are all serviced and work just fine, the scratchplate reveal how much this guitar has been played - again, it looks honest.
 
Comes with a 10W Peavey 108 amp for soon to be teenagers in Tacolnestone