Pedals that stack with the Sunn 100s

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

Run Black Arts Toneworks LSTR Fuzz into that high headroom platform and it finally leans toward fuzzy

Goes in front of the amp

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

Into a high headroom tone, Marshall Guv'nor brings a pull toward mid-forward that's missing

Goes in front of the amp

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

Ashdown Geezer Butler Signature leans this high headroom tone toward low gain, which it doesn't make on its own

Goes in front of the amp

shapes the dynamic responseShapes how the tone responds to picking dynamics rather than its frequency or gain. (high headroom → compressed)

What Ashdown Studio Compressor brings here leans toward compressed — 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.

Put Boss BF-2 Flanger after Sunn 100s in the signal chain, clear of Sunn 100s's own gain stage

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 Binson Echorec Delay in Sunn 100s's effects loop, clear of Sunn 100s'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 Keeley Halo in Sunn 100s's effects loop, clear of Sunn 100s's own gain stage — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop