
The hive mind at Los Angeles’ Beetronics FX created one the more stunning and tonally complex modulators ever made.
Endless sonic possibilities. Rich, three-dimensional tones. A challenging creative stimulant.
Requires a lot of time and effort to unlock its true power.
$349
Beetronics FX SeaBee Harmochorus
beetronicsfx.com
A simple way to describe the SeaBee is that it’s a digitally controlled, analog, bucket-brigade chorus and pitch modulation unit. But the sickos at Beetronix weren’t content to leave it at something so simple. Each of the effects here are so malleable and varied that they sometimes border on absurd.
Inside the Hive Mind
The SeaBee is rightfully positioned neither as a pure chorus nor a vibrato. But Beetronics may undersell the almost endless sonic possibilities offered by the marriage of the effects in this gorgeous little stompbox. It’s beautifully designed and crafted, both internally and externally. The designs on the pedal’s face, for instance, aren’t stenciled or screen printed onto the box, but are part of a textured faceplate that’s affixed to the chassis. The SeaBee looks and feels like a treasure.
My hat is off to whoever had to design the pedal’s control layout. It’s not going overboard to say they did something magical here, given the small space they had to work with and the many multi-function features present. Most of the pedal’s controls serve more than one function, and a few serve three—for example, the knob at the top left controls ramp speed, tone, or modulation pattern depending on which mode is engaged. Meanwhile, the footswitches function as bypass, ramping, and tap tempo switches. If all that wasn’t enough, the pedal’s digital brain enables 16 presets, it’s MIDI enabled, and there is an expression pedal jack.
No amount of ingenious engineering could save a stompbox this complex from a steep learning curve. And the SeaBee tends to funnel you toward mixing and mashing-up its different sounds. So, before you can enjoy the whole of the pedal’s possibilities, it’s wise to learn how the entire ecosystem works. The good thing is that the SeaBee sounds great along that journey, even if you don’t always really know quite how you got the sounds you hear in the first place.
Buzz-Worthy Sounds
The SeaBee’s many sounds are often the kind you associate with digital pedals with lots of digital processing power. The pedal also often does work that would require more than one analog pedal. It would be impossible to describe all of the SeaBee’s possible sounds—or the function of every control— in the space of this review. But the chorus and vibrato modes are delicious and enveloping and can be tweaked to range from classic and subdued to warped and psychotic. There are three basic chorus modes: roto, which approximates rotary speaker modulations, depth, which ramps between levels of chorus intensity, and sting, in which the two delay lines in the chorus work more like a dedicated delay unit than a modulator. In all three chorus modes, the sound was three-dimensional and full, and I could not find a tone that sucked. All three chorus modes sat in a really pleasant tone pocket, too. Regardless of what kind of guitar I used, they were neither too dark (as some analog choruses can be) nor too bright. If I had to pick a favorite among these chorus voices, I’d say I particularly liked the weird vibrations of the sting mode, which I used as a sort of tight, demented delay. It’s worth mentioning, too, that the louder I played this pedal, the better it sounded. These are rich, complex sounds with many overtones to explore.
While the chorus sounds can be wild, switching to harmochorus—which pitch shifts the chorus signal—is when things really go off the rails, usually in incredibly fun ways. All three modes—dual, arpeggio, and mad—are a little disorienting at first, and while Beetronics’ 16 onboard presets offer representative samples of the possibilities, they offer little in the way of tutorial about how to make them yourself. Still, once I started to crack the code, the going got easier, and the rhythmic and melodic rabbit holes I found and dove down were endless.
The Verdict
The SeaBee is complex enough that I would hesitate to bring it on tour without a lot of practice. But who cares? As a creative tool, it occupies a unique space. SeaBee prompted me to think and play differently. I used voicings and timings that I would otherwise never reach for, and that makes this pedal feel pretty special.
Considering the fact that the SeaBee can produce a lifetime of interesting sounds, and that there are boutique one-trick-pony pedals that cost nearly as much, the steep asking price is absolutely justified. The SeaBee is a difficult mutant to master, but it’s well worth the effort. PG
The pedals keep coming! Enter Stompboxtober Day 28 for your chance to win today’s featured pedal from Line 6!
