Pedals that stack with the Friedman PT-20

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

Friedman BE-OD pushes a high gain tone toward tight

Goes in front of the amp

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

Feed a high gain signal into Analog Man King of Tone and it comes out closer to clean boost

Goes in front of the amp

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

Feed a high gain signal into Browne Amplification Carbon and it comes out closer to clean boost

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 → shimmer)

Run Electro-Harmonix Deluxe Electric Mistress after Friedman PT-20 in the signal chain, clear of Friedman PT-20's own gain stage

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.

Keep TC Electronic Triple Flashback Delay in Friedman PT-20's effects loop, clear of Friedman PT-20's own gain stage — 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. (high gain → ambient)

Keep Friedman PT-20's high gain voice out front: Walrus Audio Fathom goes in Friedman PT-20's effects loop so its ambient voice doesn't muddy it — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

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

Walrus Audio Highpoint's own tight character is the real reason this is worth trying

Goes in front of the amp