Pedals that stack with the Fender Super Reverb

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)

Fender Super Reverb leans smooth right where the bright tone needs it

Goes in front of the amp

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 Screamer's mid-forward boost pushes the Super Reverb's clean, spacious breakup into fuller territory.

Goes in front of the amp

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)

Feed a scooped signal into Catalinbread Formula 5F6 and it comes out closer to mid-forward

Goes in front of the amp

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 Tone City Model B Distortion TC-T31 on top and a scooped tone tightens toward mid-forward

Goes in front of the amp

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)

Fender Super Reverb's smooth balances out the bright tone

Goes in front of the amp

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor. (high gain → lush)

Fender Super Reverb leans toward transparent, and that's a real, usable character to pair with — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

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)

Run Fender Super Reverb after it and the bright edge settles into something more smooth

Goes in front of the amp

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)

Run Fender Super Reverb after it and the bright edge settles into something more smooth

Goes in front of the amp

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 Dyna Comp's squash evens pick dynamics before the Super Reverb's own clean, spacious breakup.

Goes in front of the amp

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 Dyna Comp Mini's mid-forward voice goes after Fender Super Reverb in the signal chain — it's not there to compete with Fender Super Reverb's own transparent character

Goes in front of the amp

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

Boss RV-5 Digital Reverb's spring voice goes in Fender Super Reverb's effects loop — it's not there to compete with Fender Super Reverb's own transparent character — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

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 Catalinbread Epoch-Set in Fender Super Reverb's effects loop, clear of Fender Super Reverb's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

Fender Super Reverb's own transparent character is the real reason this is worth trying

Goes in front of the amp

What Fender Super Reverb brings here leans toward transparent — that's worth building a pairing around

Goes in front of the amp

Fender Super Reverb's own transparent character is the real reason this is worth trying

Goes in front of the amp

Fender Super Reverb's own transparent character is the real reason this is worth trying

Goes in front of the amp