Line 6 Hx One Stereo Multi-Effects Pedal
The Line 6 HX One is a powerful stereo effect pedal with intuitive controls that fits onto any pedalboard. Select one of 250+ effects taken from the acclaimed HX family processors and easily adjust the parameters displayed on the OLED screen using the three corresponding knobs. You can also automate parameter changes via the unique Flux controller and trigger them with the Tap/Flux footswitch. Connect an optional expression pedal or two external footswitches for additional control (all sold separately). . HX One also provides adjustable input impedance with a choice of True Bypass or buffered DSP Bypass, MIDI In and Out/Thru connectors, 128 Presets or a USB-C port for firmware updates and use with the HX One Preset Librarian application. HX One may be powered using the included 9V power supply or most third-party power supplies, making it easy to add to your pedalboard.250+ effects taken from the HX family processors. Intuitive controls make selecting and editing effects easy. Flux Controller for automating parameter changes . Adjustable input impedance to match your instrument . Connect an optional expression pedal or two external footswitches (sold separately). MIDI In, Out/Thru connectors (receives PC and CC messages). Stereo I/O with choice of True Bypass or buffered DSP Bypass. 128 preset slots. USB-C port for firmware updates and use with HX One Preset Librarian . 9V power supply included.Blackberry Smoke will embark on their Rattle, Ramble and Roll Tour in 2025, featuring stops at Worcester’s Palladium, Burlington’s The Flynn, New Orleans’ The Fillmore, Austin’s ACL Live at the Moody Theater, among many others.
Tickets for the newly added dates will be available for pre-sale starting tomorrow, Tuesday, October 29 at 10am local time, with the general on-sale following this Friday, November 1 at 10:00am local time. Full details and ticket information can be found at blackberrysmoke.com.
Throughout their career, Blackberry Smoke has released eight studio albums including their latest, Be Right Here. Produced by Grammy Award-winning producer Dave Cobb (Chris Stapleton, Jason Isbell), the record was released to widespread critical acclaim earlier this year and debuted at #1 on the Current Country Albums chart, Americana/Folk Albums chart and Current Rock Albums chart.
Since forming in 2001, Blackberry Smoke has continued to tour relentlessly, building a strong and loyal community of fans. In addition to their work as musicians, the band is deeply committed to charitable work and formed the Brit Turner Family Fund, a non-profit supporting several national foundations committed to curing children’s cancer. With these efforts, the band has raised over $1,000,000 to date benefitting children’s cancer research. Most recently, Blackberry Smoke raised over $26,000 with their hometown show at Atlanta’s Cadence Bank Amphitheatre at Chastain Park earlier this summer, which celebrated the life and legacy of the band’s late drummer, Brit Turner.
BLACKBERRY SMOKE CONFIRMED TOUR DATES
October 30—Bakersfield, CA—Fox Theater~
October 31—San Diego, CA—Humphreys Concerts by the Bay~
November 1—Las Vegas, NV—The Pearl Concert Theater~
November 2—Riverside, CA—Fox Performing Arts Center~
November 7—St. Augustine, FL—St. Augustine Amphitheatre^
November 8—Clearwater, FL—Ruth Eckerd Hall^
November 9—Fort Myers, FL—Barbara B. Mann Performing Arts Hall^
November 10—Pompano Beach, FL—Pompano Beach Amphitheater^
November 14—Royal Oak, MI—Royal Oak Music Theatre%
November 15—Marietta, OH—Peoples Bank Theatre%
November 16—Shipshewana, IN—Blue Gate Performing Arts Center%
November 21—Carterville, IL—Event Center at Walker’s Bluff Casino Resort
November 22—Tulsa, OK—Cain’s Ballroom**
November 23—Shawnee, OK—FireLake Arena**
December 5—Mobile, AL—Saenger Theatre††
December 6—Augusta, GA—Bell Auditorium##
December 7— Fayetteville, NC—Crown Theatre##
December 8—Savannah, GA—Johnny Mercer Theatre##
December 31—Macon, GA—Macon City Auditorium^^
January 30—Morristown, NJ—Mayo Performing Arts Center
January 31—Bensalem, PA—XCite Center at Parx Casino
February 1—Worcester, MA—The Palladium
February 2—Patchogue, NY—Patchogue Theatre for the Performing Arts
February 5—Portland, ME—State Theatre
February 6—Burlington, VT—The Flynn
February 7—Providence, RI—The Strand Ballroom & Theatre
February 8—Williamsport, PA—Penn College Community Arts Center
February 13-17—Rock Legends Cruise XII
March 6—Rockford, IL—Coronado Theatre
March 7—Peoria, IL—Peoria Civic Center Theater
March 8—Evansville, IN—Aiken Theatre
March 27—New Orleans, LA—The Fillmore
March 28—Houston, TX—713 Music Hall
March 29—Helotes, TX—John T. Floore’s Country Store
April 25—Miramar Beach, FL—Moon Crush “Pink Moon”
May 8—Austin, TX—ACL Live at the Moody Theater
May 9—Dallas, TX—Majestic Theatre
May 15—Maryville, TN—The Shed
May 16—Maryville, TN—The Shed
May 17—Maryville, TN—The Shed
~with special guest Kelsey Waldon
^with special guest Southall
%with special guest Sam Morrow
**with special guest Taylor Hunnicutt
††with special guest Georgia Thunderbolts
##with special guest Tishamingo
^^with special guest Robert Jon and the Wreck
Nearly 50 years ago, Rob Turner developed his first guitar pickup in Long Beach, CA. He's still creating new designs with EMG's current catalog approaching 100 pickups. He invited PG's John Bohlinger to Santa Rosa, CA, to see how a company that can produce 3,000 products a day still has an eager ear for new gear. See how they wind, wax, mold, wrap, and electrify your favorite instrument.
