
Although the Fogerty brothers share almost all of the guitar and studio gear they've acquired, they both have personal instruments. Tyler's is a Vox Starstream, while Shane, at right, favors his Rickenbacker 370.
John Fogerty's sons blast into space via Astro Radio, the kaleidoscopic debut album by their band, Hearty Har.
From the Everly Brothers to the Beach Boys, sibling harmony is a well-documented phenomenon. The sound created by genetically similar voices resonates in such a special way that it can make even the most callous spine tingle. But what's it called when a pair of brothers tap into some kind of higher frequency that only close siblings can access in order to create a unified vision of guitar playing, songwriting, and production? Whatever it is, Shane and Tyler Fogerty—sons of John Fogerty—have dialed it in.
Under the name Hearty Har, the Fogertys work as a unit, complementing each other in all aspects of their music-making. On their debut album, Radio Astro, the brothers move between roles so seamlessly that it would be virtually impossible to know who is doing what on each of the 11 tracks without following along with the liner notes.
Radio Astro kicks off with the arpeggiated 12-string sparkle of "Radio Man '56," a tune so sunny it can provide your daily dose of vitamin D. The song is a straight-ahead rock 'n' roll jam with a bouncy but driving groove provided by bassist Marcus Högsta and drummer Will Van Santen. Fuzzy guitar leads poke through warm, jangly strumming, enveloped by modular synth bubbles that make the song a swirling sonic rainbow, bound to lift any mood.
If "Radio Man '56" is the brightest song on Radio Astro, closing track "Boogie Man" is the darkest. Its reverb-soaked riffage outlines a minor-key progression drenched with Mellotron and harpsichord pads that make it sound as if recorded by a gang of werewolves at midnight on Friday the 13th. There's so much to take in that it might be the fourth or fifth spin before you notice just how cool the guitar part is, but the detail-oriented listening required of these tunes is definitely part of the fun.
"We just ran off in every direction looking for stuff we liked, and, as it turns out, we like a lot of the stuff that our dad likes, too."—Tyler Fogerty
Elsewhere on the album, the Fogertys prove they've inherited the choogle from their dad, but they always manage to put their own spin on it. Each song seems to open a new bag of tricks and use them to their fullest potential, referencing everything from classic rock to dub and reggae to AM gold. And while the Fogertys used so much drool-worthy vintage gear that it's tempting to talk about the album's throwback vibe, the final product draws from so many eras that it could only exist in the modern one, when every sound and style is on the table.
It's no surprise that Shane and Tyler—29 and 28 years old, respectively—grew up surrounded by music. But while they play with their dad alongside their 19-year-old sister Kelsey as the humorously titled Fogerty's Factory, their formative years were not, in fact, a Creedence Clearwater Revival boot camp. Rather, the two brothers say John and their mom, Julie Fogerty, took a hands-off approach, allowing them to find their own way in music.
Shane Fogerty plays a 1964 Hoffner Galaxie—part of the brothers' collection, which also includes instruments by Gold Tone, Framus, Eastwood, Vox, Rickenbacker, and Fender.
Photo by Nikki Neumann
Shane says that his elementary school music teacher, Paul Cuneo, "left an impression at an early age that made us want to do music and planted one of the seeds." In sixth and seventh grade, the brothers started taking private piano lessons with Cuneo. After about a year or two studying piano, they got stoked about the guitar, so their parents took them to Guitar Center to pick out instruments. "Tyler was the first one who was interested, and he went and got a B.C. Rich, and I hated it," explains Shane, who picked out a blue Squier Strat.
Tyler sees something fundamental in their choice of guitars and adds, "Knowing nothing about guitars or anything, a B.C. Rich looks way different than anything else in Guitar Center, so I'm gonna go for that one. Now I play the Vox teardrop, so that's kind of the roots of that. It's just a strange-looking guitar."
TIDBIT: Building their own studio helped the Fogerty brothers define the sound of Radio Astro, which includes electric sitar, tanpura, and tubular bells.
The brothers made an earlier album they've now renounced and buried. "It turned out not how we wanted," says Tyler. "After that I was like, 'We gotta figure out a different way to do this. I know that we can do it on our own.'" Shane adds, "We decided, 'Let's try and [record] something ourselves. We really were interested in the recording process—using the studio like an instrument. That was how we transitioned out of the college band into what we are now."
They decided they needed to build a studio of their own, and Tyler cites his decision to buy a console as the tipping point. "One day, I found this console desk that was really massive, and I took a van down [to get it] and it was sticking out of the back with ropes and rusty nails, and everybody was like, 'Why are you getting that?' I was just disillusioned with playing in L.A. at the same places, and I thought, 'Something has to change; something has to be hyper-focused.' I feel like the only thing you can control is the music, so let's build the studio we want to build and be able to do all of the ideas we couldn't do last time. And over the course of five years, it happened."
