Pedals that stack with the Line 6 DL4 Delay Modeler

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 Old Blood Noise Endeavors Blackcap Harmonic Tremolo in the signal chain, where it won't crowd Old Blood Noise Endeavors Blackcap Harmonic Tremolo

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 Ashdown James LoMenzo HyperDrive's mid-forward voice out front: Line 6 DL4 Delay Modeler goes after Ashdown James LoMenzo HyperDrive 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.

Line 6 DL4 Delay Modeler's warm voice goes after Peavey Bandit Supreme Teal Stripe Preamp in the signal chain — it's not there to compete with Peavey Bandit Supreme Teal Stripe Preamp's own tight character

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 Boss BP-1w's clean boost voice out front: Line 6 DL4 Delay Modeler goes after Boss BP-1w 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 Hornby Skewes Treble Booster's bright voice out front: Line 6 DL4 Delay Modeler goes after Hornby Skewes Treble Booster 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 Tech 21 DP-3X Dug Pinnick Signature Bass Distortion in the signal chain, clear of Tech 21 DP-3X Dug Pinnick Signature Bass 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 the DL4 after the Trym — the aggressive, cutting tremolo pulse stays sharp and the delay's warm, vintage-to-modern repeats trail behind 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 Free The Tone Silky Groove SG-1C's modulated voice out front: Line 6 DL4 Delay Modeler goes after Free The Tone Silky Groove SG-1C 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 Rocktron Hush Noise Gate in the signal chain, where it won't crowd Rocktron Hush Noise Gate

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.

Line 6 DL4 Delay Modeler's warm voice goes after Origin Effects BassRig Fifteen in the signal chain — it's not there to compete with Origin Effects BassRig Fifteen's own bright character

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 the DL4 after the DB316 — the punchy, midrange EQ boost stays clean and the delay's warm repeats trail behind 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 Line 6 DL4 Delay Modeler after Snarling Dogs Super Bawl Whine-O Wah Pedal in the signal chain, where it won't crowd Snarling Dogs Super Bawl Whine-O Wah Pedal

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 Dophix Michelangelo Overdrive Plus in the signal chain, clear of Dophix Michelangelo Overdrive Plus'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 Line 6 DL4 Delay Modeler after Xotic ACB-V2 in the signal chain, clear of Xotic ACB-V2'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 Dallas Tuxedo Treble Booster's bright voice out front: Line 6 DL4 Delay Modeler goes after Dallas Tuxedo Treble Booster 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 Ashdown Pro-FX Two-Band Boost in the signal chain, clear of Ashdown Pro-FX Two-Band Boost'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 Line 6 DL4 Delay Modeler after Beetronics Fatbee JFET Overdrive in the signal chain, clear of Beetronics Fatbee JFET Overdrive'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 Spaceman Delta II Cadet: Harmonic Tremolo in the signal chain, where it won't crowd Spaceman Delta II Cadet: Harmonic Tremolo

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 MXR Prime Distortion in the signal chain, clear of MXR Prime 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 Electronic Audio Experiments Surveyor Instrument Voicing Preamp's harmonically rich voice out front: Line 6 DL4 Delay Modeler goes after Electronic Audio Experiments Surveyor Instrument Voicing Preamp 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 Sonicake Factory Acoustic Preamp in the signal chain, clear of Sonicake Factory Acoustic Preamp'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.

Line 6 DL4 Delay Modeler's warm voice goes after Hotone A Station in the signal chain — it's not there to compete with Hotone A Station's own mid-forward character

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 Markbass MB Instrument PRE in the signal chain, clear of Markbass MB Instrument PRE'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 Line 6 DL4 Delay Modeler after MXR M69P Prime Distortion in the signal chain, clear of MXR M69P Prime Distortion's own gain stage

Comes earlier in the signal chain