
“I was thinking about how I might’ve had to approach it if I was making this record in the early ’80s.”
Working with some of rock’s biggest bands, including GNR, Tool, Nine Inch Nails, and the Smashing Pumpkins, prepared the guitarist to produce records—A Perfect Circle’s and his own. On his new What Normal Was, vocals and dark ’80s pop propel the soundtrack.
Billy Howerdel has topped the charts in A Perfect Circle (APC). He’s been a guitar tech with high-profile acts like Nine Inch Nails, the Smashing Pumpkins, and Tool (where he worked with future APC frontman Maynard James Keenan). He’s even scored video games. All the while, he’s crafted a unique and identifiable guitar style full of expansive ambiance, octave-fuzz-laced melodies, and crushing low-C riffs. Each of these experiences informed and inspired the next, like a row of dominos.
What Normal Was, Howerdel’s latest offering and first album under his name, is different. From the first notes of “Selfish Hearts” to the album closer, “Stars,” his guitar embraces a supporting role, putting the focus on his newfound vocal approach. Instead of futuristic, hard-rock aggression, he leans on the synth-heavy sounds that inspired his early years. According to Howerdel, he’s been cultivating this sound his entire life.
“From the time I was about 17, I was always writing songs. In my mid-20s, once I had enough strong material, I felt like, ‘This is the time to do it. It’s time to start really focusing on this.’”
Howerdel wasn’t sitting around and waiting for his big break, however. He was paying his dues as a lighting and guitar technician with some of the biggest names in the game. One gig, in particular, laid the foundation for all to come.
Billy Howerdel - Poison Flowers (Official Music Video)
Guitarist Billy Howerdel says he focused on vocals to find the characters of the songs on his new album, What Normal Was, which is his first release under his own name.
While teching for guitarist Robin Finck, Howerdel found himself shoulder to shoulder with none other than Axl Rose—working on the infamous Guns N’ Roses album, Chinese Democracy. “There’s a lot of talented personnel around [the GNR] camp. The engineers, producers, and technicians were trying to make the best-sounding record,” Howerdel remembers. “For me, it was the perfect situation. It taught me how to make records. It taught me how to make Mer de Noms, the first APC record, by myself.”
As far as which songs made it onto APC’s mammoth debut, Howerdel says, “I leave that up to my relationship with Maynard. I’ll present him with things I think he might like. But I’ll let him dictate it because he’s got to be engaged with the process.”
There’s no doubt that APC is a pillar of Howerdel’s musical personality. But as a voracious songwriter, he has more to say. That’s why he jumped at the chance when video game developer Naughty Dog asked him to score Jak X: Combat Racing. Not only was it an inspiring new medium. It would push his music into new territories.
“The object of that music was to have forward motion, to have a little more tempo,” Howerdel explains. “That’s something that doesn’t usually come from me. Everyone’s got their own flavor, and mine was a mid-tempo thing. Pushing the tempo up for that video game helped me push the tempo up for ASHES dIVIDE’s first record.” That album, Keep Telling Myself It’s Alright, was technically Howerdel’s first solo album.
“This is definitely a bit of a time capsule letter back to myself. It’s a look back to before I even became a musician; before I even considered picking up a guitar.”
Let’s follow the dominos: Guns N’ Roses into A Perfect Circle, A Perfect Circle into video games, video games into the solo project ASHES dIVIDE.And the dominos kept falling, bringing us to What Normal Was.
But this new domino somehow fell in reverse.
“This is definitely a bit of a time capsule letter back to myself,” Howerdel shares. “It’s a look back to before I even became a musician, before I even considered picking up a guitar.”
Pick any song on the album and it’s clear what he means. From the Andy Taylor-like (Duran Duran) guitar melodies of “Ani” to the Cure influence on “Follower,” this set exudes the darker side of ’80s pop, which Howerdel says is very intentional.
Billy Howerdel's Gear
Billy Howerdel used a Gibson ES-175 throughout his new album, What Normal Was.