Shane and Tyler Fogerty's Gear
Guitars
• 2011 Eastwood Sidejack Baritone
• 1966 Fender Stratocaster
• Fender Custom Shop Stratocaster
• 1967 Framus Atlantik Bass
• Gibson ES-335 Memphis
• Gold Tone Lap Steel
• 1973 Höfner 500/1 bass
• 1964 Höfner Galaxie
• 2012 Martin Custom Shop D-28
• 2007 Rickenbacker 370
• 1968 Vox Starstream VI
• 1968 Vox Starstream XII
Strings & Picks
• Various gauges from Ernie Ball, Pyramid, D'Addario, Martin
• Fender Medium/Light strings
• Dunlop Tortex .73 mm picks
Amps
• 1960s Ampeg B-15N
• Ampeg SR-212RT Super Rocket
• 1950s Califone Turntable Tube Amp
• 1960 Fender Concert
• Fender Deluxe Reverb
• 1962 Fender Vibrolux
• 1950s Gibson Clavioline Amplifier
• Hammond Leslie 3300
• 1960s Magnatone 260
• 1960s Silvertone 1484
• Orange AD30
Effects
• Binson Echorec 2 Super Special
• Fender Reverb Unit
• Fisher Spacexpander Tube Spring Reverb
• Gretsch Oil Can Reverb
• Ibanez Fuzz Machine
• Lovetone Cheese Source
• Maestro Echoplex EP-4
• Maestro PS-1A Phase Shifter
• Maestro Rhythm King
• Morley Power Wah
• Oberheim DX Drum Machine
• Univox Super-Fuzz
Like all developing musicians, the Fogertys went through various musical phases. After Shane and Tyler had been playing together in bands for years, Hearty Har began as a way for Tyler to perform some songs he'd written that were inspired by Leonard Cohen as well as the freak-folk scene they discovered while studying at CalArts. The original version of the band's instrumentation included charango, harmonium, and djembe, but they soon electrified, fully embracing rock 'n' roll. Vestiges of their initial wide-eyed aesthetic can still be heard on Radio Astro in their use of electric sitar, tanpura, and tubular bells.
The brothers started out playing riffs from Offspring and Green Day—Shane reminisces about John teaching him how to play "American Idiot"—but soon began digging into the classic-rock canon, and they cite a lot of their father's peers, such as Led Zeppelin and Black Sabbath. While John would help decode sounds on their favorite records, pointing out tidbits about guitar pedals and instruments, they studied with a guitar teacher at school and developed their tastes on their own. Tyler says, "When you let people discover it themselves, they get a deeper love for it, if they're gonna love it. We just ran off in every direction looking for stuff we liked, and, as it turns out, we like a lot of the stuff that our dad likes, too."
Tyler Fogerty digs into his Vox 12-string, one of his pair of favored teardrop guitars, but both brothers also have access to their father's collection of nearly 200 stringed instruments, from Les Pauls to resonators.
Photo by Steph Port
The brothers assembled a studio in a room in their parents' house and compiled a deep collection of gear. According to Shane, Tyler was "the main acquirer" and would endlessly seek out deals. They learned to use each piece they added via embarking on their own recordings as well as music for friends such as Guy Blakeslee and Franky Flowers, developing their skills and turning their studio into a well-oiled machine.
"I think it started with keyboards," says Tyler. "There's a lot of records I really like that feature really bizarre sounds, and a lot of them are keyboards. It's all about unique textures and how they can fit and enhance a song." That isn't to say that they haven't spent time building up a guitar collection. While Shane mostly sticks with his 2007 Rickenbacker 370 and Tyler with his Vox Starstream—he plays both 6- and 12-string models with onboard effects rebuilt by AcidFuzz—they share a wealth of amps, effects, and other 6-strings, and, when necessary, can borrow guitars from their dad, whose 1966 Stratocaster made it onto Radio Astro.
Through the process of making Radio Astro, the Fogertys seem to have explored all the sonic possibilities of their studio. "Canyon of the Banshee," the centerpiece, covers serious musical ground and exemplifies how far the brothers can take things. "We were trying to do the spaghetti Western thing, but also to do a little Pink Floyd 'Echoes,' especially in the beginning with the reverse toms and the descending suspended chords," says Shane. He adds, "It was probably the most fun one on the album to make."
Although their enthusiasm for playing live is obvious, the brothers were disillusioned with playing in L.A. at the same places. "I thought, 'Something has to change; something has to be hyper-focused,'" says Tyler. "I feel like the only thing you can control is the music, so let's build the studio."
Photo by Yegor Mackey
Now that Radio Astro is finished and released, the Fogertys are already working on new material. In the meantime, they're hanging out with their family and playing music with their dad, which can be seen in YouTube videos shot at John and Julie's house—where Tyler also lives—and in their appearances on The Late Show with Stephen Colbert and NPR's Tiny Desk Concerts.
