#ehx pog

[guitarbomb]

Best Effects Pedals 2023 - Top 5 Stompboxes

Our list of the Top 5 stompboxes you need to know about that have been released so far this year

The Best Effects Pedals 2023 is a list of the top effects pedals. These are the top five new stompboxes released up until now. And so far this year has been a good one for new effects. Be sure to read our Best Guitar Amps 2023 and Best Guitars 2023 as well.  Boss DM-101 First on this list is the new Boss DM-101, mainly because it offers a classic analogue delay and pairs it with modern-day…

[cavenewstimes]

Stompboxtober Day #9

You might WIN the brand new Pico POG kind Electro-Harmonix in today’s Stompboxtober free gift! Get In before Noon Eastern tomorrow! Electro-Harmonix Pico POG Polyphonic Octave Generator Pedal EHX’s tiniest and most effective compact Polyphonic Octave Generator. The Pico POG takes the structured simpleness of the Micro and Nano POGs and fits everything into an ultra-compact chassis and includes…

[laikabot]

Laikabot é uma banda de São Paulo que pode ser classificada como pop, mas também carrega em seu DNA uma mistura quase inconsequente de estilos, ritmos e idiomas; transitando pelo rock, música latina, funk, eletrônica, heavy metal, MPB e outros gêneros.

Formada só por diversão em 2015 por Vivi Lopes (vocal, sintetizador e efeitos), Gil Tokio (bateria e percussão) e Kiki Isoda (baixo/guitarra e sintetizador), estreou no ano seguinte no festival Rock Business, em São Paulo, e, logo de cara, foi eleita campeã, tanto pelo júri oficial como pelo público.

As principais inspirações para as letras e arranjos autorais do grupo vêm de referências visuais e universos fantásticos, como os filmes de Tarantino, de ficção científica, da dança butoh e dos quadrinhos.

Os instrumentos musicais são construídos ou hackeados pela própria banda, reforçando o caráter experimental das composições. Timbres acústicos, elétricos e eletrônicos ganham um visual cibernético por meio de fios e luzes presos aos corpos dos integrantes da Laikabot.

[earpeeler]

Reverb – Using EHX POG Pedals with Violin | Reverb Demo Video Rebecca Faber likes to electrify her violin to unlock new sounds and explore new textures. With the Electro-Harmonix POG, Rebecca can go from an organ-type sound to a cello-type sound with a few adjustments.

[pedaloftheday]

Here are a couple of clips from the @loopholepedals Modded @ehx POG2 Polyphonic Octave Generator Demo, out now! Subscribe to our #youtube channel for this and many other demo videos of the latest and greatest effects from all over the world - cheers! . #guitar #pedaloftheday #music #pedalboard #effects #pedals #effectspedals #pedalsandeffects #loopholepedals #electroharmonix #ehx #pog #pog2 #octave https://www.instagram.com/p/Bxj9Y4sghbB/?igshid=unz6yulmty6d

[eupat]

[metzger-guitar-experiments]

Not surprising that the brand from whom I own the most pedals is obviously @ehx ! It's even missing my 2x 8 step program in there so I have more than what's on there. My favorite brand especially for the Superego , the filters and a few really cool delay and reverbs ! My experimental project wouldn't have existed otherwise ! #guitar #pedal #collection #ehx #electroharmonix #pog #pog2 #deluxeelectricmistress #blurst #qtronplus #deluxememoryboy #knockout #signalpad #civilwar #bigmuff #sovtek #blackfinger #grandcanyon #superego #cathedral #operation #overlord #clonetheory #triparallelmixer #cockfight https://www.instagram.com/p/CGlfWOYH7AM/?igshid=1x4k6tep5hfus

[zanecarney]

View this post on Instagram

A post shared by Zane Carney (@zanecarney)

#zanecarneystagecamera from Vancouver last night 🇨🇦 Shoutout to the guy in the front row for following all the metric changes in my solo 🕴🏻 #zanecarney #guitarsolo #fadetoblack #ehx #pog #haorumblemod #zanecarneysignaturemodel #jazzica #commodoreballroom #vancouver (at The Commodore Ballroom)

[effectsdatabase]

Last week's top 20 videos (2022, week 40)

Top 20 videos last week (October 2-8)

Stack Your Overdrives like a PRO! (by Vertex)

Strymon V2 Pedals - Staff Audio Examples (by Strymon)

Chase Bliss Generation Loss + Piano (by Chase Bliss Audio)

Mark Tremonti Signature Morley Wah Pedal (by Morley)

Let's play the new Cestus and Frank Bros. Arcade! (by Mythos Pedals)

I tried to trick him into building me a Klon Centaur... (by Livingroom Demos)

Slightly Saturated Sunday Swirls with the Mattoverse Inflection Point (by Mattoverse Electronics)

Catalinbread Elements: One Knob Drive, Fuzz & Distortion (by AndyDemos)

BOSS DF-2 Feedback #shorts #guitar #distortion #analog (by The Pedal Picassos)

Banzai Cold Fusion Teardown! See what's inside! (by Gray Bench Electronics)

Catalinbread ELEMENTS - One knob dirt essentials for $150 each - Baritone at the end (by 60 Cycle Hum)

Ep. 36: The Polaris Resonant Overdrive by Spaceman (Bass Demo) (by Spaceman Effects)

BASS OCTAVE SHOOTOUT // Boss OC-5 vs. MXR Bass Octave Deluxe vs. EHX Nano POG (by Bassic Gear Review)

Catalinbread Elements Series One Knob Fuzz, Overdrive, and Distortion // Guitar Pedal Demo (by Demos In The Dark)

A Handful Of Colorsound Fuzz Pedals On Bass | theoandhispedals (by Amateur Effects Reviews)

Tronix Stereo Chorus (1970's) (by Francisco Sanchez de la Vega)

The Chosen Ones - Catalinbread Elements: Fuzz Overdrive & Distortion | JayLeonardJ (by JayLeonardJuatco)

HRR: Pigtronix Philosophers Tone (by KytaryCZ)

JOYO CLASSIC CHORUS #shorts (by Loucos por Pedais)

Modern Fuzz Comparison: Which Dirt Pedal Wins at 42 Gear Street 4? (by TheGuitarGeek)

Overviews of the previous weeks: https://www.effectsdatabase.com/video/weekly

from Effects Database https://bit.ly/3Td6GK3

[thekingofgear]

at the start of You Will Never Work in Television Again in the Worthy Farm Performance, before the song actually starts, Thom's guitar sounds like it has some octaves going up an octave and down an octave a bit like a whammy pedal on the harmoniser setting. What is that?

The octave harmonies are from an Electro-Harmonix Nano POG.

A screenshot from an Instagram stream of You Will Never Work in Television Again, showing Thom using his foot to adjusting a knob on his Death By Audio Echo Dream 2. The EHX Nano POG is the red pedal on that board.

In addition, there’s a weird modulated pitch/chorus effect going on. It’s best heard on the Glastonbury stream, during the short soundcheck before the song begins. It seems to be his Death By Audio Echo Dream 2, set for square wave modulation, slow speed, and fast depth. Here’s a similar sound in the pedal’s official demo.

With so many dirt boxes on Thom’s latest board, it’s hard to say which he’s using for his main tone on the song. However, we can see him kick on one of his Telenorida/Tortemann pedals when he wants some extra punch — perhaps the TA-24 Treble Booster? He turns it on and off a few times during a single run-through of the song.

[axeandyoushallreceive]

#Repost @ehx with @get_repost ・・・ The EHX Soul POG combines two sweet pedals – the Soul Food transparent overdrive and Nano POG polyphonic octave generator – in one potent multi-effect for a tonal sum that is greater than its parts. (at Axe and You Shall Receive Inc.) https://www.instagram.com/p/CBhA-1AncAf/?igshid=xj65rgjlzn4g

[youcantbuyland]

Apparently this was the first song to use an EHX POG pedal (albeit the big brother)

[current-mcr-news]

View this post on Instagram

A post shared by frnkiero (@frankieromustdie)

frankieromustdie: 🎵Moto-Pop 🎶 ok so main riffs for Moto-Pop, Fast then Slow, filmed by Lily. Guitar tuned 1/2 step down to Eb. You’re hearing my stunning new @fendercustomshop Jazzmaster courtesy of Brett at the wonderful @eddiesguitars (thank you!! 😍) complete with blacked out @masterybridge and set to the neck pickup position direct into my @epiphone Valve junior small stack. On the recording of Barriers I used an @ehx POG and a @bossfx_us Super Chorus in order to include the high & sub octave and kind of create a warped 12string guitar effect. That went through my @music_man HD130 into a 90’s 4x12 @fender Sunn cab. But here is the riff naked and relatively clean. Both parts are pretty simple but have a nice groove to them and are super fun to play. Very garage rock inspired... with some rhythmic nods to Jimmy Page. enjoi. xofrnk