Photo by Travis Shinn
Guitars
- Gibson 1960 Les Paul Classic Reissue with Tom Anderson humbuckers
- Gibson ES-175
- Yamaha AES 1500
- Gibson J-28 acoustic
Bass
- Fender Deluxe P Bass
- Warwick Thumb Bass 5-string (never used low B)
Strings & Picks
- Ernie Ball (.010-.046 sets)
- Clayton 1.0 mm triangle picks
Amps
- 1978 Marshall Super Lead 100 JMP modded with a Naylor-style preamp
- Friedman Naked
- Gibson GA-15RV combo
Effects
- Fractal Audio Axe-Fx III (used for effects and a Fender Twin model for completely clean tones)
- Prescription Electronics Experience Octave
- Electro-Harmonix MEL9
- Neve 1073 preamp
- Universal Audio 1176 Compressor
- Universal Audio Ampeg B-15N plug-in
“I was thinking about how I might’ve had to approach it if I was making this record in the early ’80s,” he says. “I tried to make it a focused album of 10 songs that fit together and balance between a modern record and honoring the classic, post-punk music that turned me on.”
Pulling from early influences like Echo and the Bunnymen, the Cure, and Killing Joke was quite the shift for Howerdel. Not only did it mean stepping out from under the ASHES dIVIDE moniker, but also embracing a new-to-him tracking processes.
“’Selfish Hearts’ is probably all through an amp like my Marshall, while there are other songs, like ‘Free and Weightless,’ where some of it is through an amp but double-tracked with miking the guitar body. I’m taking a [Shure SM] 57 shitty microphone, miking the Les Paul’s wood, and then reamping that.”
To be clear, the Marshall Howerdel is referring to isn’t really a Marshall anymore, though it began life as one. He explains: “The power section is a 1978 Super Lead 100 JMP head. The preamp is based on this amp called a Naylor. I was about to play the Naylor on the whole APC run, but I couldn’t play clean loud enough. So, Dave [Friedman of Friedman Amplification] gave a mod to the amp to bring that Naylor sound to it.”
Billy Howerdel onstage with A Perfect Circle, the band he cofounded in 1999 with Tool frontman Maynard James Keenan. Howerdel produced and engineered APC’s platinum debut, Mer de Noms.
Photo by Jenny Jimenez
That amp—which Friedman briefly offered and called the Naked—and a Gibson GA-15RV combo still make up the backbone of Howerdel’s studio and live rigs. That’s pretty surprising when you consider the guitarist’s walls of sound. It’s even more surprising when realizing that, aside from a wealth of Axe-Fx-driven ambiance, he often controls the whole thing with one guitar and a set of his favorite humbuckers.
“I do try and get a lot of sounds out of the same guitar,” Howerdel says. “It’s a [Gibson] 1960 Les Paul Classic Reissue with Tom Anderson pickups. I fell into those at an early age. You find what you have and start using them as your tools. And then your sound comes.”
Howerdel’s tools are so ingrained that he maintains a large collection of the same model loaded with those humbuckers. Many are kept in altered tunings or set up for his signature, otherworldly slide excursions. Generally relying on a glass Dunlop slide for songs like “Poison Flowers,” he will occasionally reach for another, previously owned by a very surprising influence: Joe Walsh.
While Howerdel can go on and on about his guitars, the instrument rarely dominates on What Normal Was. As with everything on this album, that’s also purposeful. “Truly finding the song’s character in the voice—that’s what is important to me on this record,” Howerdel explains. “Anything else, like guitar, is going to be in support of the vocal. And bass playing is such an important part of it. Basslines are as important as the guitar.”
“A few years ago, I even called my friend Pete Thorn and said, ‘I think I want to take lessons from you.’ He laughed about where we would even start. But part of me has a superstition about knowing too much.”
His focus on the low end is evident. Whether grinding through “Follower” or taking the lead on “Ani,” the bass adds to the compositions without falling prey to guitarist-playing-bass trappings, though, he admits, that’s precisely what it is. “I’m not a traditional bass player. I’m the guitar player who plays bass. Simon Gallup [the Cure], Peter Hook [Joy Division/New Order], and Paul Raven [Killing Joke] were what turned me onto the bass guitar.”
But don’t worry. There are plenty of breathtaking guitar moments throughout What Normal Was. “EXP” opens with a delicate and dissonant acoustic melody, he punctuates “Beautiful Mistake” with his trademark octave-up lead lines, and “Follower” delivers a classic guitar solo.
“Guitar is a big part of what I do. I like heavier guitar and riffy guitar,” Howerdel says. “A few years ago, I even called my friend Pete Thorn and said, ‘I think I want to take lessons from you.’ He laughed about where we would even start. But part of me has a superstition about knowing too much. That I will change the way I’m writing.”
