Fifty watts of stunning Marshall-flavored versatility that moves from clean to screaming.
Sample played using a Nik Huber Krautster II, bridge pickup; into a 4x12 cab emulation with Celestion Greenbacks via Universal Audio OX Box.
0:00 – Rhythm channel: bright switch, from off, to low-bright, to high-bright.
0:21 – BE Channel
0:28 – HBE Channel
0:50 – Gain Structure Switch: switched to low, back to BE channel
0:56 – …to medium
1:03 – …to high
1:08 – Fat switch “on”
1:23 – Back to HBE channel
1:49 – SAT switch engages
2:00 – HBE Master Volume adjusted upwards to compensate
RatingsPros:Outstanding build quality. Ridiculously good rock and clean tones, with superb versatility. Cons: Some players might enjoy a master volume on the clean channel, and I’d like to see external bias points for easy EL34 swaps—although both exclusions are conscious and valid design choices. Street: $3,495 Friedman BE-50 Deluxe friedmanamplification.com | Tones: Ease of Use: Build/Design: Value: |
Rock aficionados have heaped boatloads of acclaim upon Dave Friedman’s BE preamp topology—praised for years as one of the most delectable “modified-Marshall-style” lead channels around. This Marshall model 2203-derived circuit has been reconfigured into several Friedman models over the years, but it has typically appeared in beastly 100-watt iterations like the BE-100. The BE-50 Deluxe changes all that by packaging three distinct channels into a versatile 50-watt head that Friedman calls “my most flexible design yet.”
Knobs a Poppin’
It’s true: There are a lot of knobs on this thing. But approach the 3-channel design one step at a time, and it makes sense pretty quickly. There are two independent EQ stages: one for the clean channel, and one shared by the two lead channels. Each has bass, middle and treble controls. While the clean channel has a single volume control, the two lead channels—the standard BE channel and high-gain HBE—each have dedicated gain and master controls. All share a trio of output-stage controls labeled presence, response (negative-feedback-loop level), and thump (a resonance or deep control). The two-button footswitch (included) allows selection between the clean and lead blocks and the lead channel’s two gain levels (HBE is labeled “boost” on the footswitch).
The clean channel’s preamp is lifted from Friedman’s Buxom Betty, a non-master-volume amp that delivers bold, sparkling, American-meets-British clean tones that get a little crunchy when you push it hard. True to form, there’s no master volume on the BE-50’s clean channel, either, though it does have a 3-way bright switch to tailor the sparkle. A full-/half-power switch on the back panel means the two EL34 tubes can be run in pentode/full-power mode or in triode mode for a more club-friendly 25 watts. Four 12AX7s drive the preamp and phase-inverter.
The back panel is also home to the dual speaker outputs and a rotary selector for 4, 8, or 16 ohms. There’s send and return jacks with a return level control and bypass switch for the buffered effects loop, a TRS input for the two-button footswitch, a saturation (SAT) switch, and a 3-way gain structure switch. The last of these is a feature many players enjoy on Friedman’s Mini Dirty Shirley, allowing three base gain levels on the BE and HBE settings (think ’80s, vintage, modern), while the SAT switch noticeably increases harmonic saturation in those two channels when engaged. (It also drops the output level slightly—a factor that’s inherent to the design.) There’s also a “fat” switch on the front that adds even more lower-mid girth to the two lead channels, as desired.
Inside you see the handwired goodness we’ve come to expect from Friedman. As the knob count suggests, there’s a lot going on under the hood. But the layout is elegantly arrayed on a long, rugged turret board that bristles with high-quality components: U.S.-made Synergy “Royal Mustard” signal capacitors, ARS electrolytic caps, a mix of carbon-comp and carbon-film resistors, and other esoteric bits. On the other side of the box reside three U.S.-made Heyboer transformers. The only things missing from my perspective are external bias check and adjustment points to make output tube swaps a little easier—something many makers offer on amps around this price. The good news is that the BE-50 Deluxe still weighs a very manageable 30 1/2 pounds.
Beautiful Music
I tested the Freidman with a Gibson 1958 Les Paul reissue, a Novo Serus J with P-90s, and a ’94 PRS CE 22, through both a Port City 2x12 cab with Eminence CV-75 speakers and a Universal Audio OX Box for recording direct to Pro Tools. It floored me at every turn. This amp is insanely flexible. It sounds good with every stomp of the channel-selector switch, knob twist, or flick of a voicing switch. And if you can’t find the tone you need for classic rock, alt, grunge, blues-rock, or vintage metal sounds, you probably aren’t really looking—or listening. What’s more, the two lead modes are just as good at low-gain tones as scorching high-gain sounds.
The tone permutations offered by the feature set are almost exhausting to contemplate. Let’s just say there are a ridiculous number of voices available here. The presence control is focused and exponentially widens the tone possibilities. Response takes core tones from refined to raw. Thump does exactly what the name implies to low-end output. You might end up asking, “How did I ever live without these features?” And that’s before you discover that the EQ controls have significantly more range than most Marshall-inspired T/M/B stages. Some players are likely to critique the BE-50 Deluxe as too busy. To them, I suggest spending a little time finding your favorite sounds, set them, and forget them.
The clean channel sounds great and is extremely clean. With no master volume, it only breaks up when the volume is pushed way past 2 or 3 o’clock. But it’s simultaneously bold, thick and articulate throughout that range. It makes an outstanding pedal platform, and was utterly delectable with overdrive pedals.
The half-power setting is a little softer and browner in its response, as most triode modes are, but it’s much less so than on most other amps I’ve tried. And I rarely felt that the tone suffered. Full power is stouter, crisper, and a little more immediate. But if you need to dial down the decibels to keep a sound guy happy in a smaller club, you’ll still be smiling, believe me.
The Verdict
The BE-50 Deluxe is an impressive addition to the Friedman lineup. It might even live up to Dave’s claim that it’s “the best amp I’ve ever made,” which is really saying something. Frankly, my first spin with this amp left me a little dizzy with the options, and the discovery of a great sound around every corner. Once I recovered and discovered a few favorite go-to settings, I was convinced this is an amp to be reckoned with, and one you have to try out if the budget and the format fit your needs.
Watch the Review Demo:
- Friedman Amplification BE-100 Deluxe | Monsters of High Gain - Premier Guitar ›
- George Pajon—From the Black Eyed Peas to Cairo Knife Fight - Premier Guitar ›
- Friedman Small Box Overdrive Review - Premier Guitar ›
- Sammy Boller Guitar Gear Rundown [2024] ›
- Friedman IR-X Dual Tube Preamp and DI Demo with Sammy Boller & Dave Friedman - Premier Guitar ›
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
Who Gets What:
TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
- A/B/C layout for instant access to clean, drive, and lead tones
- 30 Banks: Amp & cab presets from classic cleans to crushing high-gain
- 5 Banks: FX-driven presets featuring the 8 new TONEX FX
- 5 Banks: Amp-only presets for integrating external IRs, VIR™, or amps
- 5 Banks: Stompbox presets of new overdrive/distortion pedals
- 5 Banks: Bass amp & pedal presets to cover and bass style
TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
- Easy to explore and customize with the new TONEX Editor
Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
Versatile Control
The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
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Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ’70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.
Ernie Ball Music Man StingRay II Cory Wong Signature Electric Guitar - Charcoal Blue with Rosewood Fingerboard
StingRay II Cory Wong - Charcoal BlueThe Melvins' Buzz Osborne joins the party to talk about how he helped Kurt Cobain find the right sounds.
Growing up in the small town of Montesano, Washington, Kurt Cobain turned to his older pal Buzz Osborne for musical direction. So on this episode, we’re talking with the Melvins leader about their friendship, from taking Cobain to see Black Flag in ’84 to their shared guitar journey and how they both thought about gear. And in case you’ve heard otherwise, Kurt was never a Melvins roadie!
Osborne’s latest project is Thunderball from Melvins 1983, something of a side trajectory for the band, which harkens back to this time in Osborne’s life. We dig into that and how it all relates and much more.
Adding to the company’s line of premium guitar strapsand accessories, Fairfield Guitar Co. has introduced a new deluxe leather strapdesigned in collaboration with Angela Petrilli.
Based in Los Angeles, Petrilli is well-known to guitar enthusiasts around the world for her online videos. She is one of the video hosts at Norman’s Rare Guitars and has her own YouTube lesson series, the Riff Rundown. She also writes, records and performs with her original band, Angela Petrilli & The Players, and has worked with Gibson, Fender, Martin Guitars, Universal Audio, Guitar Center and Fishman Transducers.
Angela Petrilli's eye-grabbing signature strap is fully hand cut, four inches wide and lightly padded, so it evenly distributes the weight of the instrument on the shoulder and offers superb comfort during extended play. The front side features black "cracked" leather with turquoise triple stitching. The "cracked" treatment on the leather highlights the beautiful natural marks and grain pattern – and it only gets better with age and use.The strap’s back side is black suede for adhesion and added comfort, with the Fairfield Guitar Co. logo and Angela's name stamped in silver foil.
Features include:
- 100% made in the USA
- Hand cut 4” wide leather strap with light padding -- offering extra comfort for longgigs and rehearsals.
- Black suede back side avoids slipping, maintains guitar’s ideal playing position.
- Length is fully adjustable from 45” - 54” and the strap has two holes on thetailpiece for added versatility.
The Fairfield Guitar Co. Angela Petrilli signature strap is available for $150 online at fairfieldguitarco.com.