The Legenday and classic original POG won top awards from every major magazine on every continent for its flawless polyphonic tracking and musical flexibility. The Micro POG delivers the same perfect tracking and smooth polyphony in a simplified d...
This photo of Jonny Buckland's effects can be found in an interview, [Coldplay Live - How It's Done](http://www.audiotechnology.com.au/wp/index.php/coldplay-live-how-its-done/) from March 2014. The EHX Micro POG can be seen in Jonny Buckland's pedalboard in the upper left. It can be seen in [this photo of Buckland's pedalboard](http://images.equipboard.com/uploads/source/image/5926/coldplay-jonny-buckland-328-p.jpg) as well.more
This is an image taken from the August issue of Bass Guitar Magazine, in which Nick O'Malley was the cover story. You can find a pdf of the interview [here](http://ashdownmusic.com/files/news/file/doc_20140806094426_15493.pdf). The picture is of his current pedalboard set up, and the Micro POG can be seen in the middle.more
"I personally have been using a combination of Empress Super delay, EH Micro Pog and Malekko ASSMaster on the bass, in order to create stacks of octaves that allow me to fill up the space missing from the recordings. I feed that signal to a dedicated guitar amp, as opposed to my bass amp, in order to make the mixing job easier."more
An Electro-Harmonix Micro POG pedal can be seen in the top-left corner of this pedalboard belonging to Paul Banks of Interpol. The "MICRO POG" writing is covered up by tape with diagrams of what the positions of the 3 knobs should be. (original source [here](http://www.musicradar.com/news/guitars/rig-tour-interpol-618675), article dated March 31, 2015)more
At 20:00 you can clearly see the Micro Pog sitting on Jesse's pedalboard, he has the Dry Out all the way up, Sub Octave off (because he "doesn't need a sub octave"). Jesse says he uses it "very seldom" and only "to elevate a moment in a song". In the [accompanying article](http://www.premierguitar.com/articles/21712-rig-rundown-death-from-above-1979) from *Premier Guitar*, they write: "Keeler’s aggressive, distorted bass tone comes mostly from his amps. His pedals are relatively straightforward, and he uses them sparingly. The signal chain starts with a Dunlop Wah, then into an [MXR M80 Bass D.I.+](https://equipboard.com/items/mxr-m80-bass-di), which sends a bass signal to the FOH engineer. From there, the signal goes to an [MXR Ten-Band EQ](https://equipboard.com/items/mxr-m-108-ten-band-graphic-equalizer-pedal), an [MXR Carbon Copy Analog Delay](https://equipboard.com/items/mxr-m169-carbon-copy-analog-delay-guitar-effects-pedal), [Morley A/B switcher](https://equipboard.com/items/morley-aby-footswitch), then off to the [Ibanez CS9 Stereo Chorus](https://equipboard.com/items/ibanez-cs9), which splits the signal between his two amps. Before hitting the amps, one signal is run through an Electro-Harmonix Micro POG. The last stop in the signal chain is a [Dunlop Kerry King KFK Q Zone](https://equipboard.com/items/mxr-cry-baby-kfk-q-zone)."more
[This photo-article from MusicRadar/*Guitarist* magazine](http://www.musicradar.com/guitarist/manic-street-preachers-james-dean-bradfields-gear-280353) details all of the gear Bradfield used during the making of the Manic Street Preacher's 2010 album *Postcards From a Young Man.* The Micro POG is depicted in James' pedal collection.more
The following is his signal path, as explained by Andy Othling to Strymon: this1smyne buffer Walrus Audio Deep Six Electro Harmonix Micro POG Walrus Audio Mayflower Earthquaker Devices Bit Commander Xotic EP Booster Ernie Ball MVP (with Boss TU-3 on tuner output) Electro Harmonix Superego Malekko Ekko 616 Dr. Scientist Tremolessence Strymon El Capistan Boss DD-5 (in hold mode for stutter/glitch effects) ZVex Instant Lo-fi Junky Strymon TimeLine Strymon BigSky Disaster Area DMC-3 XL controller is connected to both the Timeline and BigSky via MIDI Two this1smyne mini expression knobs are also controlling different parameters on the Timeline and Bigskymore