Considering how different What Normal Was is while still sounding very Billy Howerdel, it’s hard to imagine guitar lessons changing the way Howerdel writes. But who knows? Surely whatever comes next will topple the succeeding domino, and the next, and the next.
Rig Rundown - A Perfect Circle
Other than upgrading to the Axe-FX III, Howerdel’s rig has changed very little since this PGRig Rundown from 2017. Watch as he pulls a world of tones from this deceptively streamlined rig.
- Riff Rundown: A Perfect Circle's "Judith" - Premier Guitar ›
- A Perfect Circle: Another Round for Billy Howerdel and James Iha ... ›
- Rig Rundown: A Perfect Circle - Premier Guitar ›
The Austin-based guitarist sticks with a tried-and-true combo of American guitars and British amps.
If you’ve been on the path of this spring’s Rhett Schull/Zach Person tour, you’ve been treated to one of the coolest rock ’n’ roll double bills criss-crossing North America this year. Person, who is based in Austin, put out his second full-length record, Let’s Get Loud, in March 2024, and it was packed with alt-, blues-, and psychedelic-rock anthems built around his take-no-prisoners playing.
This year, Person is road-doggin’ it around the United States as a two-piece unit with just a drummer, and PG’s Chris Kies caught up with him before he and Shull played the Eastside Bowl in Madison, Tennessee, to see what goods Person is bringing for this spring’s shows.
Brought to you by D’Addario
Customized Custom
This Gibson Jimi Hendrix 1967 Custom SG came from Gibson’s custom shop, and for Person, an SG with humbuckers is a hard combination to beat. He removed the Maestro trem system and had a tailpiece installed for tuning stability on the road, and he subjected the neck humbucker to a “Jimmy Page mod,” which entails removing the pole pieces to get closer to single-coil tones. This SG stays in standard tuning, with Ernie Ball or D’Addario strings (usually .010–.046s). Person digs Dunlop Flow Grip .88 mm picks.
Brown Sound
Person brought this 1967 Gibson SG Special back to life with a list of modifications and upgrades, including new pickups and a refinish, but its wood, neck shape, and original frets all made it worth it to him. The neck shape is narrow but chunky in Person’s hands, landing somewhere near the feel of Tyler Bryant’s 1962 Stratocaster. The pickups now are OX4 P-90s, and like the Custom, this one’s had its Maestro system amputated.
Jeannie Comes Alive
One Thanksgiving at his in-laws’ home in Dallas, Person mentioned how badly he wanted a Gibson LG-2 acoustic. As it happened, his father-in-law suspected his mother had one, which had been relegated to storage in a shed. Person and his wife’s father ventured through rain to dig it out, and sure enough, a very beat up LG-1 was withering away in its case. No local techs in Austin thought it was worth saving, except for Elaine Filion, who was used to taking on bigger restoration projects. Filion succeeded, taking the top off and installing an X-bracing system to turn the LG-1 into an LG-2-style guitar. Now, it’s got an L.R. Baggs pickup and bears the nameplate “Jeannie” on its headstock to commemorate his wife’s grandma, the original owner. Jeannie usually stays home, but Person brought her out specially for the Rundown.
Marshall Muscle
This Marshall JTM45 MkII is Person’s usual go-to. It runs just at breakup volume and gets pushed with some variation of a Pro Co RAT, his favorite dirt box.
Supro Signature
This Super Black Magick Reverb, Tyler Bryant’s signature, is along for the ride as a backup to the Marshall.
Zach Person’s Pedalboard
Person has done tours with just an overdrive pedal and nothing else, so by comparison, this two-tiered Vertex board is luxurious. Still, it’s compact and carries all he needs at the moment. The JHS Pack Rat is the core sound, set fairly heavy and dirty. The rest includes a Boss TU-3, EarthQuaker Devices Double Hoof, Vox Clyde McCoy wah, Boss BF-2, DigiTech Drop, Strymon El Capistan, and an Interstellar Audio Machines Marsling Octafuzzdrive. A TC Helicon Mic Mechanic rides along as a vocal effect so Person can keep control over his voice from night to night.
