Pedals that stack with the Standel Super Custom XV

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

Into a transparent tone, Black Arts Toneworks LSTR Fuzz brings a pull toward fuzzy that's missing

Goes in front of the amp

fills a frequency gapFills in a frequency range the other side doesn't cover, instead of piling more onto what's already there. (transparent → mid-forward)

Marshall Guv'nor leans this transparent tone toward mid-forward, 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 → fuzzy)

Into a transparent tone, Beetronics Swarm brings a pull toward fuzzy that's missing

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 BF-2 Flanger after Standel Super Custom XV in the signal chain, clear of Standel Super Custom XV'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 Dan Armstrong Orange Squeezer brings here leans toward dynamic — 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.

Run Meris Polymoon in Standel Super Custom XV's effects loop, clear of Standel Super Custom XV's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop

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 RV-5 Digital Reverb in Standel Super Custom XV's effects loop, clear of Standel Super Custom XV's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop