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Model G


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Product Description

The Model G is a not-so-distant cousin to the Honey Bee…with a distinct flavor of its own.

About the color…the Model G started out as a Limited Edition of 10 units for the 10th anniversary of BJFe a few years ago.

It was Bjorn’s most expensive drive pedal ever and had a special paint job that used gold leaf over black. For the BearFoot edition, we chose Sherwood Green for the Sherwood Forest band of merry men who “took from the rich and gave to the poor.”   G = Green and Gold.

The Model G runs on standard 9V and will work from 5V-15V.

Outside of USA, add $27 for shipping at checkout.

The Model G captures the unique voice and response of an often overlooked brand of amps from the ’50s/’60s ~ the Gibsons that were right there at the beginning with Fender, Valco, Vox and Marshall.

The MG’s sound is somewhere near the Tweeds and Supros but with a stronger and clearer voice, and a particular upper mid sound and snarl.

The Model G is related to the Honey Bee in the same way a Gibson Falcon or GA40 is related to a Supro…cousins with obvious similarities, but important differences.

The Volume, Drive and Nature controls are on both models.

The C knob is a big part of the difference – it controls several things at once: the upper mids EQ and snarl and slight speaker compression…like adjusting to different speaker choices/ages or even like moving a mic aimed at the speaker.

Quick Set- up:

Start with all 4 knobs full left.

Choose your Volume

Set Dirt level

Then adjust the Nature control concentrating on matching the lows of your amp…

Then roll up the C knob concentrating on the upper mids EQ and the overall snarl response.



Click on pic below to read what Tone Report’s Jamie Wolfert has to say about the BearFoot FX Model G!


Video “Manual”

Lance Seymour


Premier Guitar

Donner at Summer NAMM 2013!


Mike Hermans

Mike Hermans (Low to Medium Gain Shootout)

Reviews from TGP BearFoot FX Tourbox Participants 

1)  GUITARS: Standard Telecaster and Les Paul Studio. AMPS: Germino Classic 45 LoVo and a Budda SD18 (both amps set clean)

“Model G:  I’ve always loved the old Gibson amps of the 60’s and even owned a few over the years. This pedal delivered for me! It sounds very similar to a cranked up vintage Gibson amp. It had awesome mids, fairly tight bass, and very dynamic/touch sensitive to my playing. After switching back and forth between the Model G and the EGOD, it was obvious that the Model G was the bigger sounding, meaner, more ballsy pedal of the 2. I can
definitely see myself owning one of these in the future… this was a winner for me and my favorite in tour box!”  (USA, October 2013)

2)  Henriksen Jazzamp…Ibanez AS-73 Semihollow and Guild X-500 Jazzbox

“…for my style and the tones I go for, the Model G just nailed it. Even with my big Guild Jazzbox. Typically most drive type pedals take away from the tone of this instrument – in this case the Model G enhanced it. Think old school woody jazz tones with a bit of break up a la Grant Green or Kenny Burrell. Great stuff.

I got to use this pedal at a big band gig and we did a guitar solo feature tune (In a Sentimental Mood). I used the Model G and it sounded great in this situation – I got great compliments on the tone.

The nature control (N) on the Model G is brilliant – it’s got kind of a “tilt-eq” thing going on. All the way counter clockwise the bass is big and boomy. As you turn it clockwise, the bass rolls off and the upper mids increase. You can get so many sounds out of this. The C control was way more subtle. I think it made a more noticeable difference when the overdrive level was higher… I REALLY dug these pedals and I wish I could snag a Model G…it is a game changer of a pedal – it could simplify and improve my rig for both my jazz and rock playing.”  (USA, September 2013)

3)  1982 Les Paul Standard / Richie’s Guitar Shop Custom Telecaster & Stratocaster / 2013 Epiphone Casino… Blackstar HT-1R

“This brings us to the Model G (MG). Ok. This pedal is easily one of the most nuanced detailed overdrives I have ever heard. The gain range is
incredible. Every mm turn on the drive knob produces a completely new set of harmonics and reaction to picking dynamics. I easily spent 3 times as long with this pedal as either of the other 2 on the first pass. It was very hard to move on to another pedal. As I mentioned earlier, I thought my search for a medium gain drive had ended with the SYOD2. Clearly I was wrong. And talk about playing well with others. There wasn’t a pedal on my board that was not enhanced by pairing it with he MG. My phaser/vibe just sang with it. My 3 Leaf Proton was pushed perfectly while retaining
perfect note detail. Forget about what happened with the Saturn V. (Although to be fair, everything sounds better with the addition of the Saturn V). Needless to say, a Model G is in my very near future. I might be hard pressed not to make that happen even before this tourbox ships out on Friday.”  (USA, March 2014)

4) GEAR:  ’86 Squier E-series tele w/Fralins & Fender Roadworn Player Strat through a ’50s Heathkit A9c modified for guitar (6l6 ’20w @ 1%
distortion’) and 12″ Eminence Private Jack cab

“Most of the time went to loving the Model G! I like warm amp tones and fell quickly for the MG. It immediately gave me a tone that felt at home, fits in perfectly with my other ODs and still gives something different. The dynamics and tone made playing it feel very natural. The N control is more or less a bass cut, I liked it about 10 oclock. The C control, what i think of as the Snarl control was a somewhat subtle but very useful adjustment. It worked well for me at 1 or 2 oclock or so.  The dynamics are great! Using my fingers, I got great warm mellow low/medium drive, using the pick added sharper attack and more gain and really let me dig in.  Using the Crosstown in front of the MG created a warm smoky tone that I’ve been
looking for. I fell in love, again… The Model G is also on my wishlist and one may come to live with me at some point in the near future.”
(USA, August 2014)

5)  GEAR: Nik Huber Orca ’59 and PRS Custom 22 (both with PAF style humbuckers) through a Peavey JSX combo amp (120W with EL34s)

Model G: Instant favorite! Nails the low OD thing. On top of that, the N knob is a great way to match your amp’s bass response. As a matter of fact, you could add more bass if you so choose to. What a great feature to have! I think it’s a great way to fatten up single coils. The only criticism I could have is that I’d rather have a treble knob than a mids contour. I only say this because I own a JHS Superbolt and when comparing the two, the G was always darker. I have a dark rig already and I play with humbuckers mostly, so it’s not exactly what I would need. I would buy one anyway, though, because I think it would be a great thing to own to overdub low OD parts. One more thing: while this pedal is very open sounding, it does compress when you crank up the gain. Actually, when using more gain you can tell why it’s considered a member of the ‘Bee’ family.”  (USA, June 2014)

6)  GEAR: Fender Stratocaster with Hot Noiseless and a Gibson ES-335 with PAFs into a Fender Deluxe Reverb Reissue

Model G…This one was a nice surprise, because I had no idea where this would fall. I see this one as being similar to the Uber Bee’s range of sounds, but more open and with less of the compression found in the other pedals. There is more emphasis on the mids here, and a reduced low end to keep things tighter. I really liked the C knob for most of the tone shaping, leaving the Nature knob at CCW and the Drive all the way up. Using the C knob made me wonder what the Uber would sound like with that same functionality, together with more low end to mimic the HBOD. I can see the Model G being a very easy choice for players who want less of that compressed touch-sensitive sound that the other Bees have, in favor of the openness of the G. With that in mind, I can see why the Model G isn’t similarly named as a “Bee” pedal. While there are similarities, it really isn’t the same overall vibe. If anything, I felt like the Model G would be what would happen if you removed some compression and put an EQ on the Uber Bee. Just as I think you could pair the Honey Bee with the Honey Beest as “clean” and “lead”, I think you could do the same type of pairing with the Uber and the Model G, calling the Uber Bee the “dark” channel and the Model G the “bright” channel.”  (USA, June 2014)

7)  GEAR: Various

The Model G…HOE LEE CRAP! What a great pedal! I’ve been wanting to check this one out for a while and it’s just what I’ve been waiting for. I
always use my HBOD with my larger amps (Super Lead, Tweed Bassman) and it sounds like a natural extension of them but when I use it with my low watt amps (Valco (Grestch) 6159), it sounds too small. I don’t need my small amps to sound small. I’ve tried other HB substitues to get tme there (Sweet Honey OD, Honey Beest) to no avail. They just don’t have the sweetness and organic feel of the Bee. Enter the Model G.

Totally FEELS like the Honey Bee (VERY amplike) but is tighter and with a more strident vibe. It’s more like a larger amp compared to the HB and it’s small amp simulation. It’s Malcolm to the HB’s Angus. Clear, full, responsive. Beautiful. I did NOT want to send this pedal to the next tourboxer. I will definitely pick up one to use when I’m playing my smaller amps (which I never really liked the HB for)…Donner, if you want to sell me the beat-up Model G (at a discount ), I’ll gladly take it off your hands – PM me.”  (USA, August 2014)

8)  GEAR: Tele through a DRRI and a 65 Amps London Pro in stereo

Model G: My favorite of the bunch. I used it live against the Nova System drive. My band plays a lot of different styles but when I need an overdrive it’s usually on the medium high OD/distortion territory. A more modern sound.
I planned to use the G as a light OD for a song we do but we ended up not playing it so I cranked the gain and used it as main drive for a few songs. The drive on the Nova is smoother and works best with the kind of music my band plays but, the G is a lot better for the kind of sounds I like. With the band playing (we’re 11 on stage) I noticed the G cuts better because it has a nice high end. If I was playing more classic kind of rock, it would be perfect.”  (Portugal, September 2014)

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