Amps that pair well with the Friedman BE-OD

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (saturated → tight)

Stack the BE-OD in front of the Plexi for a tighter, more modern low end than the amp's natural sag gives you alone.

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (bright → warm)

Where this leans bright, Marshall JTM45 45W Tube Guitar Amp Head answers back warm

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (bright → warm)

Where this leans bright, Marshall Silver Jubilee 25/55 100W Amp Head answers back warm

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Friedman BE-OD pushes a high gain tone toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (saturated → tight)

The IRT-Studio's valve, recording-ready gain stacks with the BE-OD's own tight, hard-rock gain.

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Friedman BE-OD takes that high gain character and pushes it toward tight

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (dark → bright)

Friedman BE-OD leans bright right where the dark tone needs it

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (warm → bright)

Friedman BE-OD leans bright right where the warm tone needs it

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Friedman BE-OD pushes a high gain tone toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Feed a high gain signal into Friedman BE-OD and it comes out closer to tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Friedman BE-OD pushes a high gain tone toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

The JEL-20's natural, boutique high-gain tube tone gives the BE-OD's tight, modern hard-rock gain a warmer front end to push into.

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

The BE-OD's tight, modern high-gain pushes the Electra-Dyne's own simple, vintage-voiced clean into real metal territory.

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (saturated → tight)

Feed a saturated signal into Friedman BE-OD and it comes out closer to tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Friedman BE-OD takes that high gain character and pushes it toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Friedman BE-OD takes that high gain character and pushes it toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Stack Friedman BE-OD on top and a high gain tone tightens toward tight

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (dark → bright)

Run Friedman BE-OD after it and the dark edge settles into something more bright

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (dark → bright)

Friedman BE-OD leans bright right where the dark tone needs it

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Stack Friedman BE-OD on top and a high gain tone tightens toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (saturated → tight)

Friedman BE-OD takes that saturated character and pushes it toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (high gain → tight)

Stack Friedman BE-OD on top and a high gain tone tightens toward tight

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (saturated → tight)

Friedman BE-OD takes that saturated character and pushes it toward tight

Comes later in the signal chain

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (warm → bright)

Friedman BE-OD leans bright right where the warm tone needs it

Comes later in the signal chain