Keeley KO-Als Distortion

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)

Marshall Silver Jubilee 25/55 100W Amp Head's warm balances out the bright tone

Comes later in the signal chain

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

Comes later in the signal chain

Comes later in the signal chain

Fender Dual Showman pushes a high gain tone toward tight

Comes later in the signal chain

Where this leans bright, Orange Little Bass Thing answers back warm

Comes later in the signal chain

Put Mesa Boogie Mark VII 1x12 Combo in front and the mid-forward tone leans further toward high gain

Comes later in the signal chain

Mesa Boogie Mark VII Rackmount Head stacks high gain on top of the mid-forward already here

Comes later in the signal chain

Put Mesa Boogie Mark Five:25 Head in front and the mid-forward tone leans further toward high gain

Comes later in the signal chain

Stack Revv Generator 120 MkIII 10th Anniversary 4-Channel 120W Head on top and a high gain tone tightens toward tight

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 Keeley KO-Als Distortion's high gain voice out front: Boss CE-2W Chorus Waza Craft goes after Keeley KO-Als Distortion in the signal chain so its modulated voice doesn't muddy it

Comes later in the signal chain

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

Fjord Fuzz Fjaer Spring Reverb stacks fuzzy on top of the mid-forward already here

Comes later in the signal chain

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

Greer Black Mountain layers fuzzy onto an already mid-forward signal

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 Keeley KO-Als Distortion's high gain voice out front: Suhr Discovery goes after Keeley KO-Als Distortion in the signal chain so its warm voice doesn't muddy it — 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. (high gain → modulated)

Keep J. Rockett Clockwork Echo after Keeley KO-Als Distortion in the signal chain, clear of Keeley KO-Als Distortion's own gain stage — 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. (bright → smooth)

Pigtronix Gloamer Volume Swell's own smooth character is the real reason this is worth trying

Comes earlier in the signal chain

Comes later in the signal chain

Anarchy Audio Flutterby Tremolo goes after Keeley KO-Als Distortion — modulation sits after the gain for a defined swirl

Comes earlier in the signal chain

Matthews Effects The Pocket Drive Overdrive Boost pushes a high gain tone toward clean boost