Instruments that were clearly motivated by the Strat are probably hord, some better known than others. As we’ve seen, there were not too many of these until the Seventies when the Strat started to appear from the darkness of the more well-known Gibson Les John.
One less well-known instrument was the Travis Vegetable TB-500, a more-or-less Strat-shaped edition of Bean’s more acquainted Gibson-style aluminum-necked wonder. When Martin made the decision to try it’s side at solidbody electrics in ’78 with the E-18 and EM-18 (joined by the E-28 in ’80), the figures were extremely Stratoid. Another extremely considerable instrument from ’78 was the Peavey T-60, the globe’s first to be designed by numerically managed chiselling devices (today a typical practice). It mixed a curved, Gibson-style reduced round with the balanced out dual cutaways of a Strat. Even though it had two humbuckers, the T-60 had a novel cabling program that provided a Stratish single-coil mixture when the overall tone management was at 10 (it turned to humbucker at about 8).
Identifying exaggerations of the Strat might be a little more very subjective, but if you start your thoughts, they are all around. It’s controversial, for example, that the well-known indicated Uses up Buffalo is little more than an overstated Strat type. A preferred take on this is the Japoneses Avalon Shaggs design from the delayed ’60s. Even the amazing tulip-shaped EKOs of the beginning ’60s are, if you will, Strats with the horns drawn external.