Pedals that stack with the Fender Hammertone Reverb

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 Fender Hammertone Reverb after Warm Audio Dirty Boy Jr. Overdrive in the signal chain, clear of Warm Audio Dirty Boy Jr. Overdrive's own gain stage

Comes earlier 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.

Run Fender Hammertone Reverb after Suhr Koji Comp in the signal chain, where it won't crowd Suhr Koji Comp

Comes earlier 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.

Fender Hammertone Reverb's lush voice goes after Artec SE-FLG Vintage Flanger in the signal chain — it's not there to compete with Artec SE-FLG Vintage Flanger's own analog warmth character

Comes earlier 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 Fender Hammertone Reverb after MXR M87B Blackout Bass Compressor Limited Edition in the signal chain, where it won't crowd MXR M87B Blackout Bass Compressor Limited Edition

Comes earlier 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.

Fender Hammertone Reverb's lush voice goes after Silktone Loader in the signal chain — it's not there to compete with Silktone Loader's own edge of breakup character

Comes earlier 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.

Run Fender Hammertone Reverb after Subdecay Super-nova Drive in the signal chain, clear of Subdecay Super-nova Drive's own gain stage

Comes earlier 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 Spermophilus Effects Hypertonia Compressor's compressed voice out front: Fender Hammertone Reverb goes after Spermophilus Effects Hypertonia Compressor in the signal chain so its lush voice doesn't muddy it

Comes earlier 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.

Put Fender Hammertone Reverb after Matthews Effects The Klone in the signal chain, clear of Matthews Effects The Klone's own gain stage

Comes earlier 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.

Fender Hammertone Reverb's lush voice goes after Mutable Instruments Clouds in the signal chain — it's not there to compete with Mutable Instruments Clouds's own tight character

Comes earlier 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.

Put Fender Hammertone Reverb after Xotic SD in the signal chain, clear of Xotic SD's own gain stage

Comes earlier 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 Jackson Audio Amp Mode's dynamic voice out front: Fender Hammertone Reverb goes after Jackson Audio Amp Mode in the signal chain so its lush voice doesn't muddy it

Comes earlier 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 Jackson Audio Silvertone 1484 Twin Twelve's edge of breakup voice out front: Fender Hammertone Reverb goes after Jackson Audio Silvertone 1484 Twin Twelve in the signal chain so its lush voice doesn't muddy it

Comes earlier 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.

Run Fender Hammertone Reverb after Demon FX CK Compressor in the signal chain, where it won't crowd Demon FX CK Compressor

Comes earlier 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.

Put Fender Hammertone Reverb after DSM & Humboldt Electronics Sub-Atomic X-Over Cmos Bass Preamp in the signal chain, clear of DSM & Humboldt Electronics Sub-Atomic X-Over Cmos Bass Preamp's own gain stage

Comes earlier 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 T-Rex Comp-Nova's compressed voice out front: Fender Hammertone Reverb goes after T-Rex Comp-Nova in the signal chain so its lush voice doesn't muddy it

Comes earlier 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 Lazy Bear Effects High Pass Filter's full voice out front: Fender Hammertone Reverb goes after Lazy Bear Effects High Pass Filter in the signal chain so its lush voice doesn't muddy it

Comes earlier 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 Keeley KTM-B Time Machine Boost's clean boost voice out front: Fender Hammertone Reverb goes after Keeley KTM-B Time Machine Boost in the signal chain so its lush voice doesn't muddy it

Comes earlier 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 Source Audio Gemini Chorus's shimmer voice out front: Fender Hammertone Reverb goes after Source Audio Gemini Chorus in the signal chain so its lush voice doesn't muddy it

Comes earlier 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.

Put Fender Hammertone Reverb after Empress Compressor Mk II in the signal chain, where it won't crowd Empress Compressor Mk II

Comes earlier 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 MXR Booster's clean boost voice out front: Fender Hammertone Reverb goes after MXR Booster in the signal chain so its lush voice doesn't muddy it

Comes earlier 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.

Put Fender Hammertone Reverb after EVH MXR 5150 Chorus in the signal chain, where it won't crowd EVH MXR 5150 Chorus

Comes earlier 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.

Put Fender Hammertone Reverb after Behringer Dual-Phase in the signal chain, where it won't crowd Behringer Dual-Phase

Comes earlier 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 Fender Hammertone Reverb after Voodoo Lab Sparkle Drive in the signal chain, clear of Voodoo Lab Sparkle Drive's own gain stage

Comes earlier 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.

Run Fender Hammertone Reverb after Jackson Audio Bloom V2 (Silver) in the signal chain, clear of Jackson Audio Bloom V2 (Silver)'s own gain stage

Comes earlier in the signal chain