Pedals that stack with the Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

The Screamer's mid-forward boost can push the Rotosphere's tube preamp harder for a more driven rotary swirl.

Comes earlier in the signal chain

Used together by 3 artists

The Rotosphere and Klon are a documented combo, the Klon's transparent boost pushing the Rotosphere's tube preamp into a fuller, more driven Leslie swirl.

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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after MXR Distortion+ in the signal chain, clear of MXR Distortion+'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.

The Rotosphere's tube-driven Leslie swirl follows the DD-200's shimmering delay for layered rotating-speaker motion. — goes in the amp's FX loop (or last, into a clean amp)

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after EarthQuaker Devices Chelsea in the signal chain, clear of EarthQuaker Devices Chelsea's own gain stage

Comes earlier in the signal chain

Used together by 1 artist

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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Way Huge Pork Loin in the signal chain, clear of Way Huge Pork Loin'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.

Put Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Xotic EP Booster in the signal chain, clear of Xotic EP Booster'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.

Put Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Boss RV-6 Reverb in the signal chain, where it won't crowd Boss RV-6 Reverb — goes in the amp's FX loop (or last, into a clean amp)

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Ashdown Double Shot in the signal chain, clear of Ashdown Double Shot'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.

Put Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after MXR 108 Fuzz in the signal chain, clear of MXR 108 Fuzz'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.

Keeley Muse Driver's stage-ready overdrive gain feeds into the Rotosphere's Leslie swirl, which colors that drive rather than adding to 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.

Imperial BC183's bright, cutting silicon fuzz doesn't stack gain with the Rotosphere — it just gives the Leslie swirl a harder-edged signal to spin.

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.

The Boonar's Echorec-style repeats trail naturally after the Rotosphere's tube-driven Leslie swirl, adding vintage echo to the rotating-speaker motion. — goes in the amp's FX loop (or last, into a clean amp)

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Behringer BDI21 in the signal chain, clear of Behringer BDI21's own gain stage

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Dunlop MXR M282 Dyna Comp Bass in the signal chain, clear of Dunlop MXR M282 Dyna Comp Bass'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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after MXR M281 Thump in the signal chain, clear of MXR M281 Thump's own gain stage

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Tru-Fi Rat Pack Compact in the signal chain, clear of Tru-Fi Rat Pack Compact'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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Biyang Pre-19 Preamp in the signal chain, clear of Biyang Pre-19 Preamp's own gain stage

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Ibanez Jemini in the signal chain, clear of Ibanez Jemini'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.

Put Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Laney Digbeth DB-Pre in the signal chain, clear of Laney Digbeth DB-Pre's own gain stage

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Acorn Amplifiers Solid State Preamp in the signal chain, clear of Acorn Amplifiers Solid State Preamp's own gain stage

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Way Huge Aqua-Puss Analog Delay in the signal chain, where it won't crowd Way Huge Aqua-Puss Analog Delay — goes in the amp's FX loop (or last, into a clean amp)

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Acoustic NUX Optima Air NAI-5 in the signal chain, clear of Acoustic NUX Optima Air NAI-5's own gain stage

Comes later 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 Hughes & Kettner Tube Rotosphere MKII The Analog Leslie Simulator after Ashdown James LoMenzo HyperDrive in the signal chain, clear of Ashdown James LoMenzo HyperDrive's own gain stage

Comes earlier in the signal chain