Brad Labelle
Nap Eyes’ Brad Labelle joins reader Galen Brownson and PG staff in sharing about what makes them—and thereby, their tunes—so unique.
Question: What are some personal qualities of yours that set you apart from others in your writing or playing?
Brad Labelle - Nap Eyes
A: I love dance music and have an unrelenting thirst for new and fresh sounds. I don’t feel my guitar playing is particularly groundbreaking, but those influences must seep through somehow. I do believe I’m a fairly expressive player and my short attention span keeps me endlessly improvising.
Nap Eyes’ latest release, The Neon Gate.
Obsession: I can’t stop listening to the recent Jane Remover track “Magic I Want U.” The production is deeply detailed but doesn’t feel cluttered, and her melodic sensibilities are intoxicating. She gives you crunchy guitars paired with breakbeats, West Coast synth lines, a Janet Jackson-esque electro outro, scratching, a fun little guitar solo.... I could go on.
As of late, Two Star & the Dream Police by Mk.gee has been in Brad's regular listening rotation.
Galen Brownson - Reader of the Month
Metallica’s two-guitar format inspired Galen when he was learning guitar.
A: When I was learning how to play, I was listening to a lot of two-guitar bands, like Metallica and Megadeth and Iron Maiden. I tried to find ways to play both guitar parts at once, which is not always possible, but I write two parts for one guitar now.
Metallica’s second album is a fan favorite of their early, pioneering years.
Obsession: My latest obsession is finding ways to combine metal music with electronic music, particularly dubstep. My younger brother once chastised me for ignoring electronic music by saying “metal and dubstep have a lot in common,” and he was absolutely right. I’ve since made it a goal to weave them together.
Galen names Polis by Uppermost, a French electronic music producer, as one of his favorite records.
Ted Drozdowski - Editorial Director
Ted takes a slide solo on his well-traveled and beloved Dollycaster.
A: My interests toggle between history and mystery, so my technique is based in archaic/anarchic blues playing styles and an expansive sonic palette that relies on blending fingerpicking, slide, and an array of pedals to create tones and sheets of sound. I think of it as cosmic roots music, and don’t hear a lot of other people doing what I do the way I do it.
The marquee image for Ted and Coyote Motel’s new movie, The River: A Songwriter’s Stories of the South.
Obsession: For a few years now, much of my creative energy has been invested in a feature film I created with my band Coyote Motel—scripting, recording narration, performing as part of the band, editing, and learning many painfully new and hard lessons about movie-making. And then getting the film to festivals, where we’ve won laurels, and onto a few select screens. Now, I’m working on distribution, in a field where there ain’t no Bandcamp or DistroKid. It ain’t easy, but I’m obsessed with getting The River: A Songwriter’s Stories of the South into the world.
The current state of Ted’s pedalboard. (He’s aware he could do a better job with the wiring.)
Kate Koenig - Managing Editor
Kate’s newest album, which contains some of their rawest and most vulnerable lyrics to date.
A: I wear my heart on my sleeve—to the point where I’ve always struggled to have a verbal filter—so I tend to write very raw, vulnerable lyrics. A taste for cerebral art during my formative years has also informed my approach to coming up with challenging and intricate fingerpicking guitar parts.
When PG’s worldly gear editor Charles recommended Black Flag’s record Damaged, Kate got on that posthaste.
Obsession: I’ve been revisiting, digging into, and expanding my knowledge of classic ’80s and ’90s punk in preparation for my next artist interview for Premier Guitar(some foreshadowing, eh?). I have always been intrigued by punk culture’s outspoken rebelliousness and commitment to anarchic ideals, which strike me as free and authentic.
Kate has a distinct memory of a classmate playing “You’re Gonna Go Far, Kid” on loop in their senior-year studio-art class. (They still wonder why their teacher didn’t intervene.)