I was looking at the differences in the guitars used as a base for modern guitars, and it is fascinating how they are so different, yet usable in so many contexts.
Both the Strat and Les Paul are able to produce some amazing tones. Here are some of the things I see as major differences. I include the PRS since it is more contemporary and is an attempt (in my opinion) to bridge the best of both worlds. In my opinion, the Strat is a bit more versatile and has got a larger collection of clean tones. While the LP has incredible rhythm and lead tones. Though the PRS tries to bridge the gap, its DNA is clearly more towards the Les Paul in materials and construction.
| Parameter | Fender Strat | Gibson Les Paul | PRS Custom 22 | Comments |
| Scale length | 25.5″ | 24.75″ | 25″ | The shorter scale length of the LP has less string tension and easier to play for many. The PRS is halfway between the Strat and Les Paul. |
| Body style | Double cutaway with body contours | Single cutaway with no body contours | Double cutaway with no body contours | The Strat has body contours and can be more comfortable. LP usually has an arched top, as does the PRS. |
| Body woods | Alder or Swamp Ash | Maple cap on Mahogany | Maple cap on Mahogany | The LP is heavier which gives it a meatier tone. The woods are more expensive. |
| Neck woods | Maple | Mahogany | Mahogany | Heavier neck on the LP and more expensive |
| Neck binding | Usually none | Bound in plastic | Usually none | LP has fret nibs which make it harder to do a refret |
| Fretboard | Usually Maple or Rosewood | Ebony or Rosewood | Rosewood | The Strat almost always uses Maple or Rosewood, while the LP never uses Maple as a fretboard. PRS usually follows the LP. |
| Neck attachment | Bolt-on | Set neck (glued) | Set neck (glued) | Many people say set necks have better sustain, but this is more myth. Set necks are harder to adjust and replace, and generally take more labor to make. Bolt-ons are much easier to adjust and replace. |
| Neck joint angle | 0 degrees | 5 degrees | 4 degrees | The LP body is arched so to account for a higher bridge and keep the strings aligned to the neck, the neck is angled slightly. Same for the PRS. Strat is usually flat |
| Headstock angle | 0 degrees | 17 degrees | 11 degrees | The LP has more downward pressure on the nut. Since there’s no trem and is a fixed bridge, this is fine. |
| Headstock | 6 tuners to a side | 3 tuners each side | 3 tuners each side | No real tone change on this — just aesthetics. |
| Inlays | Dots | Block | Birds | Aesthetics only |
| Bridge | Tremolo | Tune-o-matic fixed | Fixed | Major differences in tone. Trem has springs in the lighter body, allowing vibrato. LP has a fixed bridge into a heavier body. This gives the Strat a more open, airy tone while the LP has a meatier sustain. |
| Pickups | 3 single-coil | 2 PAF Humbuckers | 2 PAF Humbuckers | Huge difference. PAFs are higher output, less noise, and meaty for singing solos, while the single coils on the Strat give it a throaty clean tone, but noisier and less output. |
| Controls | Vol/Tone and 5-way switch | Vol/Tone for each pickup, switch for pickup selection | Vol/Tone for each pickup, switch for pickup selection | The 5-way on the Strat allows out-of-phase sounds not possible on the LP. PRS more like the LP |
It is amazing when you look at these differences. It’s almost as if someone gave a designer the specs for one guitar and asked them to design something totally opposite in every possible design category. Every single major design component is different. Yet both guitar designs were able to define rock and roll and continue to do so. Which is why I believe most modern designs use these time-tested designs as a base.
Though I think the Strat-style has been more popular with modern designs because it has been associated with metal and progressive rock players who tend to use extreme trems and ideas. Companies like Ibanez, ESP, Schecter, Musicman and many others have popularized this design style for more modern tones, while Fender and Gibson continue to milk the vintage craze and stick to the basic designs with only slight modifications.
The question is — who will come up with a new design that is in a different direction than either of these and still be able to generate captivating tones with enhanced playability? And look cool at the same time? It hasn’t happened yet in my opinion. The PRS attempts it, but is way too close to a Les Paul.