ELECTROHARMONIX
NANO POG
REVIEW BY ERIC TISCHLER
STREET PRICE $202.90
The timing seems a
little odd, given ElectroHarmonix released the
similarly sized Pitch Fork
last year, but there’s
never a bad time to try a
new polyphonic octave
generator (POG) from the
venerable EHX, so I was
excited when the Nano
POG showed up. Like many
others, I was curious as to
how it would compare to
and contrast with the
Pitch Fork, and how it
would rate by its own
merits; the answers, dear
readers, lie below.
44
GEAR REVIEW
//
Like the larger, classic
Micro POG, the Nano POG
has individual controls for
Octave Up, Sub Octave and
the dry signal (it also has a
Dry Out, so you can send
the unaffected signal …
elsewhere). Obviously,
this means you can both
fine tune the blend of
octaves and dry signal,
but the controls also allow
you to boost your signal,
too. Of course, if you want
to maintain unity volume
while adding polyphony,
you can do that, too, just
by keeping the control
around noon.
Electro-Harmonix Nano POG
The tracking on the Nano
POG is fantastic. It’s
virtually seamless, and
while I think the Pitch Fork’s
tracking is excellent, the
Nano POG’s sounds even
tighter. Interestingly for, say,
“organ” pads and keyboardlike tones, I preferred the
slightly greater latency in
the Pitch Fork—it seemed
to lend a slightly less
organic response that
fits my idea of what an
electronic keyboard sounds
like. On the flip side, the
Nano POG does a better
job of copping harpsichord
tones (it took me a while to
stop riffing on “Live Is Here