Electronic Audio Experiments The Bard

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)

Revv Generator 100R MkIII 3-Channel Head leans smooth right where the bright 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. (bright → warm)

Run Fender Prosonic after it and the bright edge settles into something more warm

Comes later in the signal chain

Comes later in the signal chain

Hughes & Kettner Coreblade leans this low gain tone toward high gain, which it doesn't make on its own

Comes later in the signal chain

Mesa/Boogie Stiletto Deuce Stage II leans this low gain tone toward high gain, which it doesn't make on its own

Comes later in the signal chain

Mesa/Boogie JP-2C John Petrucci Signature 60/100-Watt leans this low gain tone toward high gain, which it doesn't make on its own

Comes later in the signal chain

Friedman Small Box 50W EL34 Amp Head leans this low gain tone toward high gain, which it doesn't make on its own

Comes later in the signal chain

Blackstar HT Stage 100H MK III Snakeskin leans this low gain tone toward high gain, which it doesn't make on its own

Comes later in the signal chain

Put Orange AD200B 200W Bass Head after Electronic Audio Experiments The Bard

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain. (dynamic → compressed)

Citadel Bus Driver Compressor's own compressed character is the real reason this is worth trying

Comes earlier in the signal chain

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

Into a low gain tone, Greer Black Mountain brings a pull toward fuzzy that's missing

gain stackingStacks two gain stages for more saturation than either produces alone. (low gain → high gain)

Into a low gain tone, Airis Effects SPEC-Defier brings a pull toward high gain that's missing

Comes later in the signal chain

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

MXR Analog Chorus's analog warmth voice goes after Electronic Audio Experiments The Bard in the signal chain — it's not there to compete with Electronic Audio Experiments The Bard's own low gain character

Comes later in the signal chain

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

Keep Electronic Audio Experiments The Bard's low gain voice out front: Caroline Guitar Company Kilobyte goes after Electronic Audio Experiments The Bard in the signal chain so its pristine voice doesn't muddy it — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

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

Keep JAM Pedals Delay-Llama after Electronic Audio Experiments The Bard in the signal chain, clear of Electronic Audio Experiments The Bard's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

Comes earlier in the signal chain

Caline CP-31 Hot Spice (Black) goes in front of Electronic Audio Experiments The Bard — a wah tracks picking dynamics best on the raw signal

Comes earlier in the signal chain

Tone City Hot Mama Overdrive leans this low gain tone toward high gain, which it doesn't make on its own