Judas Priest are currently on their Epitaph world tour, which is to be the final tour of their careers. Support on the current leg of the tour comes from Black Label Society and Thin Lizzy. The tour will not be the end of Priest as we know it, as the band have expressed a desire to continue writing music and are expected to begin recording a new album sometime in 2012.more
“I use this to make it sound like I’m playing bass as well as playing guitar. I don’t have it set too extreme or anything. "I use it for solos here and there, it’s just for fun. I think the tracking is great. Obviously the gigantic POG has more options, with the slidey EQ, but it’s too much for me to have on stage.”more
Colin Newman's pedalboard. Some of the pedals include: MXR Phase 100, Electro-Harmonix B9 Organ Machine, Electro-Harmonix Micro POG, MXR Distortion+ (custom), Electro-Harmonix Superego, Malekko Ekko 616 analogue delay, Crowther Double Hot Cake, Malekko Diabolik fuzz, MXR Stereo Chorus, Eventide H9.more
> "Then I have an Electro-Harmonix Micro POG and a POG 2. The Micro POG is set for one octave down, while the POG 2 I use strictly for my octave up. I stack them. That’s the holy grail of kick-you-in-your-face tone. When I want to get heavy and knock someone’s balls off, I put that Fuzz Factory on with that sub-octave from my POG." - Chris Bishop; [Vintage Guitar Magazine](http://www.vintageguitar.com/22147/chris-bishop/) interview Due to circumstances with the POG2 breaking, Chris has told [Ultimate Guitar](https://www.ultimate-guitar.com/interviews/interviews/crobot_feel_playing_is_about_not_trying_to_play_notes_but_playing_noises.html) that he now uses two Micro POGs for the octave low and high.more
Jean-Paul Fung, the band's producer for the "In a Million Years" album, talks about this pedal in an interview: > What sounds like a > steel drum is actually Lachlan, the lead guitarist, > playing through an old shitty Behringer reverb > into an Electro-Harmonix POG, with a Jekyll > & Hyde overdrive at the start of the chain.more
In this photo of Keith Murray's pedalboard, the pedal in the middle is the Electro-Harmonix Micro POG. In [this interview from August 2010](http://images.equipboard.com/uploads/source/image/34972/uhXGb4d.png) originally found on wearescientists.wordpress.com, he talks about first getting the full size [EHX POG](https://equipboard.com/items/electro-harmonix-pog-polyphonic-octave-generator-guitar-effects-pedal), and then the smaller Micro POG: Keith: I’ll try to give you the signal chain in order: Boss tuning pedal, into an Electro-Harmonix Polyphonic Octave Generator Micro– Mahsa Borhani: Which, you said that you found this pedal recently while you were record–writing songs in [Athens]? Keith: No, well, I bought it in the middle of the Brain Thrust Mastery tour, Mahsa: Ok. Keith: I bought the, not the micro, the full, like, you know, theatre, full, Chris Cain: The home appliance. Keith: The home appliance, yeah. I bought it and had it on my pedal board for about six months–it’s a gigantic pedal–um, and it really made me angry, for a long time. But yeah, didn’t come into play until [Barbara](https://en.wikipedia.org/wiki/Barbara_(album)).more
There are two pedalboards, one of which Graef uses to control the rig through most of the show. On his board are the Ground Control Pro for all MIDI program switching, an RJM Technology Amp Gizmo for amp channel changes (via MIDI), a Micro POG, Diamond Tremolo, Xotic EP Booster, Boss AW-1 and an Ernie Ball VP Jr. Rooney’s pedal board onstage sees another Ground Control Pro, a tuner, Earnie Ball VP Jr. and a Dunlop Wah controller—all connected to the Dunlop Rack Wah for onstage control of volume and wah.more