This is perhaps the most rare Iwase guitar: one volume, one tone, and a quality adjustable bridge, plus a raised pickguard and some beautiful shading on the burst.
A 6-string found in the workshop of the late luthier Yukichi Iwase may be the only one of these small, nearly full-scale guitars. Our columnist tells the story.
I’ve been thinking a lot about snowflakes lately. We are getting some snowy weather up my way, but there’s a few other items rattling around in my mind. Like, I just got a car for my daughter (thanks to those who bought guitars from me recently), and it’s so freakin’ cool. I bought her a Mini Cooper, and this thing is so rad! I was doing research on these models, and each one is sorta different as far as colors, racing stripes, wheels, etc. Her friends say she has a “main character” car, but you’ll probably have to ask a teenager whatthat means.
And then my mind wandered to my college days, when I was an English major. I got to read and write every day, and I thought I was getting good at it until a professor raked me over the proverbial coals for using the word “unique” incorrectly when describing a local band’s sound. He really tore me up, because if I describe something as unique, it should be like none other—like a snowflake.
So, what about guitars? Is a custom-shop model unique if it has the same pickups and same scale as many others? Even if the body is shaped differently? Seriously, that professor would hand you your butt because, in his mind, you didn’t just choose words unless you understood their real meaning. Consider the super-rare Teisco T-60 … the model that Glen Campbell loved and played for much of his early career. I know of only four in existence. There are some Japanese collectors who own hundreds of guitars but don’t have a T-60. Does that make the T-60 unique, or simply rare? I mean, they were all hand-made and featured that original hole-in-the-body “monkey grip” … but unique? Talk amongst yourselves for a hot minute.
“In my waning days of collecting, I just want to have Voice stuff, because I met Iwase and connected with him immediately.”
I recently wrote about the passing of the great Japanese luthier Yukichi Iwase, whose small company (basically just him) produced some of the finest guitars and amps and carried the “Voice” label. A friend in Japan, along with his daughters, were in the process of clearing out his old workshop, and I’ve been trying to acquire everything from it that I can. I used to collect just Teisco stuff, and then I had a passion for the old Intermark/Pleasant guitars. Then I wanted to get all the old Yamaha stuff I could find. But now, in my waning days of collecting, I just want to have Voice stuff, because I met Iwase and connected with him immediately. He was a peach, and, yes, he was unique. Aside from being one of the earliest employees of Tesico, he was a brilliant fellow who could make just about anything from scratch, including guitars and amps. Left in his workshop were a few unfinished T-60s, some pedal steels, some amps, a really cool bass, an unfinished double-neck guitar, and a tiny guitar that is also truly worthy of the term “unique.”
“I know these pickups well enough to understand they are loud, crisp, and offer a full range of sounds,” our columnist says.
The latter is a small powerhouse of a guitar. It has one of his amazing pickups that looks like a big block engine stuffed into an AMC Gremlin. He somehow squeezed out a 23" scale, but the rest of the guitar is like a child’s 6-string or a travel guitar. I believe he only made one of these. The body design has an ocean-wave type of flow, and the guitar is very balanced and not hard on the eyes, even with the exaggerated features. One volume, one tone, and a quality adjustable bridge plus a raised pickguard—the only time I’ve seen this design on his guitars. His finish work was really nice, too, and he was able to get some beautiful shading on the burst. The headstock has a figured overlay and the neck profile is so sweet—curved perfectly with some fine wood.
To me, it seems to have been built around 1966, based on the tuners he used. I don’t have the heart yet to plug this into an amp, but I know these pickups well enough to understand they are loud, crisp, and offer a full range of sounds. So, what do you think? Rare? Truly unique?
“The Archon Classic is not a reissue of the original Archon, but a newly voiced circuit with the lead channel excelling in ’70s and ’80s rock tones and a hotter clean channel able to go into breakup. This is the answer for those wanting an Archon with a hotrod vintage lead channel gain structure without changing preamp tube types and a juiced up clean channel without having to use a boost pedal, all wrapped up in a retro-inspired cabinet design." - Doug Sewell, PRS Amp Designer
Fender Musical Instruments Corporation (FMIC) today announces the launch of the Player II Modified — a bold expansion of its Player II series. Featuring select electric guitar and bass models enhanced with performance-driven upgrades, Player II Modified offers modern players refined tone, performance, and style straight out of the box. As an extension of the best-selling guitar series in Fender’s nearly 80-year history, Player II Modified builds on this legacy with expanded tonal versatility, elevated playability, and modern enhancements that meet the needs of a new generation of players.
