Just made a clip for you. Sorry about the sub-par quality, my amp’s lineout isn’t working, so instead I used this old Sony Cardioid microphone that is most likely crap. I have two of them, I think they’re for recording live performances in the 70s or something.

http://www.soundclick.com/bands/page_songInfo.cfm?bandID=651215&songID=7779623

I have the HOG in Freeze/Gliss mode, with the expression pedal half cocked so that it sort of does this weird auto-glissando thing.

I have the dry out going to my big muffs- I use a Little Big Muff at the beginning, and a Big Muff Tone Wicker towards the end.

At the beginning I have the 2 octaves + 3rd slider up and I’ve turned the resonance up and the filter down so that only the harmonics on my root notes really get any volume.

That’s running into a DOD-250 to beef up the sound a bit, followed by my SMMH, set to a reverb setting.

I play with fuzz guitar (it’s all one track, because of the split signals) then I turn the fuzz volume down and just play the HOG

In part two I switch from 2 octaves + 3rd to just a 5th, I turn off the DOD-250, and turn on my frequency analyzer (with filter on) and my Subdecay Prometheus (set to a sort of throbby modulated LPF that sounds like tremolo.) I become dissatisfied with where I have the HOG’s filter set, so I change that part way through. I also change fuzzes part way through the 2nd part to the Big Muff Tone Wicker set to a really ratty setting.

P.S. you’ll notice it’s done to a set interval, so sometimes it doesn’t sound right with the chords. Dear EHX: make a HOG that appropriately lowers and raises the levels of different voices based on the chord progressions you play. Ala the voice box. That’d rule.