PolyEffects, a boutique music company from Australia, has made a name for itself with the Beebo, a guitar pedal for processing geeks. The Beebo allows users to “really get under the hood” to design their own unique effects, unlike typical guitar pedals that aim to do one or two thing really well. Our Editor-In-Chief, Greg Geller, had the opportunity to speak with founder, Loki Davison, about his cool company and their products.
“Beebo is a multi modulation pedal that also gives you the power of a Eurorack modular synth in an easy to use touch screen pedal.”
Intuitive Workflow & Unparalleled Tweakability
For those unfamiliar with the Beebo, the pedal packs conventional effects consisting of: flanger, auto swell, delay, algorithmic reverb, chorus, looping delay, EQ, compression, pan, phaser, reverse, rotary, saturator, phaser and warmth into a modular environment with a touch-screen interface.
According to PolyEffects, the real power behind the Beebo is when you combine the effects. Although, each effect is substantial when used alone, the real magic occurs when you string them together and control them with dozens of parameters. For example, Rotary has more than 30 parameters for those who want to delve into its detailed physical modeling algorithm.
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It’s the modular workflow, which sets the Beebo apart from other pedals on the market and has attracted a dedicated following of Eurorack enthusiasts and allowed users to “push the boundaries of sound design.”
Powerful modules derived from the best Eurorack modules have also been incorporated into the Beebo, This include a granular texture synthesizer, a 16 model macro oscillator voice and a meta modulator with seven tweaky signal combining algorithms (ring modulation, comparators and cross folding).
The foot switches can change values, or users can change parameters via a random source, an LFO or an envelope follower. Modules that generate control signals can be controlled as well. For example, if you want more out of the built in chorus or flanger modules, you can build your own by adding a few delay modules and modulating them. You can also send control signals out as MIDI CC to control other pedals.
If you want modular or even weirder effects, the bitmangle, freeze, granular, six different virtual analog filters, powerful LFOs, time stretch, turntable stop, twist delay, VCA, wavefolder, attenuverter features can be employed to enter otherworldly terrain. The MIDI to V/Oct module allows you to drive the synthesis modules from the MIDI note input. Finally, it’s easy to share presets with fellow owners, just plug in a USB flash drive and either export or import in an instant.
To learn more about PolyEffects and the Beebo, FutureMusic interviewed the company’s founder, Loki Davison.
FutureMusic: Tell us about your musical background?
Loki Davison: My background is that I got a Roland MKS 7 for $10 in 1999 and started tinkering with it. Later I did research on sound synthesis when I attended University. Since then, I’ve been creating weird MIDI controllers, synths and then pedals. I mainly play guitar, bass and sing.
FutureMusic: How did PolyEffects start?
Loki Davison: Poly Effects is currently just me full time, based in Melbourne, Australia. It started in late 2016 after I finished a few previous weird synth and electronic drums projects. I’ve also now got a graphics designer (Jo) helping too. My wonderful Mum has also previously helped with soldering foot switches and packing units.
The first product of Poly Effects was the big weird multi dimensional MIDI controller called Expressive. Then Digit was released last year at Summer NAMM. A major revision of the Digit firmware was released at NAMM 2020 and that’s where the first prototype of Beebo was shown. There’s been 41 firmware updates released so far this year so the firmware continues to evolve for both pedals.
The tag line is intuitive workflow and unparalleled tweakability and that is very much the goal of the product line. I aim to make instruments that are intuitive, creative, fun and expand your sonic palette. I think there are a lot of products that focus on perfect recreations of older gear, and while that can sound great, it’s not what Poly Effects is about. I want new colours to paint with and new ways of controlling things. Bringing the ideas from visual modular synthesis environments into the guitar world is a way to get that…
Great sounds are just part of the product though, I also want them to be easier to use and easier to understand what you’re doing. The touch screen seemed like the only way I could combine the deep features I wanted with the usability I required. Convolution reverb, with the ability to capture real spaces is an amazing technique that I’ve long used in the studio but wanted on a pedal board. Being able to shape those sounds in a modular environment gives you control. If you put a parametric EQ on the send to a reverb you’ve now got a great way to shape that sound. Just drop out the lows and you’ve got the Abbey Road reverb technique.