Hearty Har may be their creative focus, but the music they play with their family holds a special place for both Shane and Tyler. "It's nice to be open and free to express ourselves, be a little more experimental with things and a little more out there, but the family stuff is great. I feel like that's a totally different realm, a different space for my creativity and input," says Shane.
Tyler adds, "It's this special feeling that I don't know if I can describe. I'm just grateful that I can be a part of this. Especially playing with Kelsey, it just seems so natural and happy. Me and Shane have played in bands before and there usually comes a point where somebody who hasn't grown up with a musical life gets nasty or weird and it becomes about something other than the music. Because we've grown up with it. We really treasure it and want to keep it alive."YouTube It: Hearty Har on Scenes Live Sessions
Hearty Har rip through a rockin' set of tunes live from the Fogertys' home studio, including Radio Astro's "Radio Man '56," "Can't Keep Waiting," and the epic instrumental "Canyon of the Banshee." That's Tyler on the Vox, at left, and Shane wielding a Les Paul.
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- Rig Rundown: John Fogerty Band - Premier Guitar ›
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo that’s as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I don’t want to have to ditch another that’s working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFly’s Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. That’s far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
“Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof.”
The fuzz section has a familiar Fuzz Face-like tone profile—a little bit boomy and very present in that buzzy mid-’60s, midrangey kind of way. But Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzz’s flexibility—especially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. That’s a good thing, particularly when you introduce hotter settings from the boost’s treble and bass controls, which extend the boost’s voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
Who Gets What:
TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
- A/B/C layout for instant access to clean, drive, and lead tones
- 30 Banks: Amp & cab presets from classic cleans to crushing high-gain
- 5 Banks: FX-driven presets featuring the 8 new TONEX FX
- 5 Banks: Amp-only presets for integrating external IRs, VIR™, or amps
- 5 Banks: Stompbox presets of new overdrive/distortion pedals
- 5 Banks: Bass amp & pedal presets to cover and bass style
TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
- Easy to explore and customize with the new TONEX Editor
Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
Versatile Control
The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
www.ikmultimedia.com/products/tonex
Darkglass Electronics unveils ANAGRAM, a flagship bass platform designed to redefine tone, flexibility, and performance. The pedal’s extraordinarily deep feature set includes multiple effects and modeling, an on-board looper and tuner.
Best of all, ANAGRAM brings together these creative tools in a streamlined, rugged format that’s designed for ease of use. Onstage and in the studio, bassists can quickly access and fine-tune their sound via the ANAGRAM interface:
- 7-inch high-brightness touchscreen for clear and intuitive control.
- Three footswitches for live performance control.
- Six high-resolution endless rotary knobs for precise parameter adjustments.
- Flexible input and output configuration.
With ultra-low latency, extensive customization, and seamless integration into the Darkglass ecosystem, it supports both studio precision and stage performance. Combining 15 years of innovation with cutting-edge processing power, ANAGRAM offers a purpose-built solution for bassists seeking unparalleled sound-shaping capabilities.
Anagram
Powered by a state-of-the-art hexacore processor and 32-bit/48kHz audio processing,ANAGRAM delivers ultra-low latency, pristine clarity, and studio-grade sound. Its intuitive blocks-based architecture lets players create signal chains in series (12 blocks) or parallel (24blocks) using a high-resolution touch display. ANAGRAM features three control modes—Preset,Scene, and Stomp—for instant switching, parameter adjustments, and traditional pedalboard-style operation. With a curated collection of distinct preamps, 50+ customizable effects, a looper, tuner, and user-generated IR support, ANAGRAM delivers unmatched creative flexibility.Seamless integration with the Darkglass Suite allows for expanded control and functionality. Additionally, Neural Amp Modeler (NAM) integration provides access to thousands
of high-quality amp and effect models, expanding tonal possibilities from analog warmth to futuristic textures.
"Anagram represents the culmination of years of research and development," says Marcos Barilatti, Managing Director of Darkglass Electronics. "We set out to create a product that not only pushes the boundaries of bass tone but also inspires musicians to explore new sonic territories."
Housed in a rugged anodized aluminum chassis, ANAGRAM is road-ready, compact, and powered via 9V or USB-C (PD). With flagship features at a compelling price, ANAGRAM represents the new standard for bassists seeking a modern platform for their performance.
Street $1199.99 USD
Alongside Nicolas Jaar’s electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio’s latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashville’s Brooklyn Bowl, where Harrington broke down his complex signal chains for PG’s Chris Kies.
Brought to you by D’Addario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with D’Addario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harrington’s backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, there’s less loss of definition and competition for frequency space.
Dave Harrington’s Pedalboards
Harrington says he never gives up on a pedal, which could explain why he’s got so many. You’re going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLÖN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slöer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harrington’s beloved Line 6 DL4—his desert-island, must-have pedal—along with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.