As the de-facto lead guitarist, er mando-man, Kang bounces between his Ron Oates Custom 5-string Octave Mandolin or Walker Electric 5-string Octave Mandolin. To amplify his custom 5-strings, he cranks up a Two-Rock Custom Reverb and Groove Tubes D75 Power Amp through a Bogner 2x12 cab. His two-board setup boasts a DigiTech XP100 Whammy Wah, a Electro-Harmonix Micro Metal Muff, a Electro-Harmonix Micro POG, a Electro-Harmonix Micro Synth, a Electro-Harmonix Q-Tron, a Line 6 DL4, a Keeley Phaser, a Fulltone Full-Drive 2, a Keeley-modded Ibanez TS808 Tube Screamer, a Keeley Katana Clean Boost, a Boss TU-2 Chromatic Tuner, a Maxon Compressor, a Ernie Ball Volume Pedal, a Roland GR-33 Guitar Synth, a TC Electronic G-Force, a Sarno Music Solutions Steel Guitar Black Box, and the boxes are powered by a Voodoo Lab Ground Control and a Voodoo Lab Pedal Power 2+. And his uses various Elixir strings and Fender Extra Heavy picks.more
The Legenday and classic original POG won top awards from every major magazine on every continent for its flawless polyphonic tracking and musical flexibility. The Micro POG delivers the same perfect tracking and smooth polyphony in a simplified design. Now in a small pedalboard-friendly diecast chassis, the Micro POG delivers and will blow you away the first time you use it.
This pedal can add so much color to your tones in so many ways. From bass-like fat tones, to organ-esque and sitar effects, this thing is pretty much the bees-knees of octave pedals.
It does what everyone knows it does and it does it well. Electro Harmonix can do no wrong it seems as this pedal is one of the most popular octave pedals on boards of many musicians across the globe.
It's an easy-to-use pedal that has only 3 knobs. It helps my guitar sounds like a bass plus it can split the signal into 2 different amps. I use this to get the bass tone.
right now Im not sure weather to get this or the digitech whammy but so far all of the EHX pedals i've tried have been awesome and the digitech ones have been good but not that great but from what ive heard the whammy is freaking awesome but i dont really need the whammy function i just need a good pitch shifter
This is easily the best pedal I own. I use it because my band is only drums and bass guitar so I use it in conjunction with a boss oc-3 to get a thicker sound. It is absolutely amazing, the tracking is perfect and the tone remains exactly the same which is something the boss pedal can't do.
This is an amazing octave pedal that is very easy to use. The settings are simple and it is a very good addition to many songs and can go from being a subtle effect to a very prominent one
A fairly essential part of my sound that takes wiry strat tones and makes them lovely and thick. Tracks reliably, even after a ton of distortion and a ramp up from the Boss OC2
I originally bought this pedal as I wanted to be able to change octave midway through songs, or add an almost 'synth-bass' feel that I wouldn't be able to get my BOSS Super Octave. It's super easy to use, with the knobs clearly labelled. The only reason it only gets 3 stars instead of 4, or 5, is that there is no battery capability, which is fine for pedalboards, but the cumbersome size should offer battery capability.
I received the pedal two years ago. Of all the tested, this would be the fastest and cleanest tracking! I mainly used it for ambient guitar pads, Organ simulation or to simulate bass runs with the guitar. For the first task it is perfect for the others a good compromise.
The pedal can not do much, but what it does can do it perfectly: Addition of an octave above and one below the notes played! These can be mixed together with the original sound source arbitrarily with each other in the volume. Hence the 3 volume controllers.
I think that it sounds nicer than its family (HOG, HOG2, POG, POG2, Nano POG) though is still digital and therefore it doesn't sound (not even nearly) as organic as MI Audio's Pollyanna Octave but fits my needs more precisely as it just handles the original voice while synths the additional lower and upper octaves clearly.