
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.
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Strong midrange-focused personality. Particularly vowel-ly and vocal sweep. Feels controlled.
Some players will miss silkier, hazier bass-range sounds.
$249
Dunlop Mick Ronson Cry Baby
Park and fly with this mid-focused but very vocal wah honoring Bowie’s right-hand man.
Dunlop Mick Ronson Wah - MAIN by premierguitar
Mick Ronson—lead ripper, lieutenant, riff-dealer, and arranger in David Bowie’s Spiders from Mars—was such a cool amalgam of ’60s British guitar voices. He had Keith Richards’ sense of rhythm and hooks, Jimmy Page’s knack for evil-sounding ear candy, and a preference for loud, simple rigs: Les Paul, Marshall, Tone Bender, Echoplex, and, most critically, a Cry Baby wah. You know the sound of this Cry Baby. It’s everywhere on early 1970s Bowie records—“Queen Bitch,” “Moonage Daydream,” and “Width of a Circle,” to name a few—and it put discernible fangs and venom in his playing. There are many such sounds in Dunlop’s excellent new tribute, the Mick Ronson Cry Baby.
Ronno was not a wah player in the “wocka-wocka” sense. He primarily used the pedal in a fixed position or with subtle longer sweeps. His favorite wah for the job was an early Cry Baby built in Italy by Jen. These wahs were notoriously, shall we say, “unique” from specimen to specimen. And without Ronno’s original on hand for comparison, it’s hard to know how close the tribute gets to nailing it. But there is an unmistakable mid focus that mirrors and invites Ronno’s biting phrasing—particularly in Bowie’s live recordings from the time. The new pedal’s sweep starts out squawky at the heel-down position, where my other vintage-voiced wahs just sound foggy. That midrange emphasis and presence remains through its sweep, suggesting the Ronson Wah’s singing range is narrow. On the contrary, the many distinctly different vowel sounds within that range color the base tone more strongly than many wahs with a smoother, bassier taper. That profile lends itself to great control and multiple bold, distinct sounds—particularly when an angry gain device is situated upstream.
Very diverse slate of tones. Capable of great focus and power. Potentially killer studio tool.
Sculpting tones in a reliably reproducible way can be challenging. Midrange emphasis may be a deal breaker for some.
$199 street
Bold-voiced, super-tunable distortion that excels in contexts from filtered boost to total belligerence.
Whitman Audio calls the Wave Collapse a fuzz—and what a very cool fuzz it is. But classifying it strictly as such undersells the breadth of its sounds. The Seattle, Washington-built Wave Collapse has personality at low gain levels and super crunchy ones. It’s responsive and sensitive enough to input and touch dynamics to move from light overdrive to low-gain distortion and degenerate fuzz with a change in picking intensity or guitar volume. And from the pedal’s own very interactive controls, one can summon big, ringing, near-clean tones, desert sludge, or snorkel-y wah buzz.
The Wave Collapse speaks many languages, but it has an accent—usually an almost wah-like midrange lilt that shows up as faint or super-pronounced. It’s not everyone’s creamy distortion ideal. But with the right guitar pairings and a dynamic approach, the Wave Collapse’s midrange foundation can still span sparkly and savage extremes that stand tall and distinctive in a mix. There’s much that sounds and feels familiar in the Wave Collapse, but the many surprises it keeps in store are the real fun.
Heavy Surf, Changing Waves
The absence of a single fundamental influence makes it tricky to get your bearings with the Wave Collapse at first. Depending on where you park the controls to start, you might hear traces of RAT in the midrange-forward, growly distortion, or the Boss SD-1 in many heavy overdrive settings. At its fuzziest, it howls and spits like aFuzz Face orTone Bender and can generate compressed, super-focused, direct-to-desk rasp. And in its darker corners, weighty doom tones abound.
The many personalities are intentional. Whitman Dewey-Smith’s design brief was, in his own words, “a wide palette ranging from dirty boost to almost square-wave fuzz and textures that could be smooth or sputtery.” A parallel goal, he says, was to encourage tone discoveries in less-obvious spaces. Many such gems live in the complex interrelationships between the EQ, filter, and bias controls. They also live in the circuit mash-up at the heart of the Wave Collapse. The two most prominent fixtures on the circuit are the BC108 transistor (best known as a go-to in Fuzz Face builds) and twin red LED clipping diodes (associated, in the minds of many, with clipping in the Turbo RAT and Marshall Jubilee amplifier). That’s not exactly a classic combination of amplifier and clipping section components, but it’s a big part of the Wave Collapse’s sonic identity.
The BC108 drives one of two core gain stages in the Wave Collapse. The first stage takes inspiration from early, simple fuzz topologies like the Tone Bender and Fuzz Face, but with a focus on what Dewey-Smith calls “exploiting the odd edges and interactivity in a two-transistor gain stage.” The BC108 contributes significant character to this stage. The second, post-EQ gain stage is JFET-based. It’s set up to interact like a tube guitar amp input stage and is followed by the clipping LEDs. Dewey-Smith says you can think of the whole as a “fairly” symmetric hard-clipping scheme.
“The magic of the circuit is that those gain stages are very complimentary. When stage one is running clean, it still passes a large, unclipped signal that hits the second stage, making those classic early distortion sounds. Conversely, when the first stage is running hot, it clips hard and the second stage takes a back seat—mostly smoothing out the rough edges of the first stage.” Factor in the modified Jack Orman pickup simulator-style section in the front end, and you start to understand the pedal’s propensity for surprise and expressive latitude.
Searchin’ Safari
The Wave Collapse’s many identities aren’t always easy to wrangle at the granular-detail level. The control set—knobs for bias, filter color, input level, and output level, plus switches for “mass” (gain,) “range”(bass content at the input), and “center” (shifts the filter’s mid emphasis from flat)—are interdependent in such a way that small adjustments can shift a tone’s character significantly, and it can be challenging to find your way back to a tone that sounded just right five minutes ago. Practice goes a long way toward mastering these sensitivities. One path to reliably reproducible sounds is to establish a ballpark tone focus with the filter first, dial in the input gain to an appropriately energetic zone, then shape the distortion color and response more specifically with the bias.
As you get a feel for these interactions, you’ll be knocked out by the sounds and ideas you bump into along the way. In addition to obvious vintage fuzz and distortion touchstones I crafted evocations of blistering, compressed tweed amps, jangly Marshalls, and many shades of recording console preamp overdrive. The Wave Collapse responds in cool ways to just about any instrument you situate out front. But while your results may vary, I preferred the greater headroom and detail that comes with single-coil pickup pairings. Humbuckers, predictably conjure a more compressed and, to my ears, less varied set of sounds. I also found black-panel Fender amps a more adaptable pairing than Vox- and Marshall-style voices. But just about any guitar or pickup type can yield magnificent results.
The Verdict
Though it’s hard to avoid its filtered midrange signature entirely, the Wave Collapse is a pedal of many masks. Once you master the twitchy interactivity between its controls, you can tailor the pedal to weave innocuously but energetically into a mix or completely dominate it. These capabilities are invaluable in ensemble performances, but it’s super enticing to consider how the Wave Collapse would work in a studio situation, where its focus and potency can fill gaps and nooks in color and vitality or turn a tune on its head. Pedals that stimulate the inner arranger, producer, and punk simultaneously are valuable tools. And while the Wave Collapse won’t suit every taste, when you factor together the pedal’s sub-$200 cost, thoughtful design, high-quality execution, and malleability, it adds up to a lot of utility for a very fair price.
The New ToneWoodAmp2 is smaller, lighter, rechargeable, and offers foureffects simultaneously, along with a mobile app and much more.
ToneWoodAmp has released the second generation of its popular accessory that brings a wide array of special effects to acoustic guitars without needing to plug into an external amplifier.
The ToneWoodAmp2 has been redesigned with portability, ease of use, and enhanced performance in mind, featuring a lighter and more compact design while adding more features and capabilities. The new ToneWoodAmp2 has a powerful DSP, a rechargeable battery that lasts for more than 10 hours, and it provides more creative tools as well as the ability to play with up to four simultaneous effects. A new smartphone app allows users to operate the device from either their phone or the device itself.