FutureMusic: So you’re basically a one man operation, incredible. Now usually when we run across Garage Entrepreneurs, the gear they’re developing is not that sophisticated. However, you have an efficient operating system with digital routing, effects and other goodies, that’s much more in line with a more established manufacturer. Can you tell me more about that aspect of development?
Loki Davison: Alas, I’m currently in a garage at my house because of Covid, but I’m neither garage or entrepreneur. Normally I work from my workshop and I much prefer to think of myself as an instrument maker or guitar effects pedal maker. Although this project is only 4 years-old, my previous synthesis brands were a bit more adventurous. I’ve been writing synth code for around 20 years now so I’ve had a little practice along the way. I think established brands have experience with an existing tool set so they continue to use those tools, but my tool set is different due to my exposure to the synth world.
Exposure to visual modular environments have been a big influence [on me]. Miller Puckette with Pure Data and Max, the beautiful recent work of the Bitwig team and David Robillard’s Om & Ingen. It gives you a different idea about music creation and what tools should be available to the musician. My goal has always been to make instruments and effects that are musically rewarding.
In addition, the guitar pedal community has also been very supportive. Advice from the teams at Chase Bliss, Meris, Empress, Supro and Eventide has been very helpful over the years. I don’t think of them as competitors but other people making great stuff.
FutureMusic: Are you an electrical engineer? I love that you decided to circuit bend an MKS 7 to get started, but can you elaborate on your history from that point to making gear for retail purchase?
Loki Davison: Tinkering with the MKS7 around 1999 at the end of high school was really interesting and increased my interest in music technology. I’d also played with an Atari ST, the original platform for things such as Cubase, and then later trackers on x86 computers. I went to study at Monash University and Uni Ulm in Germany and did my minor thesis in Ulm on samplers and then at Monash. I did sound synthesis using physical modeling for my research there. I am not an electrical engineer, I only did a few subjects on that stuff. My research was in computer music.
I thought I’d never be able to find a job using any of it, but actually tried for a while. The making stuff process had many failures and little success during this time. I made many weird products along the way that you might have seen at previous NAMM events. Luckily in all the years I was never in Hall E though… 🙂 I’m sad to miss out on NAMM 2021, it’s been a big part of my journey.
FutureMusic: How many of your devices do you and your Mum make a month? And do you pay her well?? (Winks)
Loki Davison: Demand is shooting through the roof, but the lockdown here in Melbourne is messing with the parts supply situation a lot. I’ve got no idea how many I’ll make this month, and last month I spent a lot of time improving the firmware while I waited for parts.
Alas, my Mum isn’t helping out currently with assembly, but she comes by as an excuse to hang out and feed me.
FutureMusic: You mentioned Jo before?
Loki Davison: Graphics design contactor and a friend. She’s a bass player too. I occasionally attempt upright bass but mostly stick to my electric or guitars.
FutureMusic: Melbourne, at least when I was there in 2000, had a great, somewhat underground, music scene. Has the city or it’s creative population influenced you in any way?
Loki Davison: We probably went to the same gigs! Maybe you saw one of us play. Though in 2000 I was mostly going to electronic gigs. Although I’ve lived many places I love Melbourne and it’s a great city for music. Knowing a lot of other great musicians and jamming with my mates has been a huge inspiration for products. Expressive was directly inspired by a requirement to improve my setup for playing with a great local synth player Michelle Lam.
FutureMusic: What’s next for Poly after the Beebo?
Loki Davison: Many more modules for both Digit and Beebo! Some stuff that isn’t ready to be announced yet.
