SONICAKE Shark High Gain Classic British Crunch

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

Laney RB3 Richter Bass Amp takes that high gain character and pushes it toward mid-forward

Comes later in the signal chain

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

Roland Cube Street takes that high gain character and pushes it toward mid-forward

Comes later in the signal chain

Comes later in the signal chain

Ceriatone HRM 50 takes that high gain character and pushes it toward mid-forward

Comes later in the signal chain

Feed a high gain signal into Ceriatone Overtone Special HRM Bluesmaster 50 and it comes out closer to mid-forward

Comes later in the signal chain

Gallien-Krueger GK Legacy 4x10 Bass Combo Amp pushes a high gain tone toward mid-forward

Comes later in the signal chain

Stack Roland Cube Street EX on top and a high gain tone tightens toward mid-forward

Comes later in the signal chain

Stack Phil Jones BG-400 Suitcase Compact Bass Combo on top and a high gain tone tightens toward mid-forward

Comes later in the signal chain

Feed a high gain signal into Aguilar SL110 Fawn Limited and it comes out closer to tight

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

Stack J. Rockett The Dude on top and a high gain tone tightens toward mid-forward

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

Ashdown Triple Shot pushes a high gain tone toward mid-forward

Comes earlier in the signal chain

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 Orange Series Phaser after SONICAKE Shark High Gain Classic British Crunch in the signal chain, clear of SONICAKE Shark High Gain Classic British Crunch's own gain stage

Comes later in the signal chain

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

SONICAKE Shark High Gain Classic British Crunch's own crunchy character is the real reason this is worth trying

Comes earlier in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor. (high gain → slapback)

Keep MXR Analog Delay after SONICAKE Shark High Gain Classic British Crunch in the signal chain, clear of SONICAKE Shark High Gain Classic British Crunch's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor. (high gain → ambient)

Walrus Audio Fathom's ambient voice goes after SONICAKE Shark High Gain Classic British Crunch in the signal chain — it's not there to compete with SONICAKE Shark High Gain Classic British Crunch's own crunchy character — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

Comes earlier in the signal chain

MXR CAE Wah belongs in front of SONICAKE Shark High Gain Classic British Crunch, since a wah tracks picking dynamics best on the raw signal

Comes earlier in the signal chain

Feed a high gain signal into Suhr Koko Boost and it comes out closer to mid-forward