Reverb Basics | ToneWoodAmp2 Effects Guide
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.The upgraded product is also a fully professional preamp. In addition to the built-in effects, it includes a powerful EQ, compressor, “Feedback Assassin” tools, and more. “While the firstToneWoodAmp provided a breakthrough technology in how acoustic guitar players experience their guitar playing mostly off-stage, the new ToneWoodAmp2 doubles as an on-stage professional pre-amp device with many new capabilities, a perfect tool for performing musicians who need a professional set of tools in a very small footprint package,” says Ofer Webman, CEO of ToneWoodAmp and its inventor.Like the original ToneWoodAmp, the ToneWoodAmp2 attaches to any acoustic guitar via an innovative magnetic X-brace. A new and unique guitar attachment system, called the LiftKit, allows the second-generation device to attach to any acoustic guitar, even a guitar with a curved back.
TonewoodAmp2 features expanded capabilities by its new smartphone app: With its built-inBluetooth®, guitarists can now connect the ToneWoodAmp2 to a free smartphone app for extended control, intuitive adjustments, preset management, and on-the-fly tweaks. The new app is compatible with all modern iOS and Android devices.“The new device is a massive improvement from the original ToneWoodAmp,” says MikeDawes, the U.K.-based guitar player who has twice been named the Best Acoustic Guitarist in the World Right Now by MusicRadar and Total Guitar's end-of-year poll. “This thing is not only reverb or delay or chorus on your guitar it’s everything and more at once. The reason why this is so good is that it’s reducing every barrier that I would have to creativity.”The new ToneWoodAmp2 is available for $300.
For more information, visit www.tonewoodamp.com.
The country artist and session weapon packed a range of acoustics for some recent studio time.
Charlie Worsham was just wrapping up some tracking down at Sony Studios in Nashville when PG’s John Bohlinger caught up with him for a look at what tools he packs for a recording gig. Worsham had with him some of his most treasured acoustics, electrics, mandolins, banjos, and more, plus a collection of primo picks for all applications. Check out the highlights below.
Brought to you by D’Addario.
Guitar So Nice, He Bought It Twice
This 1963 Martin D-28, gifted to him from his parents, was Worsham’s first serious vintage guitar. Around 12 years ago, he took it into a shop for a refret, and after a freak in-store accident left it in pieces, Worsham accepted a check for the guitar’s value, and walked away.
A while later, he noticed it hanging on the wall of the same store—reassembled and fit for service again. Worsham couldn’t help himself; he bought it back, making it “the guitar so nice, [he] acquired it twice.”
He runs it with D’Addario XS strings and likes bluegrass gauges: mediums for the E, A, and D strings, and lights for the G, B, and high E strings. It’s kitted out with an LR Baggs HiFi pickup. And the scratches around the soundhole and pickguard? Those came courtesy of John Osborne’s heavy picking hand.
Check, Please
Worsham reckons he’s probably played this treasured Gibson J-50 on more records than any other guitar he owns. After he took the check from the busted Martin D-28, he used it to buy this one.
Family Jewel
This Parker mando used to belong to John Osborne, Worsham’s former bandmate. Worsham was always borrowing this mandolin, so when Osborne decided to sell it, Worsham picked it up to keep it in the family.
Burkett from ’Bama
This mini Burkett was built by luthier James Burkett in Alabama. Its nut is equivalent to a capo on the third fret of a regular acoustic.
Tune in to the full video to see Worsham’s Ohm open-back banjo, P-90-equipped Gibson mandolin, an Osborne-owned Strat, and a super-special wedding-gift ES-335 from Vince Gill.
Tweed Fit for a Prince(ton)
Worsham took Tom Bukovac’s wisdom and got himself a Fender Princeton Reverb, which he still loves, and he runs it alongside a Nashville Amp Works clone of a golden-era tweed Fender Deluxe.
Charlie Worsham’s Pedalboard
At his feet, Worsham runs a pedalboard with a Sonic Research ST-300 tuner, Browne Amplification Protein, Mythos Mjolnir, Guyatone ST2, Electro-Harmonix Canyon, Neunaber Immerse, Strymon El Capistan, and Chase Bliss Warped Vinyl HiFi.