Built to Be Reimagined
Since inception, Fender guitars and basses have been crafted with an inherent adaptability—designed to shape and be shaped by the artists who redefine music with them. Throughout the decades, musicians from every genre have transformed Fender instruments to suit their unique sound, making them a true canvas for creativity. The ethos of Fender is, in many ways, a history of modification—where each artist's personal touch, whether through altering pickups, adjusting necks, or reworking finishes, has shaped not just the instruments but the songs they are written with.
Performance-Driven Upgrades Straight From the Factory
"From the early days of players hot-rodding their Strat® and Tele® guitars to today’s musicians pushing sonic boundaries, Fender has always embraced the art of reinvention," said Justin Norvell, EVP of Product, Fender. "Leo Fender intentionally designed our instruments with modularity in mind—allowing them to evolve alongside the player and enabling more personalization than any other brand. Player II Modified carries that spirit forward, offering modern upgrades like our new Player II Modified noiseless pickups and locking tuners for rock-solid stability. It’s about delivering the most in-demand mods straight from the factory while continuing to push the envelope of innovation and support artists in shaping the future of music."
Player II Modified takes the best of the best from Player II Series and builds on it with new and improved performance-driven modifications, offering a refined playing experience straight out of the box.
Key features include:
●New Player II Modified pickups: Genuine Fender tone from the Player II Modified Humbucker and Player II Noiseless™ pickups.
●Upgraded hardware and electronics: From treble bleeds to brass block saddles, the most popular modifications for each model come standard.
●Rock-solid tuning stability: Locking tuners and tapered shaft tuners offer next-level reliability.
This spirit of reinvention is deeply embedded in Fender’s legacy, championed by trailblazing artists like Jimi Hendrix, who flipped his Stratocaster® upside down to redefine rock guitar, Kurt Cobain, who customized his Jaguar® for raw, grunge-driven power, and Thurston Moore, whose Jazzmaster® modifications fueled Sonic Youth’s experimental edge. Today, musicians continue this tradition—Chris Shiflett of Foo Fighters with his Signature Telecaster® Deluxe outfitted with noiseless P-90-style pickups, Julien Baker with her custom-modded American Vintage Thinline, and Brent Mason with his highly versatile ‘67 Telecaster®. Even bassists like Flea have reshaped their sound through modifications, such as the active circuitry in his Jazz Bass®.
In the Hands of IDLES
As part of the Player II Modified launch campaign, Fender has teamed up withIDLES, — a British band known for their explosive live performances and boundary-pushing take on rock—who are featured prominently in the campaign video. Their involvement in the campaign underscores how the Player II Modified series empowers modern players' need for flexibility, tonal range and sonic exploration, whether on stage or in the studio. Watch IDLES perform “Gift Horse” and see what they have to say about these souped up guitars and basses. “Every guitar that I’ve ever had, I’ve modified almost immediately,” said Mark Bowen, IDLES guitarist. “Modifications can definitely make a guitar more approachable,” added Lee Kiernan, IDLES guitarist. “Because everything is to your taste, and what it is you want it to do.”
Fender Mod Shop: A Global Tune-Up Experience
Like the world of automotive design, where customization and performance upgrades are part of the culture, Fender instruments have long been embraced as a canvas for creative expression. From paint colors inspired by classic cars to modding hardware and swapping pickups, musicians across decades and genres have made each instrument their own. Modification isn’t just part of the Fender story—it’s at the heart of it, fueling a legacy of innovation, individuality, and sonic evolution. Starting this April, Fender will bring the Mod Shop experience to players in key markets across London and Melbourne. In each city, Fender will transform a local auto shop into an immersive guitar garage —inviting musicians to get their instruments “tuned up” by a team of Fender mechanics. By night, the space will shift gears into a live venue, where English Teacher (UK) and Hot Machine (AUS) will take the stage with the new Player II Modified series, showcasing the upgraded guitars in action.
