I only discovered something the other day and now I feel like a bit of an idiot, albeit a more informed idiot. If you are already in possession of the information I provide here then happy days. If not you might find this interesting.
For the most part guitar pots are logarithmic, or should I say most manufacturers put log pots in their guitars. This is no problem to most of us cos good quality log pots sound great.
Except that log pots are not bi-directional like linear pots are. In simple guitar or amp terms this means that more volume or brighter tone is always achieved by moving the pot clockwise, and less volume or darker tone is achieved by rotating in an anti-clockwise direction. All good.
Except for left handers (not on the amplifiers of course). Manufacturers put the same pots in left handed guitars as they do in the right handed ones and then for some daft reason wire the pots so that more is anti-clockwise and less is clockwise. I never understood until now why my volume and tone never worked properly. A simple lug swap later and now I have all the tonal options in my guitars that I always should have had.

Thanks for the info! I don't know that I've ever played with the pots of a left-handed guitar (even though I play "flipped-over" -- a righty turned upside down).

Wait now, doesn't that make the volume knob not start to drop the volume until ~3 on the knob, and the tone knob abruptly lower the circuit resonance from 2~1? There's a reason logarithmic pots are wired the way they are. The solution would be to procure reverse logarithmic pots, if possible. Otherwise, reversed knob #'s would help. You'd think the industry would be more accommodating considering legendary lefties like Hendrix, Albert King, Eric Gales, ...?

Thats exactly it. When they come out of the factory like you say the volume and tone work effectively like on/off switches. It is so stupid that they wire them the wrong way.

You'd think they'd come up with a better solution after all these decades. Goes to show that name brands don't really mean anything. Fender claims their new noiseless pickups have effectively solved the internal cancellations of stacked designs. I know Bill Lawrence did that in the 90's with the NF series, and with the Fender SCN's in 2006. DiMarzio seems to have done a good job with the Area series, but they still seem to opt for standard wire gauges, rather than utilize the efficiency of thinner wire. Fender "dropped the ball" since on noiseless designs, and Bill isn't around anymore to give them the correct parameters for design alterations. They have either figured out the maths involved, or may have stumbled on a mid-dipped design that sounds good, like the Wilde L200 models.