[willbremanmusic]

Doing some guitar work in the middle of looping my Al Green vignette from a couple weeks ago. I don't post enough on this, and admittedly a lot of that is me just being self conscious. Working on it, one day at a time 😅💙⁠ ⁠ Guitar: @fender Eric Johnson Signature (neck pickup)⁠ Effects: @ehx POG (Custom setting to get extra overtones), @xoticeffectspedals EP Booster (long signal chain, need volume), @wamplerpedals Tumnus deluxe, hot setting, medium-ish gain, @bossfx_us rotary ensemble (slow setting, for some lo-fi swirlys!), @strymonengineering Big Sky Reverb (custom light setting).⁠ Amp: @tech21nyc Para Driver DI V2 (settings similar to my Deluxe Reverb amp, but I also can turn it really low so I don't annoy my roommates/neighbors/everyone in the east side of SB)⁠ .⁠ .⁠ .⁠ .⁠ .⁠ .⁠ #SantaBarbaraSoulMusic #SantaBarbara #Soul #Music #Guitar #guitarist #blues #AlGreen #Fender #Stratocaster #EricJohnson #livelooping https://www.instagram.com/p/CDZNGatn2Vx/?igshid=1xo1wya771t2a

[guitarbeard]

furry-road replied to your video: Not so great an attempt over Wes Montgomery’s...

what pedals are you running?

On that take I was going totally clean with just an EHX 720 for the loop, neck pickup with the tone dialed 50%. The other pedals I normally work with though are a BOSS digital delay, Blues Driver, Big Muff Pi, Micro POG, and then a Morley wah and volume pedal. 

[doomedandstoned]

Lexington’s FORREST Astound with Musical Wizardry in ‘Final Frontier’

~Doomed & Stoned Debuts~

Art by Brittani Fuller

For the past few weeks, Doomed & Stoned has been treating you to the sounds of 'Final Frontier' (2019), the new EP from Kentucky's proggy instrumental post-sludge quartet FORREST, and today we get to hear the record in its entirety. It's a clever, even inventive, and electrifying spin that finds Forrest wrangling a rambunctious, sprawling sound like a veteran rodeo cowboy.

Here we have five exciting numbers that can certainly stand up as self-contained tracks, but for full impact you can't beat taking them as five consecutive shots (though you might end up just a bit tipsy by the end). There's the hot-to-trot opener, "Bubba"; the monstrous "To Lose a Whale"; the grave, but persistent doomer, "The Final Frontier (Dan II)," featuring some very tight drumming; the punchy, proggy crooner "The Intensity of Frenchness"; the folksy jig-turned-dirge, "Specialman," complete with some surprisingly warm vintage rock moments; and the vigorous album closer, "Vacation (...Don't Ever Come Back), which feels like a solemn car ride full of aching heads and reflection after a night of solid debauchery.

Congrats to Riley Logan (lead guitar), Charlie Overman (rhythm guitar, synths), Jared McIntyre, and Josh Summerville (drums) on this bold and distinct entry into the ever crowding swamp of sludgy doom! If you're anything like me, you'll find yourself binge listening this one on the daily. Final Frontier by Forrest releases on Wednesday, July 17th.

Give ear...

Final Frontier by Forrest

Peeking Under The Hood with Forrest

Photographs by Nathan Hampton

'Final Frontier' is an incredible effort, guys. What are some of your roots, musically and technically speaking?

For influences, I'd say Melvins, Deftones, Yob, and Mastodon.

I'm always interested to hear different band's experiences recording an album, especially when it sounds this damned good. Walk us into studio, if you would, and describe the whole she-bang for.

The EP’s got its fair share of progginess, but even the least doomy tracks on the record were recorded through old Sunn stuff and driven mainly by boutique fuzz pedals built by our friend Eric over at frost giant electronics -- he’s also in the band Switchblade Jesus. The production and engineering side of things was done by our good friend Will Chewning at Springhurst Recording studio. The environment was super chill, and this was the second time we’ve worked with him. We love it there. The artwork was done by Brittani Fuller.

I think it would be cool to give our readers some insight into the songs on the new record. Do you mind walking us through it?

Alright, Billy, so in regards to background on the tracks:

Bubba -- As far as thematic tie-ins, it's named after the character Bubba from the movie Forrest Gump. In fact, as you'll see, most of this EP's songs are either Forrest Gump themed or Star Trek: The Next Generation themed.

To Lose a Whale -- This song was originally going to be added to the end of the EP as a bonus track. However, once the song was finished we timed it's length and discovered it was roughly three-and-a-half minutes long, so we decided to add it as its own track. With this second song, while it does have a rather different sound than the rest of the EP, it still follows a similar formula to many Forrest songs, "Bubba" and "The Intensity of Frenchness" in particular -- the pattern being a heavy/catchy intro riff, a high, spacey post-lead thingy in the middle, and then a return to that heavy/catchy riff. The song was in part inspired by Gojira, hence the name, "To Lose a Whale." On the song "Flying Whales" by Gojira, their vocalist at one point screams, "I have to find the whales!" Riley and I were listening to it once and he goes: "It'd have to be pretty fuckin hard to lose a whale!" Beyond the Gojira reference, the sample in the beginning is from a scene in Star Trek: The Next Generation in which Data attempts to do stand-up comedy.

The Final Frontier (Dan II) -- Half the title is obviously a Star Trek reference. However, the second half is the song's original title, very simply "Dan II." There's a song off of our first EP entitled "Dan," named after Lieutenant Dan from Forrest Gump. In "Dan II" we took the bridge riff from the original "Dan" and turned it into one of the song's main riffs. The bridge section in the middle of the song, over which Riley takes a solo, was probably bit off the album which we all spent the most time obsessing over. That bridge section was inspired primarily by Yob. I can say with confidence, I think it's one of the sweetest doom riffs around.

The Intensity of Frenchness -- This is a reference to Captain Jean Luc-Picard, the captain of the Enterprise on Star Trek: The Next Generation. The song opens with a sample from the show in which Picard delivers his famous one-liner: "Make it so." The intro riff is also inspired by a French progressive rock band called Totorro. This is the third song on the record after "Bubba" and "To Lose a Whale" that follows the formula of heavy/catchy intro to weird, spacey post-lead riff and then back to a heavy/catchy riff. In this song, and in Bubba's case, they return to the same riff as in the intro.

Specialman -- This one's named as such because Forrest Gump is a special man. Maybe that's insensitive or something, I don't know. Regardless, this one's inspiration is sort of all over the place. The only thing I can say for sure is that the bridge section with the jazzy chords was written in an attempt to weave a doo-wop chord progression into a metal song, and I'd say it was done successfully. The song reminds me of the Melvins, in many ways -- the last riff of the song, the tones, and the way things are played; you know, dynamics and all.

Vacation (...don't ever come back) -- After the recording was finished, Riley described it as John Baizley and Mike Scheidt merged into one big, pretty, doomy thing. Something along those lines. It was heavily inspired by the Baroness song "Grad," and while I can't say for certain, I'd say the flute popped into his head either from Zelda or from Jethro Tull. The song gets its title from another Forrest Gump reference, in which Forrest is talking about his Dad leaving his Mom and him as a boy, and his Mom describing it to him as a vacation. I think Forrest asks something like, "What's a vacation?" and she goes when you leave and never come back. Something along those lines.

What kind of instruments, amps, and gear did you use in the recording?

Just for context, our standard rigs are:

Charlie (rhythm guitar): Epiphone SG for C standard tuning, an Ibanez rg7421 for 7-string A standard tuning, Egnater Tweaker 40 amplifier head, Way huge electronics Green Rhino, Frost Giant Electronics Massif, a 300-watt 2x12 with an Eminence Tonker and an Eminence Legend 1218. I also turned on a nano chorus occasionally.

Riley (lead guitar): Gibson Les Paul Studio, occasionally a Fender Strat, both for C standard tuning, Ibanez rg7421 for 7-string A standard tuning, Jet City JCA20HV which is a head they made in part with the Soldano brand. He uses a Laney 2x12, also 300-watts with two Eminence Swamp Thangs in it. As far as pedals for him, he was using a Frost Giant Electronics Soma Fuzz, a Leviathan which is a custom one off pedal he had made by a guy here in Lexington, which is an octave fuzz and a JFet boost. He uses an ehx canyon for a ton of the ambient parts as well. Along with a delay and chorus here and there.

Jared (bass): Squier Jazz bass for C standard, Epiphone Thunderbird bass for A standard. We tracked Jared through a DI, and then reamped him through an old Sunn Sorado head. We also used that head all over the record for guitar overdubs. For some parts Jared would use an old 90s Black Russian Big Muff as well as an EHX POG. I believe we ran him through an ampeg speaker cab, but I can't remember specifically. If you'd really like to know I can find out.

Josh (drums): Josh switches up his rig constantly, but at the time of recording he was using a drum kit with evans drum heads, and a mix of meinl, and Zildjian cymbals. He used Vic Firth sticks as well I'm pretty sure.

With the standard rigs out of the way, for the individual songs some little extra pieces of gear are:

For the song Bubba, we used pretty much only our standard rigs on this song, not really many overdubs. However, the spacey post lead section in the middle, Riley used an MXR Blue Box, an octave fuzz, to really thicken up those leads and add an extra layer to everything.

While it's probably one of the songs that strays most from doom in the traditional sense, much of To Lose a Whale was recorded through that old Sunn Sorado head guitars and bass included, along with the standard rigs of course. Josh also used some bongos on this track.

Mostly standard rigs were used for the bones of The Final Frontier (Dan II), however, we did lots of overdubs with the old Sunn head through an Emperor 4x12 loaded with Ted Webers. For this song I'd say it's also important to note we used exclusively dirt sounds from the amps for crunchy stuff and our Frost Giant Electronics fuzzes for the big fuzzy bits, i.e. most of the song. (laughs) Nothing in between, though. For this one, I put a Korg Ms-20 mini synthesizer with a bit of analog tape echo added over top of the very beginning of the song to thicken it up even more. It was a patch I'd been working on for a while, and I was glad to get to use it. Riley used his canyon pedal lots on this track, as well.

Once we transition into the clean bit right before the super heavy middle section with the same melody, Riley's tone there is his Frost Giant Electronics Soma turned on with the volume on his guitar rolled off, I think it sounds particularly amazing right there. When that riff gets giant and fuzzy over top of the fuzziness there's a Hammond organ droning and following the melody of that riff. When it goes back into the crunchy riff that was taken from the original Dan, we used that old Black Russian Big Muff for guitar overdubs when the whole band kicks in.

We used standard rigs for both Specialman and The Intensity of Frenchness, plus a banjo overdub on the middle section of the latter.

For the final track, Vacation (...don't ever come back), Riley used his standard guitar rig and his Leviathan for pretty much all the dirt. I didn't play guitar on this track and instead just did some droning on the Korg MS-20 mini synthesizer, as well as a Roland Juno-6 synthesizer. There's also a flute.

The Great Forrest Giveaway!

Forrest has some Bandcamp download codes for y'all and I do mean they have dropped the motherlode! Get 'Final Frontier' (2019) por nada while you can (redeem here).

2cl4-h9gf, apsq-5tfm, um9v-hdhe, xgt7-vcp3, qkua-gc3s, fn58-uxdl, ld6y-evwe, cjyn-78d3, ebum-vn4s, bdw6-6ajd, d4jk-y78c, sef2-7j7x, srdd-vkaq, kf9c-e33m, u524-bsl6, m6mq-w45y, 9zr6-cabr, z2mu-wbsl, 3vga-hche, wgkr-vwp3, et35-gw3s, rnv9-74dl, dwgz-5qwe, 6h7x-bmz5, u4wh-x68f, vesp-eg7m, f64r-33q6, mnsw-cx6y, 9aq4-hptf, y784-5r3m, 35nh-bdl6, 58aj-wl5y, 8z78-cebr, t352-w3sl, xhjy-gugc, hqbn-7qfx, hrxl-v95q, 4xcj-6tnt, qcj7-ynv7, 9sfd-bjz5, 3hds-xk8f, 5e4e-ey7m, b8sf-brq6, an4l-w46y, 85ph-hatf, 7um6-ulwl, xlgt-ejde, hpk2-ugw3, q735-juhs, fwx9-6pqd, lsez-yfgc, cq7u-7mfx, cbwx-vz5q, cdsp-6gnt, p4qr-y7v7, 8crw-bvz5, 6kf9-cprr, knan-wrcl, ua9v-hd4e, l6t7-vde3, qyua-gc2s, f258-uhwl, wl6y-evde, cey3-uyw3, p7um-vfhs, rlw6-6aqd, dsjk-yngc, vu4d-ch9y, 6mps-xeyf, kr9c-e32m, nv2c-3wx6, mgmq-w4ay, 9tr6-carr, ynmu-w2cl, 35ga-hc4e, d6kr-vce3, pz35-gw2s, r2vg-uxwl, jhef-yfm7, 6c7x-bqk5

Follow The Band

Get Their Music