Pedals that stack with the MXR Analog Delay

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.

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. (dark → bright)

RHC Rat Turbo Rat Distortion leans toward aggressive, and that's a real, usable character to pair with

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 the Lillian's subtle analog phase ahead of the Analog Delay so the sweep rides the repeats instead of chasing them.

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 Analog Delay's warm voice out front: Maestro PS-1A Phase Shifter goes after MXR Analog Delay in the signal chain so its lush 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. (high gain → slapback)

MXR Analog Delay's warm voice goes after Blackstar Dept. 10 Dual Distortion in the signal chain — it's not there to compete with Blackstar Dept. 10 Dual Distortion's own high gain 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. (high gain → slapback)

Keep Revv G3 (Purple Channel Distortion)'s full voice out front: MXR Analog Delay goes after Revv G3 (Purple Channel Distortion) 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. (high gain → slapback)

MXR Analog Delay's warm voice goes after JHS Angry Charlie in the signal chain — it's not there to compete with JHS Angry Charlie's own crunchy 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. (high gain → slapback)

Keep MXR Analog Delay after Demon FX Gladiator in the signal chain, clear of Demon FX Gladiator'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. (high gain → slapback)

Put MXR Analog Delay after Airis Effects 51-Filthy in the signal chain, clear of Airis Effects 51-Filthy'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. (high gain → slapback)

Put MXR Analog Delay after Carl Martin Hot Drive'n Boost MK3 in the signal chain, clear of Carl Martin Hot Drive'n Boost MK3'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. (high gain → slapback)

MXR Analog Delay's warm voice goes after Mooer 003 in the signal chain — it's not there to compete with Mooer 003's own high gain 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. (high gain → slapback)

MXR Analog Delay's warm voice goes after Tone City TC-T38 Metal Storm classic British-style high in the signal chain — it's not there to compete with Tone City TC-T38 Metal Storm classic British-style high's own high gain 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. (high gain → slapback)

MXR Analog Delay's warm voice goes after Crowther Double Hot Cake in the signal chain — it's not there to compete with Crowther Double Hot Cake's own high gain 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. (high gain → slapback)

Put MXR Analog Delay after Blackstar Distx in the signal chain, clear of Blackstar Distx'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. (high gain → slapback)

Keep MXR Analog Delay after Diezel Zerrer 2-Channel Preamp in the signal chain, clear of Diezel Zerrer 2-Channel 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. (high gain → slapback)

Keep MXR Analog Delay after Mooer 002 UK Golden 900 in the signal chain, clear of Mooer 002 UK Golden 900'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. (high gain → slapback)

Keep MXR Analog Delay after Boss DS-1 Distortion in the signal chain, clear of Boss DS-1 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 MXR Analog Delay after Wren and Cuff Super Russian in the signal chain, clear of Wren and Cuff Super Russian'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 MXR Analog Delay after Behringer UM300 Heavy Metal Distortion in the signal chain, clear of Behringer UM300 Heavy Metal 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.

MXR Analog Delay's warm voice goes after Abasi Pathos Distortion in the signal chain — it's not there to compete with Abasi Pathos Distortion's own high gain 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.

MXR Analog Delay's warm voice goes after JHS Pedals Hard Drive Distortion in the signal chain — it's not there to compete with JHS Pedals Hard Drive Distortion's own high gain 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. (high gain → slapback)

Keep Friedman IR-D's transparent voice out front: MXR Analog Delay goes after Friedman IR-D 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. (high gain → slapback)

Keep MXR Analog Delay after Dunlop MXR M94SE Super Badass Distortion in the signal chain, clear of Dunlop MXR M94SE Super Badass 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.

Run MXR Analog Delay after TC Electronic Fangs Metal Distortion in the signal chain, clear of TC Electronic Fangs Metal Distortion's own gain stage

Comes earlier in the signal chain