and Now You’re Gone”
by The Supremes).
The Nano POG’s bass
response also trumps the
Pitch Fork’s. While I have
no complaints about the
low end on the Pitch Fork
(apart from occasional
glitches that may have
simply been the effect
magnifying user error, and
perhaps it was the pedal’s
latency that made these
errors pop), the Nano POG’s
lower octave leaps from the
speakers. It was noticeably
rounder, fuller and more
three-dimensional.
Despite the Nano POG’s
improved bass response
and tracking, the Pitch
Fork’s performance is
strong enough in these
areas that they are more
likely to be tie breakers
rather than deal breakers
when comparing the two.
The real differences lie in
the other features. The
Pitch Fork offers 11
different pitch shifting
options, including
different intervals, as well
two octaves up and two
octaves down. The Pitch
Fork also has a setting that
turns the on/off footswitch
into a momentary trigger
control. Finally, the Pitch
Fork has a jack that
enables you to link it to an
expression pedal. Those
features are all incredibly
cool, but the Nano POG’s
finer individual control over
the two octaves will surely
be a real boon to some
players: dialing in, say,
Roger McGuinn’s 12-string
tone on “Ladyfriend” is a lot
easier with the Nano POG.
Another benefit of the Nano
POG’s fine octave control is
that the pedal can be used
as a tone enhancer; rolling
the Octave Up control back
to approximately 9 o’clock
and the Octave Down to 8
o’clock while maxing out the
Dry brought in a lovely topend chime and a little extra
low-end muscle without
adding the respective
octave’s fundamentals.
What’s pa