Pedals that stack with the ProCo RAT 2

What ProCo RAT 2 brings here leans toward low gain — that's worth building a pairing around — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

The RAT's dark, cutting distortion is a rawer gain than the Moby Dick's own massive, lush reverb texture offers on its own. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

What ProCo RAT 2 brings here leans toward low gain — that's worth building a pairing around

Comes earlier in the signal chain

What ProCo RAT 2 brings here leans toward low gain — that's worth building a pairing around

Comes later in the signal chain

ProCo RAT 2's own low gain character is the real reason this is worth trying

Comes earlier in the signal chain

The RAT's dark, cutting distortion is a rawer gain than the CS5's own rich, analog chorus modulation offers on its own.

Comes later in the signal chain

The RAT 2's bright, cutting distortion gives the Splash's shimmering, surf-voiced reverb a driven signal to trail off, not real gain to stack. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

Push the Spatial Delivery's glitchy, synth-voiced envelope filter with the RAT 2's bright, cutting distortion and the two textures compound into real dirt.

Comes earlier in the signal chain

The RAT's dark, cutting distortion is a rawer gain than the LVX's own ambient, MIDI-controllable delay offers on its own. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

Ahead of the RAT's cutting distortion, the Philosopher King's boutique compression evens out pick attack before the clipping stage adds its own grit.

Comes earlier in the signal chain

The RAT's dark, cutting distortion gives the Nemesis's own digital delay platform a real gain stage to sit behind rather than more repeats. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

Run the RAT2's gritty distortion ahead of the Splash MKIV so the spring reverb tails a signal that's already saturated, not clean. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain