Pedals that stack with the Ashdown Triple Shot

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

The Phase 90's classic-rock sweep follows the Triple Shot's driven midrange overdrive for a defined swirl.

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 → smooth)

The Fuzz Factory's unpredictable germanium gating pushes hard against the Triple Shot's driven midrange overdrive.

Comes later in the signal chain

gain stackingStacks two gain stages for more saturation than either produces alone. (mid-forward → fuzzy)

Greer Black Mountain stacks fuzzy on top of the mid-forward already here

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. (scooped → mid-forward)

Ashdown Triple Shot pushes a scooped tone toward mid-forward

Comes earlier 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. (scooped → mid-forward)

Fuzz Elements Void's dark, scooped, resonant sustain gives Triple Shot's bass drive somewhere heavier to land.

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. (scooped → mid-forward)

The Big Muff PI-Made's scooped, sustaining fuzz gives Triple Shot's bass drive somewhere heavier to land.

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. (scooped → mid-forward)

What Ashdown Triple Shot brings here leans toward bright — that's worth building a pairing around

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. (scooped → mid-forward)

Ashdown Triple Shot leans toward bright, and that's a real, usable character to pair with

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. (scooped → mid-forward)

The LT Dual's British-American gain stacks with Triple Shot's own frequency-shaped bass drive for a thicker rhythm push.

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. (scooped → mid-forward)

The Triangle's scooped Big-Muff fuzz gives Triple Shot's bass drive somewhere heavier to land.

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. (scooped → mid-forward)

Ashdown Triple Shot takes that scooped character and pushes it toward mid-forward

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 → glassy)

What Orange Sustain brings here leans toward glassy — that's worth building a pairing around

Comes earlier 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. (scooped → mid-forward)

The Flip-Top SFT's organic, studio-voiced bass overdrive stacks with Triple Shot's own frequency-shaped drive for a richer push.

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

The Triangle Buff's scooped Big-Muff sustain gives Triple Shot's bass drive somewhere heavier to land.

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)

Ashdown Triple Shot leans bright right where the dark tone needs it

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)

Ashdown Triple Shot leans bright right where the warm tone needs it

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)

Run Ashdown Triple Shot after it and the warm edge settles into something more bright

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

Stack Ashdown Triple Shot on top and a scooped tone tightens toward mid-forward

Comes later in the signal chain

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (crunchy → mid-forward)

The DGTM's rich, reliable blues crunch stacks with Triple Shot's own bass drive for a thicker rhythm push.

pushes an already-dirty tonePushes an already-dirty tone harder and tightens it up. (crunchy → mid-forward)

Ashdown Triple Shot pushes a crunchy tone toward mid-forward

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. (transparent → mid-forward)

Into a transparent tone, Ashdown Triple Shot brings a pull toward mid-forward that's missing

Ashdown Triple Shot's bright voice suits Caline CP-31 Hot Spice (Black)'s own warm character

Comes earlier in the signal chain

Stack Ashdown Triple Shot on top and a edge of breakup tone tightens toward mid-forward

Comes later in the signal chain

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

Feed a high gain signal into Ashdown Triple Shot and it comes out closer to mid-forward