Pedals that stack with the Ibanez Tube Screamer

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)

Analog Delay's dry, warm slapback isn't a gain stage — it trails the Tube Screamer's own blues boost with echo instead of more drive. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

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)

MojoMojo's organic, transparent overdrive stacks naturally onto the Tube Screamer's own midrange-forward boost for a fuller drive.

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 stacks with the Crayon's own transparent, treble-forward drive.

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)

Stacking the Screamer's mid-forward boost ahead of the RAT lets its own low-end roll-off tighten the signal before the RAT's Filter control reshapes it.

Comes later in the signal chain

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)

Run the Tube Screamer into the Callisto, not the other way, so the chorus doesn't get chewed up by the drive's added gain.

Comes later in the signal chain

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)

Put the Tube Screamer before the Corona and the chorus modulates a signal that's already been pushed and thickened.

Comes later in the signal chain

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 Ego 76 evens out pick attack before the Tube Screamer's clipping, keeping the midrange bump consistent note to note.

Comes earlier in the signal chain

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

Tone Bender MK1's transistor fuzz stacks ahead of the Tube Screamer for a thicker, more British-voiced wall of gain.

Comes later in the signal chain

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

Stack the BB Preamp's creamy treble EQ with the Screamer's own mid-forward boost and you're layering two boutique boost flavors.

Feed a edge of breakup signal into Ibanez Tube Screamer and it comes out closer to mid-forward

Comes later in the signal chain

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

Push the Katzenkonig's already massive gain further by stacking the Tube Screamer's mid-bump in front of it.

Comes later in the signal chain

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)

Push the Orange Squeezer's musical FET compression with the Screamer's mid-forward boost and the dynamics stay tight even as it drives harder.

Comes earlier in the signal chain

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

The Screamer's mid-hump tightens the Eons' thick, low-gain fuzz platform instead of just adding more gain.

Comes later in the signal chain

The Screamer's mid-forward boost stacks with the Colorsound's own transparent, British-voiced boost.

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

Stack the Turbo Rat's aggressive metal clipping with the Screamer's mid-forward boost and you tighten up the low end before it hits the heavier gain.

Comes later in the signal chain

Push the PS-1A's lush, organic phase sweep with the Screamer's mid-forward boost and the phasing has more gain to move through.

Comes later in the signal chain

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 stacks with the Formula 55's own bright, tweed-amp sag and bloom.

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)

Stacking the germanium treble boost ahead of the Screamer's mid-forward drive adds top-end bite the Screamer's own low-end roll-off doesn't supply.

Comes earlier in the signal chain

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)

The Screamer's mid-forward boost pushes into the Velvet Compressor's smooth, low-noise squash for a driven signal.

Comes earlier in the signal chain

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

The Screamer's mid-forward boost stacks with the Carbon's own warm, clean-boosted crunch.

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

The Screamer's mid-forward boost stacks with the BE-OD's own tight, hard-rock gain.

Comes later in the signal chain

The Dumbloid's articulate, Dumble-chasing drive stacks naturally with the Screamer's own mid-forward boost — both live in that same smooth, low-gain space.

The SDE-3000D's iconic digital delay follows the Screamer's mid-forward boost for a defined echo. — 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.

The Fable's granular reverb textures blur nicely under the Screamer's mid-forward drive, adding ambient depth without washing out the pick attack. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain