Pedals that stack with the Friedman Dirty Shirley

clean platform takes the driveA clean, high-headroom stage takes on dirt it can't generate by itself. (transparent → high gain)

Into the Dirty Shirley's already-saturated British crunch, the King of Tone's transparent boost pushes it further without smothering the amp's own character.

Goes in front of the amp

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

A Screamer into the Dirty Shirley's British crunch is the classic mid-focused lead boost

Goes in front of the amp

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

Friedman Dirty Shirley stacks high gain on top of the mid-forward already here

Goes in front of the amp

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

The Dirty Shirley's British crunch gives the Gritador's asymmetrical midrange clipping a saturated amp voice to push into.

Goes in front of the amp

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

Into a low gain tone, Friedman Dirty Shirley brings a pull toward high gain that's missing

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. (warm → bright)

The Dirty Shirley's British crunch pushes the Carbon's warm, clean-boosted crunch further into saturation.

Goes in front of the amp

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

Into the Dirty Shirley's vintage British saturation, the Octahive's raw octave fuzz gets stranger rather than gainier.

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 → warm)

Friedman Dirty Shirley leans warm right where the bright tone needs it

Goes in front of the amp

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

Put Friedman Dirty Shirley in front and the mid-forward tone leans further toward high gain

Goes in front of the amp

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

Friedman Dirty Shirley layers high gain onto an already mid-forward signal

Goes in front of the amp

clean platform takes the driveA clean, high-headroom stage takes on dirt it can't generate by itself. (transparent → high gain)

Into a transparent tone, Friedman Dirty Shirley brings a pull toward high gain that's missing

Goes in front of the amp

Into the Dirty Shirley's vintage British saturation, the Deluxe Electric Mistress' subtle analog flange adds motion without smothering the amp's own dirt.

Goes in front of the amp

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

Into a low gain tone, Friedman Dirty Shirley brings a pull toward high gain that's missing

Goes in front of the amp

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

Into the Dirty Shirley's vintage, British crunch, the Longsword's baritone, treble-tuned clean boost has a genuinely raw amp voice to push into.

Goes in front of the amp

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

Friedman Dirty Shirley stacks high gain on top of the mid-forward already here

Goes in front of the amp

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

Into a low gain tone, Friedman Dirty Shirley brings a pull toward high gain that's missing

Goes in front of the amp

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

Into the Dirty Shirley's vintage, British crunch, the DS-2's warm, smooth lead saturation has a genuinely raw amp voice to push into.

Goes in front of the amp

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

Run mid-forward into Friedman Dirty Shirley for more high gain on top

Goes in front of the amp

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

Into the Dirty Shirley's vintage, British crunch, the Frazz Dazzler's gated, low-gain fuzz has a genuinely raw amp voice to push into.

Goes in front of the amp

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

Friedman Dirty Shirley stacks high gain on top of the mid-forward already here

Goes in front of the amp

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

Put Friedman Dirty Shirley in front and the mid-forward tone leans further toward high gain

Goes in front of the amp

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

Run mid-forward into Friedman Dirty Shirley for more high gain on top

Goes in front of the amp

clean platform takes the driveA clean, high-headroom stage takes on dirt it can't generate by itself. (transparent → high gain)

Into the Dirty Shirley's vintage, British crunch, the Red Dirt's thick, articulate midrange drive has a genuinely raw amp voice to push into.

Goes in front of the amp

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

Friedman Dirty Shirley stacks high gain on top of the mid-forward already here

Goes in front of the amp