“IDLES is the kind of band that pushes boundaries every time they plug in," said Evan Jones, CMO Fender. "Their energy, on-stage presence, experimentation, and refusal to stay in one lane resonates with all of us here at Fender. The Player II Modified series is built for artists like them—musicians who want to evolve their sound, are looking to push boundaries, and make something uniquely their own. We're also excited to bring that spirit of modification & innovation of the Player II Modified Series to life with our upcoming Fender Mod Shop events in London and Melbourne in the coming months. With the Player II Modified series at its core, we're not just showcasing new gear; we're building on our commitment to continually give players & musicians at all levels the ability to find, adjust and perfect their sound.”
Player II Modified Stratocaster
The Player II Modified Stratocaster® is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Strat® chime and sparkle while eliminating unwanted noise and the push/pull switch on the 2nd tone control provides even more tonal flexibility by adding the neck pickup into switch positions 1 and 2. The 2-point tremolo, short post locking tuners, TUSQ® nut, and modern string tree all combine to keep tuning incredibly stable, while the wider travel of the chamfered tremolo block allows players to coax even more expressive, musical vibrato from their instrument. Maple Fingerboard offered in 3 Tone Sunburst, Sunshine Yellow and Harvest Green Metallic. Rosewood Fingerboard offered in Dusk, Electric Blue, and Olympic Pearl.
Player II Modified Stratocaster® HSS Floyd Rose®
The Player II Modified Stratocaster® HSS Floyd Rose® is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern“C”-profile with silky satin urethane finish on the back to the comfy 12”-radius slab rosewood fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Modified humbucker is articulate with plenty of output and the Noiseless™ pickups deliver classic Strat® chime and sparkle while eliminating unwanted noise. For additional tonal flexibility, the push/pull switch on the 2nd tone control splits the bridge humbucker for classic Strat® single-coil tones. The Floyd Rose® Special tremolo enables subtle-to-wild tremolo action while keeping the guitar perfectly in tune and ready for more. Offered in 3 Tone Sunburst, Dusk and Olympic Pearl.
Player II Modified Telecaster®
The Player II Modified Telecaster® is a classic guitar with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 22 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Tele® twang and bite while eliminating unwanted noise and the push/pull switch on the tone control provides even more tonal flexibility by changing the pickup wiring from parallel to series for fatter tones. The 6-saddle bridge, short post locking tuners, TUSQ® nut, and modern string tree all combine to keep tuning incredibly stable for even the most demanding bends or roaring rock leads. Maple Fingerboard offered in Olympic Pearl, Electric Blue and Sunshine Yellow. Rosewood Fingerboard offered in 3 Tone Sunburst, Dusk and Harvest Green Metallic.
Player II Modified Active Precision Bass®
The Player II Modified Active Precision Bass® is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and 20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ PJ pickups deliver classic Fender thump and growl while eliminating unwanted noise and the all-new active preamp with passive tone control and improved EQ section gives players the perfect tool to dial in their favorite tones. The 4-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ® nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in 3 Tone Sunburst, Dusk and Sunshine Yellow. Rosewood Fingerboard offered in Olympic Pearl and Harvest Green Metallic.
Player II Modified Active Jazz Bass®
The Player II Modified Active Jazz Bass® is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Jazz Bass® growl while eliminating unwanted noise while the all-new active preamp with passive tone control and EQ section gives players the perfect tool to dial in their favorite tones. The 4-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ® nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in 3 Tone Sunburst, Olympic Pearl and Electric Blue. Rosewood Fingerboard offered in Dusk, and Harvest Green Metallic.
Player II Modified Active Jazz Bass® V
The Player II Modified Active Jazz Bass® V is a classic bass with the modern player in mind. Everything about the neck is designed for fast and fluid playability, from the Modern “C”-profile with silky satin urethane finish on the back to the comfy 9.5”-radius slab rosewood or 1-piece maple fingerboard with smooth rolled edges and20 medium jumbo frets. The alder body provides classic Fender punch and is available in a variety of exciting new finishes. The Player II Noiseless™ pickups deliver classic Jazz Bass® growl while eliminating unwanted noise while the all-new active preamp with passive tone control and EQ section gives players the perfect tool to dial in their favorite tones. The 5-saddle HiMass™ bridge, tapered-shaft tuners, and TUSQ® nut all combine to keep tuning incredibly stable for even the most demanding performances. Maple Fingerboard offered in Dusk and Olympic Pearl. Rosewood Fingerboard offered in 3 Tone Sunburst and Electric Blue.