Bohemian rhapsody amp settings — Friedman BE-100 Deluxe
The Queen guitar tone for “Bohemian rhapsody”, dialed in for a Friedman BE-100 Deluxe with a Fender Player Telecaster. Studio version, A Night at the Opera (1975)
Brian May Red Special (Burns Tri-Sonic pickups, played with sixpence coin) → Dallas Rangemaster treble booster → Vox AC30 Top Boost
| Knob | Setting (0–10) |
|---|---|
| Gain | 4 |
| Bass | 4 |
| Mid | 7 |
| Treble | 6 |
| Presence | 7 |
| Reverb | 0 |
| Master | 5 |
01Treble Booster (e.g., Analog Man Beano Boost, BSM RM, or TC Electronic Spark Mini set bright)
RECOMMENDED — not currently owned. This is essential to the May tone; it adds upper-harmonic sparkle and pushes the amp into singing sustain. Without it, the Friedman will sound too modern and tight. A Klon-style or clean boost with treble emphasis is the minimum substitute.
The Friedman BE-100 is a high-gain, tight-bottomed modern amp—opposite of the loose, Class A compression of May's AC30. Use the BE channel (not HBE) to avoid excessive saturation. Gain is dropped to 4 because the original tone's dirt came from a treble booster slamming a relatively clean amp, not preamp saturation. Mids pushed to 7 to compensate for the Friedman's tighter, more scooped voicing vs the midrange-forward AC30. Treble pulled to 6 (vs original 7-8) because the Tele's single coils and the Friedman's brighter top-end would otherwise get ice-picky.
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These settings are for a Friedman BE-100 Deluxe. ToneAdapt matches any song to whatever amp, guitar and pedals you own — first match is free.
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