Pedals that stack with the Phil Jones BG-75 Double Four 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.

Run MXR ZW90 Wylde Phase after Phil Jones BG-75 Double Four Bass Combo in the signal chain, clear of Phil Jones BG-75 Double Four 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.

What Phil Jones BG-75 Double Four Bass Combo brings here leans toward tight — that's worth building a pairing around

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 Boss DD-2 Digital Delay in Phil Jones BG-75 Double Four Bass Combo's effects loop, clear of Phil Jones BG-75 Double Four 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 Meris LVX Delay in Phil Jones BG-75 Double Four Bass Combo's effects loop, clear of Phil Jones BG-75 Double Four 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