Today, Fender is expanding its acclaimed Vintera® II series with a Limited Edition Road Worn® lineup, era-correct classics from the ‘50s and ‘60s pair vintage-inspired designs and modern upgrades with the lived-in look of a well-loved instrument. Each model features a new subtle aging process—light checking, gentle wear patterns, and a semi-gloss finish—delivering unmistakable vintage feel and unmatched sound of a classic Fender®.
Limited Edition Vintera® II Road Worn® ‘60s Stratocaster®
Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘60s Stratocaster® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘60s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a trio of vintage-style ‘60s pickups that deliver all the warm, sparkling tones that made Fender® famous. Other features include a synchronized tremolo with bent steel saddles for expressive vibrato and vintage-style tuning machines for enhanced tuning stability. Options include Rosewood Fingerboard in Sonic Blue and Maple Fingerboard in Black.
Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘60s Telecaster® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘60s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a pair of vintage-style ‘60s pickups that deliver all the crystal-clear chime and raw, steely twang that made Fender® famous. Other features include a vintage-style 3-saddle bridge with slotted steel saddles and vintage-style tuning machines for enhanced tuning stability. Options include Rosewood Fingerboard in Burgundy Mist Metallic and Maple Fingerboard in Blonde.
Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘50s Jazzmaster® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘50s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a pair of vintage-style ‘50s single-coil pickups that deliver all the sweet and sparkling, warm and woody tone that made Fender® famous. Other features include a vintage-style floating tremolo for expressive vibrato and vintage-style tuning machines for enhanced tuning stability. Options include Rosewood Fingerboard in 3-Color Sunburst and Rosewood Fingerboard in Fiesta Red.
Limited Edition Vintera® II Road Worn® ‘60s Precision Bass®
Featuring a variety of vintage colors finished in Road Worn® aged nitrocellulose lacquer, the Vintera® II Road Worn® ‘60s Precision Bass® recreates the look and feel of a well-played classic. The limited Road Worn models are enhanced with a new subtle aging process combining light checking, gentle wear patterns and a semi-gloss finish, while maintaining the authentic broken-in feel players love about vintage Fenders. The ‘60s “C”-shape maple neck with 7.25” radius rosewood fingerboard and vintage-tall frets provides supreme comfort and outstanding feel. Under the hood, you’ll find a vintage-style ‘60s split-coil Precision pickup that delivers all the warm, dynamic and powerful tone that made Fender® famous. The vintage-style 4-saddle bridge and vintage-style tuning machines provide classic looks with enhanced intonation and tuning stability to complete the package. Options include Rosewood Fingerboard in Fiesta Red and Charcoal Frost Metallic.
Re-live classic Rig Rundowns from Tool’s Justin Chancellor, Pantera’s Rex Brown, Tim Commerford (RATM/Prophets of Rage), MonoNeon (Prince), and other road-tested pros as they reveal the routing, wah/whammy tricks, delay math, and looping workflows that truly hold up onstage.
Building on the foundation of the company’s acclaimed pedalkits, StewMac has introduced a line of ready-to-play, fully finished guitar effects pedals.
The newly launched models include StewMac’s four most popular pedal designs: the Sun Fuzz; Lightcycle Phasor II optical phaser; Two Kings Boost dual overdrive; and Ghost Drive transparent overdrive. Each pedal delivers classic tone at an incredible price.
There have been countless replicas and reimaginations of the classic Fuzz Face pedal. StewMac’s Sun Fuzz gives you the control and tone shaping you've always wanted from the originals, and it’s a must-have for fans of Hendrix, Clapton, or Gilmour’s tone.
This circuit is one of the foundational tones for electric guitar, but the germanium powered originals can be hard to control and don't play nice with many pickups and amps—even temperature can completely change the tone! To create a more predictable, controllable, reliable tone, we've swapped the germanium transistor for a silicon BC-108, giving the pedal a brighter tone, more gain, and enhanced touch sensitivity.
Priced at $99.99, the Sun Fuzz is a no-brainer for fuzz fans who don’t want to shell out $200+ for the originals. Key features include:
Improved bias control and tone shaping compared to the originals.
Silicon BD-108 transistor.
Versatile fuzz with simple controls for volume, fuzz, and tone.
Sounds great with humbuckers, single-coils, and P-90s alike.
Inspired by one of the most sought-after dual overdrives on the market, players like John Petrucci, Gary Clark Jr., Samantha Fish, and Warren Haynes have raved about the originator of this circuit, the King of Tone. Now, you don’t have to wait to add this circuit to your rig. StewMac’s Two Kings is transparent but still warm and gritty, with a full range of frequencies available—no matter the setting. It won't overpower the unique tone of your guitar and amp—it just makes it better.
The Two Kings is actually two pedals in one, with selectable boost and distortion through internal dip switches. The two sides of the pedal are completely independent—it's easy to find the sweet spot for each side. With knobs for gain, volume, and tone you can get anything from simple boost, gritty overdrive, and even distortion in a flash. If you want to go deep, you can further tailor the sound with the internal controls for infinite tone tweaking.
Priced at $159.99, the Two Kings is an affordable and authentic alternative to the pricey, hard-to-get original. Key features include:
2-in-1 pedal.
Maintains core tone of guitar and amp.
Effortlessly provides boost, gritty overdrive, and distortion.
This isn’t just another phase shifter—it’s the unmistakable sound of deep, liquid movement that defined an era. Inspired by the MuTron Phasor II from the 1970’s this studio-quality, all-analog optical phase circuit set the gold standard for smooth, sweeping modulation. StewMac has recreated this timeless classic to bring your tone to life with the same lush, organic depth that graced the pedalboards of legends. You can recreate those complicated textures live—from a rotary speaker shimmer to wild spacey soundscapes, every knob twist sparks inspiration. On the front are controls for depth, rate, and feedback, letting you dial in anything from subtle swirl to rapid tremolo and synthesizer sounds. For even more flexibility, two internal controls let you dial in the sweep and intensity of the phased signal.
Priced At $119.99, the Lightcycle Phasor II is an authentic and affordable alternative to the original. Key features include:
Studio-quality optical phaser.
Controls for depth, rate, and feedback.
Two internal controls to adjust the sweep and intensity of the phased signal.
Not just another “klone”, the StewMac Ghost Drive pedal is astonishingly close to the famed Klon Centaur Professional Overdrive. StewMac scoured the globe to source the nearly impossible to find (electronically identical) 1N34A germanium diodes that many claim were the heart and soul of the mojo behind the original Klon. Also, unlike so many modern klones that rely on surface mount components, the Ghost Drive is pure old school using through-hole components and traditional solder joints. The Klon was made famous by countless players like Joe Perry, Mike McCready, Joe Bonamassa, John Mayer, Nels Cline and more. Like the original, StewMac’s Ghost Drive is extremely easy to use: just gain, treble, and output. The gain is where the magic is by adding sweet saturation and harmonics while retaining the character of your amp. The treble acts as a boost or cut, allowing you to dial in the perfect mid-range for your tone.
Priced at just $129.99, the StewMac Ghost Drive provides a nearly identical tone for just a fraction of the price of the originals. Key features include:
Through-hole components and traditional solder joints just like the originals.
The electronic identical 1N34A germanium diodes in the originals.
Works great as a clean boost as well as a transparent overdrive.
Buffered bypass.
For more information about StewMac’s new line of pedals visit stewmac.com
A finish made up of apple-red satin, Rustoleum red glitter, and Magic Marble paint echo the playful spirit of Leroy the cat, who appears on the headstock in his more dangerous guise.
Reader: Cary Cummings
Hometown: Seattle, WA Guitar: Catocaster
“The problem with cats is they get the exact same look whether they see a moth or an axe murderer.” —Edgar Allen Poe
Leroy had the courage to live on this earth for 19 1/2 years.
I had no idea what to expect when we arrived at the live animal will-call area at the airport. I knew I was picking up a 12-week-old Burmese kitten. When they brought out his little crate carrier, I was nervous and excited. But when I opened the door to peek inside and greet our new arrival, I saw a shockingly tiny, scared little creature that could fit in the palm of my hand, and I felt so bad that he was put through such an ordeal. He seemed pretty calm about the whole thing.
“Leroy liked flashy things, chaos, and movement.”
At his full-grown eight pounds, Leroy was the patriarch of our household and animal family. Over the course of his days, he lived and played with six different labrador retrievers, outliving three of them. He was everyone’s buddy and tormentor in equal measure. He slept on his bed when he wanted, curled up on a dog’s tummy, or on one of our heads. He loved to play fetch, knock over unattended glasses full of water, and relished a 90 mph sneak attack as we descended the stairs. He loved us, but often reminded us that we really lived in his world and he could take us out at any time. If he had been as big as one of the dogs it would have been terrifying. Sometimes it was terrifying anyway.
I built this guitar to remember and honor Leroy. He liked flashy things, chaos, and movement. He also loved “helping” change guitar strings and occasionally trying to swallow them. This build consists of a S-style poplar body from Ultratouch Guitars in Texas and a Warmoth quarter-sawn S-style neck with a Clapton carve and 6150 frets. I sprayed the body with a primer coat, followed by apple-red satin, and finished it off with Rustoleum red glitter to give it some sparkle. To add interest and movement, and a little chaos, I dipped it into a 32-gallon garbage can filled with water topped with a swirl of Magic Marble paint, finally sealing it in with 10 coats of wipe-on poly.
The finishing touch included an orange anodized pickguard, Wilkenson/Gotoh VSVG tremolo bridge, Wilkenson low gauss, blade style pickups, 250k CTS pots, 0.015 uF ceramic disk capacitors, Gotoh gold tuners, and a dangerous cat decal on the headstock.
I like to imagine Leroy somewhere over the rainbow bridge playing with his friends: Charlie, Dewey, and Olive. I hope to find them again one sunny day. I know Leroy would approve of this guitar and probably give me another sneaky needle-toothed surprise attack to celebrate.
From Tom Bukovac’s first-year ’58 to Larry Carlton’s iconic ’69 and Molly Miller’s well-worn ’78, this PG best-of Rig Rundown celebrates the artists who made the ES-335 their own. Hear Charlie Worsham’s Vince Gill gift story, Tim Pierce’s player-grade philosophy, and Sturgill Simpson’s stage-shaking tones—plus why so many pros trust this semi-hollow classic.
Gibson ES-335 Satin Semi-Hollow Electric Guitar Satin Cherry
