Pedals that stack with the Line 6 DL4 Delay Modeler

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)

The DL4's looping delay repeats don't stack gain with the Tube Screamer — run it after the pedal's own blues-forward boost for echo, not more drive.

Comes earlier in the signal chain

Put the Klon ahead of the DL4 so its midrange boost feeds the delay's repeats a fuller, more saturated signal to echo.

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 DL4's warm, vintage-voiced delay trails the Lillian's subtle analog phasing into a layered echo.

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 Line 6 DL4 Delay Modeler's warm voice out front: Voodoo Lab Tremolo goes after Line 6 DL4 Delay Modeler in the signal chain so its bright voice doesn't muddy 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.

Put Line 6 DL4 Delay Modeler after Maestro PS-1A Phase Shifter in the signal chain, where it won't crowd Maestro PS-1A Phase Shifter

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.

Let the DL4's warm, vintage repeats trail the Pork Loin's nuanced British-blues overdrive for a classic finish.

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 Line 6 DL4 Delay Modeler after Taurus Bass Pedals in the signal chain, where it won't crowd Taurus Bass Pedals

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 Line 6 DL4 Delay Modeler 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.

Keep Line 6 DL4 Delay Modeler after Ashdown James LoMenzo Mega Drive in the signal chain, clear of Ashdown James LoMenzo Mega Drive'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 Line 6 DL4 Delay Modeler after Boss GEB-7 Bass Graphic EQ in the signal chain, where it won't crowd Boss GEB-7 Bass Graphic EQ

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 Line 6 DL4 Delay Modeler after Boss GEB-7 Bass Graphic EQ in the signal chain, where it won't crowd Boss GEB-7 Bass Graphic EQ

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 Line 6 DL4 Delay Modeler after IdiotBox Effects End of Line in the signal chain, where it won't crowd IdiotBox Effects End of Line

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 MXR M281 Thump's bright voice out front: Line 6 DL4 Delay Modeler goes after MXR M281 Thump in the signal chain so its warm voice doesn't muddy 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.

Keep Line 6 DL4 Delay Modeler 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.

Keep Ibanez Jemini's bright voice out front: Line 6 DL4 Delay Modeler goes after Ibanez Jemini in the signal chain so its warm voice doesn't muddy 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.

Run the DL4's warm, vintage-voiced delay after the Button Masher's smooth optical compression settles, so the repeats trail a defined tone.

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 Line 6 DL4 Delay Modeler after MXR M104 Distortion+ in the signal chain, clear of MXR M104 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.

Keep Line 6 DL4 Delay Modeler after MXR M104 Distortion+ in the signal chain, clear of MXR M104 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.

Keep Laney Digbeth DB-Pre's full voice out front: Line 6 DL4 Delay Modeler goes after Laney Digbeth DB-Pre in the signal chain so its warm voice doesn't muddy 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.

Put Line 6 DL4 Delay Modeler after Jackson Audio Bloom V2 Compressor/EQ in the signal chain, where it won't crowd Jackson Audio Bloom V2 Compressor/EQ

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 Line 6 DL4 Delay Modeler after Acoustic NUX Optima Air NAI-5 in the signal chain, clear of Acoustic NUX Optima Air NAI-5'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 DL4's warm, vintage-voiced delay trails the WUB's resonant, notch-filtering EQ with a precisely shaped signal to echo.

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 Line 6 DL4 Delay Modeler after Subdecay Vagabond Harmonic in the signal chain, where it won't crowd Subdecay Vagabond Harmonic

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 the DL4's warm, vintage-voiced delay after the Classic Analog Bass Preamp's own EQ settles, so the repeats trail a defined tone.

Comes earlier in the signal chain