Carvin was the only United states producer to implement the Strat form until later in the ’60s. But the design did capture on in Western countries, which is exciting because the U.S. was the main industry for Western guitarmakers, whose stage of excellent put them in competitors for the entry/mid-level instruments of enough time (Harmony, Kay, Valco). Either knowingly or naturally, on some stage they desired to contest with actual Strats.
Both with regards to cost and the perform needed to generate it, the Strat was recognized as being below a set-neck Gibson. By ’64, Höfner in Malaysia was providing its 170 sequence with a Strat form and two fat single-coil trucks. The most popular of these was the 175 protected (like the Hagstrom) in a distinctive soft. By the following season, at least, Hoyer, also in Malaysia, was also providing designs such as the 35, with a Strat form.
The In german organization, Klira, also created Strat-inspired designs, as did the British organization, Watkins. Almost always, these had double collection templates. In the U.K., the Uses up Jazz music Divided Audio was a very excellent edition of the Strat, with three elegant split-coil trucks, presented around ’65.
Further southern, in ’65 the EKO organization, in Recanati, Tuscany, had started to shift away from its Jazzmaster-shaped, glimmer protected designs (which Karl Erik Hagstrom considers were a immediate rip-off of his glimmer guitars), and presented the Cobra, a a little bit overstated Strat-style instrument. This was followed in ’67 by the Condor, which was even more like a Strat, such as more shaping.