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)

Friedman Dirty Shirley leans this transparent tone toward high gain, which it doesn't make on its own

Goes in front of the amp

Friedman Dirty Shirley's own crunchy character is the real reason this is worth trying

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 Karma Suture's organic germanium clipping 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 layers high gain onto an already mid-forward signal

Goes in front of the amp

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

Friedman Dirty Shirley leans this low gain tone toward high gain, which it doesn't make on its own

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

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

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

Friedman Dirty Shirley leans toward crunchy, and that's a real, usable character to pair with

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)

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

Goes in front of the amp

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

Goes in front of the amp

Friedman Dirty Shirley's own crunchy character is the real reason this is worth trying

Goes in front of the amp

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

Friedman Dirty Shirley leans this high headroom tone toward high gain, which it doesn't make on its own

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

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

The Dirty Shirley's British crunch gives the Dyna Comp's percussive squash something to sit on top of rather than a fully clean platform.

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

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

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

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)

Friedman Dirty Shirley leans this low gain tone toward high gain, which it doesn't make on its own

Goes in front of the amp

What Friedman Dirty Shirley brings here leans toward crunchy — that's worth building a pairing around

Goes in front of the amp