Pedals that stack with the Orange Micro Terror

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)

Orange Micro Terror leans into Marshall-style amps, precisely the platform Analog Man King of Tone wants

Goes in front of the amp

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

Xotic BB Preamp pushes a crunchy tone toward clean boost

Goes in front of the amp

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

Feed a crunchy signal into Catalinbread RAH and it comes out closer to mid-forward

Goes in front of the amp

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 Dyna Comp Mini's mid-forward voice goes after Orange Micro Terror in the signal chain — it's not there to compete with Orange Micro Terror's own crunchy character

Goes in front of the amp

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain. (dynamic → compressed)

Acoustic Strymon Compadre Dual Voice Compressor's own compressed character is the real reason this is worth trying

Goes in front of the amp

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 in Orange Micro Terror's effects loop, clear of Orange Micro Terror's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

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 JAM Pedals Delay-Llama in Orange Micro Terror's effects loop, clear of Orange Micro Terror's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop