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Introduced in 2005, the Electro-Harmonix Polyphonic Octave Generator – a.k.a. POG – has spurred a handful of offshoots and updates. Born as an ultimate octave box, it conjures everything from electronic synth-bass, eight-string bass, and 12-string guitar to organs and harpsichords along with a universe of synthesizer textures.
Set up like a mixer, the new POG III works in stereo and mono, using 10 sliders to control function. Input Gain sets the level for your instrument, while Dry sets the volume of your dry signal at output. The Octave sliders produce pitches at -2, -1, +5th, +1, and +2 – from the deepest bass (like an Octaver) to high screams (like a Whammy Pedal). Each can be custom-blended to left-right channels when running in stereo. To the right, Attack, Filter, and Detune sliders bring more sonic capability with help from Q, Envelope, and Spread knobs to adjust specific character.
To get going, pull up any of 10 presets in the display window, like Organ Swell, Deep Sub Envelope, or Hog Heaven, and start moving knobs and sliders to taste. A big bonus is the unit’s ability to tweak presets and save sounds into 100 locations (using the Live Mode). The possibilities are endless, as there are infinite variations one can create with the sliders.
Using a Telecaster and Vox tube amp, the POG III proved a potent workstation for sounds way beyond the blues-rock norm. Your ears may not believe the chiming sounds coming from your plank – imagine standing in a Gothic cathedral and hearing a cranked 12-string and synthesizer bass booming throughout its lofty nave and dome. It’s a humongous sound! The POG III’s treble range is very sensitive, so back off the Filter slider if tone gets harsh.
The POG III is not for all players and sits on the pricey side, but for guitar explorers, the experience is absolutely one-of-a-kind. – Pete Prown
This article originally appeared in VG’s February 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
