“Why Tubes Still Matter: Dave Friedman on Modeling, Legends, and the Future of Real Amps”

For over three decades, Dave Friedman has stood at the center of the tube-amp world — the person players call when they want tone with personality, punch, and unmistakable attitude. From the late ‘80s and early ‘90s, his name became synonymous with expertly modified Marshalls, attracting high-profile players such as Eddie Van Halen, Steve Stevens, and George Pajon.

By 2008, Friedman decided to bring his ideas to the market under the name Marsha Amps, though Marshall quickly urged him to reconsider the branding. The result was simply Friedman, a company that soon became home to signature amplifiers for Jerry Cantrell, Chris Shiflett, Phil X, and others.

“I’d worked on rigs for basically my whole life,” Friedman tells Guitar World. “I had the opportunity to get my designs into the hands of these players — and they liked what they heard. That’s all it was.”

He explains that today, after decades of listening to musicians and shaping gear for them, he can almost sketch a design on paper and be confident it will only need small adjustments.

With NAMM 2025 approaching, Friedman recognizes that the industry is changing — and digital modeling poses a real challenge. Still, he makes his stance clear:
“Modelers just aren’t exciting. They don’t give you that physical reaction — that air moving against your legs.”

NAMM 2025

Phil X Signature PX20

A feature-packed 20-watt amp with:

• a full clean channel with full EQ
• a flexible drive channel with multiple gain voices
• an adjustable boost
• independent master controls

“It’s essentially a three-channel amp — more advanced than any 20-watt model we’ve made.”

A tribute to José Arredondo

Friedman also announces a major release honoring legendary amp modder José Arredondo.
“I’ve worked on hundreds of José-style amps. It felt wrong to release something inspired by him without involving his family,” Friedman says.

Together with Arredondo’s daughter, Maria, Friedman is preparing a 100-watt José-style amp, which he’ll reveal on his Tone-Talk show.

Working with icons

Players like Jerry Cantrell, Steve Stevens, Phil X, and Chris Shiflett gravitate toward Friedman amps because “they reflect the sound I hear in my head,” he says.

His work with Eddie Van Halen was more rig-focused:
“The number one rule was always listening — letting the artist explain what they want without assumptions.”

Tube amps vs modeling

Friedman doesn’t hide his opinion on digital amps:

• Tube amps still dominate studio recordings
• Modelers struggle in roots-oriented and expressive styles
• “Every modeler is based on tube amps anyway — they need the originals to exist”

Despite the modeling boom, Friedman says his sales haven’t declined. In fact, his simplest product ever — the Plex — became a huge hit:
“No bells and whistles. Maybe that tells you something.”

Challenges and the boutique business

Friedman explains that boutique builders struggle not because of creativity, but because of financial limitations.
His partnership with Boutique Amps Distribution allows Friedman Amps to function on a larger scale while he retains hands-on involvement:
“I personally test every amp that leaves the factory.”

As for NAMM, he’s happy big brands like Fender and Marshall are returning, though he’s unsure whether the show remains essential in the modern world:
“Still, I enjoy it — I get to see friends I only meet once a year.”

The future of amps

Friedman warns that modeling is becoming “a race to the bottom.”
As companies release cheaper versions, competitors respond with even cheaper alternatives — something that’s unsustainable long-term.

But tube amps?
“They’re still very much alive. Most boutique customers are home players — just like buying a nice car, even if you’re not a professional racer.”

Will tubes survive?

Friedman believes yes:
“People don’t want to sit at home playing through a model. The physical feel of an amp — moving air, real response — that’s what inspires you.”

He laughs at claims about in-ears and “perfect” front-of-house sound:
“Then you hear it — and it’s terrible. Real amps don’t have to be loud, but they need to be real.”

To him, nothing replaces the sensation of an actual amp interacting with your playing:
“That feeling is what makes the instrument come alive.”

Review on Friedman BE-100 Deluxe Head