Pedals that stack with the Vox Ac30 1960s

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 → fuzzy)

Black Arts Toneworks LSTR Fuzz leans this high headroom tone toward fuzzy, 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. (high headroom → fuzzy)

Beetronics Swarm leans this high headroom tone toward fuzzy, which it doesn't make on its own

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 TC Electronic Mimiq Doubler after Vox Ac30 1960s in the signal chain, clear of Vox Ac30 1960s'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.

Electro-Harmonix Nano Tone Corset's own mid-forward character is the real reason this is worth trying

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 Vox Ac30 1960s's effects loop, clear of Vox Ac30 1960s'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.

Keep Vox Ac30 1960s's edge of breakup voice out front: Boss RV-5 Digital Reverb goes in Vox Ac30 1960s's effects loop so its spring voice doesn't muddy it — goes in the amp's FX loop (or last, into a clean amp)

Sits in the amp's effects loop