F#sus2sus4 is F#, G#, B and C# — F#sus4 with the second added underneath the fourth.
It sounds ringing and deliberately ambiguous. Read another way it is a stack of fourths, which is why it works as a pad rather than as a chord that resolves.
Texture more than function — still no third.

| F# | G# | B | C# |
|---|---|---|---|
| 1 | 2 | 4 | 5 |
Also written F#sus2/4 or F# suspended 2nd and 4th. The same chord either way; which spelling you meet depends on who wrote the chart.
The same operation one voice further down: the third voice from the top falls an octave and becomes the bass.
That leaves a bigger hole under the top three notes, so a string gets skipped: the muted string in the middle is the shape, not a mistake.
F#sus2sus4 has 9 of them, on strings 5-3-2-1 and strings 6-4-3-2, from open position up to the 13th — every inversion the chord has: F# in the bass, G# in the bass, B in the bass and C# in the bass. The one to learn first is the B shape at the nut.
5 of them sit on strings 5-3-2-1, so you can run the inversions up one set without changing strings — which is the whole reason to learn them as a family rather than as separate grips.
All 4 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
In which keys. Every note of F#sus2sus4 belongs to C# minor (the iv), Eb minor (the ♭III), E major (the ii), F# major (the I), F# minor (the i), Ab minor (the ♭VII), A major (the vi) and B major (the V).
Every note of F#sus2sus4 is in F# major, F# mixolydian, F# dorian, F# natural minor and F# harmonic minor.
Change one note of F#sus2sus4 and you have F#sus2 (drop the fourth), F#sus4 (drop the second), F#add9 (the fourth becomes the major third), F#madd9 (the fourth becomes the minor third), F#7sus4 (the second becomes the flat seventh) or F#11 (add the flat seventh).
F#sus2sus4 is a suspended chord — root and fifth, with a second or fourth where the third would be — or nothing at all. Suspended and power chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.