While discussing new Signature models released in 1995, the May 1995 issue of the “G&L Craftsman” contains the following blurb: “The George Fullerton model has [sic] custom-wired to give a vintage 1950’s sound reminiscent of the legendary instruments of that era, also created by Leo Fender and George Fullerton”. Indeed, the George Fullerton Signature model, in both its 3-bolt and 4-bolt incarnations, has a very similar control layout as the Stratocaster of that era, i.e. master volume control, no tone control on the bridge pickup, and the middle and neck pickups each having their own dedicated tone control, while still having been modernized with a set of 3 CLF-100 Alnico Vintage single-coil pickups, which have non-staggered pole pieces, and a 5-position pickup selector instead of a vintage 3-position switch. Such a wiring harness makes George’s eponymous model an anomaly among all G&L instruments. As can be seen below, the 250kΩ Audio Taper volume potentiometer has no treble bleed capacitor. The 250kΩ Audio Taper tone pot for the neck pup is in series with a 50,000pF (.050µ) cap to ground. This value is more akin to a 1970‘s Stratocaster since a vintage Strat has 100,000pF (.1µF) on this pot. The 250kΩ Audio Taper tone pot for the middle pup has no capacitors either. It is worth mentioning the Legacy (SSL-2) here, i.e. the very early Legacy guitars which had a set of Seymour Duncan SSL-2 pickups instead of CLF-100s. Although the claim is that they were all built at the factory with a PTB circuit, too may have been seen with wiring harnesses in pristine shape but standard Strat wiring. The term ‘standard‘ needs clarification, since for standard Stratocaster wiring one would like to have 250kΩ Audio Taper potentiometers across the board as seen on the George Fullerton Signature. But as a weird hybrid, these early Legacies have a 250kΩ Audio Taper pot with a 200pF ceramic treble bleed capacitor for the volume control, a 500kΩ Audio Taper pot in series with a 22,000pF (.022µF) cap to ground as a tone control for the neck pickup, and a 1MΩ Reverse Audio Taper pot with a 2,200pF (.0022µF) cap to ground as a tone control for the middle pickup. The components are pretty much as one might expect for a “treble cut” and “bass cut” in the PTB circuit. They are just hooked up differently with both tone controls acting as treble cut.