Pedals that stack with the Phil Jones BG-120B

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

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

Friedman BE-OD's own voicing points at a clean amp's front end, and Phil Jones BG-120B delivers it

Goes in front of the amp

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

Boss ODB-3 leans this transparent tone toward low gain, which it doesn't make on its own

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 Ibanez CS9 Stereo Chorus after Phil Jones BG-120B in the signal chain, clear of Phil Jones BG-120B'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.

Dan Armstrong Orange Squeezer's own dynamic character is the real reason this is worth trying

Goes in front of the amp

Keep Source Audio Nemesis in Phil Jones BG-120B's effects loop, clear of Phil Jones BG-120B's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

Put Strymon TimeLine in Phil Jones BG-120B's effects loop, clear of Phil Jones BG-120B's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop