Pedals that stack with the Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo

clean platform takes the driveA clean, high-headroom stage takes on dirt it can't generate by itself. (transparent → low gain)

Ashdown Geezer Butler Signature leans this transparent tone toward low gain, which it doesn't make on its own

Goes in front of the amp

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

Goes in front of the amp

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

Walrus Audio Eons stacks fuzzy on top of the mid-forward already here

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.

Put MXR ZW90 Wylde Phase after Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo in the signal chain, clear of Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo's own gain stage

Goes in front of the amp

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

Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo leans toward transparent, and that's a real, usable character to pair with

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.

Run Boss DD-2 Digital Delay in Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo's effects loop, clear of Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

Keep Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo's transparent voice out front: Crazy Tube Circuits Splash MKIV Reverb goes in Phil Jones BE-17 Bass Engine 70W 1x7 Bass Combo's effects loop so its spring voice doesn't muddy it — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop