NAMM 2023: The Good, the Bad, and the Ugly with Danish Pete Honoré
"There's no money in non-diatonic notes!"—a validating cheeky word to the minor-pentatonic shredder guests at NAMM. In this ep, Rhett and Zach sit down with "Danish Pete" Honoré to talk NAMM highlights, geek out on Pete's new Chapman T-style signature guitar—it has a neck profile based on a 3D scan of his favorite—and discuss maintaining integrity in gear review videos.
NAMM 2023 Recap with Danish Pete Honoré
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One of the best parts of NAMM is the industry community it assembles, and in the absence of the full-fledged convention the past few years, that sure has been missed. Danish Pete's puckish personality adds to the fun as the three guys get into other topics like Zounds Industries' acquirement of Marshall, various amp favorites, and the sea of purple guitars found at the convention. That's all after Pete shares that he no longer cries in the shower over the demands of his 25-year touring career (sometimes, he wishes he played more non-diatonic notes). Stay positive, Pete!
Zakk Wylde is best known for his work at Ozzy’s side. It’s with good reason: He’s blazed that gig with his strong musical personality firmly intact for decades. But on this episode we’re not only talking about his work with the Ozzman, but his solo albums, Black Label Society, Zakk Sabbath, and a few very key guest spots.
PG Contributor Tom Butwin checks out the Tone Pod system by Jon Kammerer Customs. Tone Pod is an innovative modular system that makes swapping pickups incredibly easy and quick. Whether in the studio or on stage, this system offers unmatched flexibility and creativity.
Learn more: https://tonepod.com.
By splitting your signal into low- and high-frequency bands, and feeding them to separate effects loops, the XO lends a new, expansive vocabulary to the effects you already have.
Smart, intuitive controls. Exponentially widens the tone potential of just a few effects. High quality construction
Players with limited use for such effects will consider it expensive.
$279
Great Eastern FX
greateasternfx.com
Though some musicians consider it a chore, I relish the creative possibilities associated with mixing a song or record. Working with the Great Eastern FX XO Variable Crossover feels a lot like the process of experimental mixing using EQ and outboard effects. The concept is simple: The XO splits the low and high frequencies from your input into two separate bands, which are routed via corresponding send and return jacks to different effects or series of them.
Depending on how you set the crossover frequency, the return balance, dry blend, and phase, you can fluidly shape, blend, and move between sounds that are subtly different or radically deconstructed. On the surface, it might look and sound like a cumbersome process. In reality, it’s intuitive, fun, and full of surprises
Fear Not the Frequency Shift
The XO’s control set will probably look alien to most guitarists. The largest knob controls the crossover frequency, which determines the point at which the full frequency band is divided and sent to the low and high send and return. The range button just to its right selects two frequency ranges: 50 to 600 Hz, or 300 Hz to 3.4 kHz. The first is recommended for use with bass, the second for guitar, but you can experiment with either setting for any instrument. The return balance knob sets the relative levels of the two effects returns and the dry blend knob performs its namesake task. The phase button can be used to either correct phase issues when the two bands are out of phase or applied creatively to fashion out-of-phase variations on a sound. A very useful send button, meanwhile, switches the high and low sends, enabling instantaneous selection of mirror-image frequency and effects mixes.
Mutating Tone Tangles
My first experiments with the XO were simple: sending the low band to a delay with long repeats and the high band to another delay with fast repeats, lurking just at the brink of oscillation. The ways I could blend these divided and reconstituted tone composites were often unexpected, surprising, and totally inspiring. I could set up signals that found trebly repeats hovering at the edge of feedback, while low and low-mid frequencies (which can overwhelm a self-oscillating signal) provided a fat foundation for the resonant, ringing top end—a totally cool sound that responded in really interesting ways to picking dynamics and different rhythmic patterns. In a modification of that formula, I routed an intensely throbbing Vox Repeat Percussion clone, slow-sweeping phaser, and long-repeat delay to the low band and assigned a clean, heavily compressed, slapback to the high frequencies. In this configuration, simple folk-rock chords and melodic lead lines took on complex, alien alter egos, sometimes sounding like two players—one handling a bubbling bass synth, and a guitarist carrying the tune via the clear detailed high end. When the pulsing low end got tiresome, it was easy to dial in more dry signal via the dry-blend knob or dial in a mix favoring the tighter, chiming high band.
“Simple folk-rock chords and melodic lead lines took on complex, alien alter egos, sometimes sounding like two players.”
The spins you can put on these recipes are endless. Situating an octave-down pedal amid the tremolo and phaser made the two bands even more distinctive and heightened the illusion of a guitarist and synth player working together. You can mix fuzzy, thumping low end with ringing and heavily chorused top-end output. Or you can blend two similar but distinct effects to create oddly chorused and powerful widescreen tonalities.
The cool part of all this potential is that it can be realized with a single amp and just a few pedals. Some of my most radical sounds came via just four or five pedals including the XO, which adds up to a very modest and portable array, all things considered. Players that work with pedalboards that count stomps in the double digits could disappear in labyrinths of sound that are as immersive as those afforded by synthesis. And while XO is, after some practice, easy to control, the new, chaotic molecular reactions provoked by unorthodox stimulation of your pedals all but guarantees unique results. You will definitely find new sounds and new ways to play and compose here.
The Verdict
The XO Variable Crossover is more likely to see service as a studio tool than become a staple of live setups, though plenty of courageous musicians will find it practical in that environment. Although the mechanics and principles behind its workings can seem complex at first, it can be used effectively and dramatically with just a few stompboxes. The sounds and voices it can extract from, say, a phaser and a delay are exponentially greater in number than what you’d get by simply using two such effects in series, even if some of them are subtle. And the ability to manipulate and warp these sounds on the fly with the XO’s elegant, simple control interface could bring out your inner Lee “Scratch” Perry or DJ Shadow—creating new moods, scenes, and tapestries that can turn a simple song or riff into a moving, mutable, and flowing tone story.
Electro-Harmonix's POG3 Polyphonic Octave Generator Pedal offers six separate voices, 100 user presets, extensive I/O, and expression control.
Released in 2005, the original POG revolutionized the world of octave pedals and became a favorite of the likes of Joe Satriani and Jack White. The POG2 followed with updates like programmable presets and an attack filter that helped the POG garner even more popularity among guitarists all over the world. With the biggest feature update to date, the POG3 becomes the most powerful polyphonic octave generator ever.
Electro-Harmonix POG3 Polyphonic Octave Generator Pedal (EHX Demo by BILL RUPPERT)
Building on the foundation laid by the original almost two decades ago, the POG3 offers updates that include a +5th voice, 100 user presets, extensive I/O, enhanced effects section with individual dry effect routing, and expression control over almost every parameter of the pedal.
Features
- Six separate voices: DRY, -2 OCT, -1 OCT, +5TH, +1 OCT, +2OCT
- 100 presets
- Three separate 1/4" outputs – LEFT, RIGHT, DIRECT OUT
- Individual pan controls to separate voices between the LEFT and RIGHT output jacks
- Classic POG and POG2 ATTACK, FILTER, and DETUNE controls with enhancements
- INPUT GAIN control
- MASTER VOLUME control
- FOCUS control for +1 OCT and +2 OCT
- Multimode Filter with Q and Envelope sweep
- All controls can be saved to presets and controlled via expression and/or MIDI
- Illuminated slide pots and buttons
- 128x32 graphic OLED display
- Selectable “home” views to allow for personalized user experiences
- Easy-to-navigate menu system
- New NavCoder knob allows rotary and directional navigation through menus
- EXPRESSION / CV input offers multiple modes of expression
- USB-C port to connect to Windows or Mac and interface with EHXport™ app
The Electro-Harmonix POG3 is available now, comes equipped with a high current EHX 9 Volt power supply and features a U.S. Street Price of $645.00.
For more information, please visit ehx.com.