Pedals that stack with the Walrus Audio Lillian

sits in the right chain slotPlaced for where it does its job cleanly in the chain, not for a tonal interaction with the anchor.

The Lillian's subtle analog phasing follows the Memory Man's lush echo for a gentle layer of added motion. — 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.

The Lillian's subtle analog phasing follows the Meteore's warm, spring-style reverb for layered, ambient motion. — 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.

The Lillian's subtle analog phasing follows the Carbon Copy Deluxe's warm, stereo analog delay for layered motion. — 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.

Put the Lillian's subtle phasing after the Echoplex's warm tape repeats so the sweep moves the decay instead of the dry attack. — 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.

The DL4's warm, vintage-voiced delay trails the Lillian's subtle analog phasing into a layered echo. — 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.

Put the Lillian's subtle analog phase ahead of the Analog Delay so the sweep rides the repeats instead of chasing them. — 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.

Put Walrus Audio Lillian after Suhr Discovery in the signal chain, where it won't crowd Suhr Discovery — 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.

Run the Lillian's subtle, bright phase sweep after the Memory Boy's warm analog echo and the modulation colors the repeats directly. — 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.

Layer the Lillian's modern, bright phase sweep after the TimeLine's own warm, studio-grade digital delay for texture on the repeats. — 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.

Walrus Audio Lillian's bright voice goes after Greer Mizuki blue in the signal chain — it's not there to compete with Greer Mizuki blue's own harmonically rich character

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.

Layer the Lillian's modern, bright phase sweep after the Bellwether's own organic, ambient analog delay for movement inside the repeats. — 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.

Run the Lillian's subtle, bright phase sweep after the Modulated Delay's warm, vintage-voiced echo and the modulation colors the repeats directly. — 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.

Run Walrus Audio Lillian after Boss DM-2W Delay Waza Craft in the signal chain, where it won't crowd Boss DM-2W Delay Waza Craft — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

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

The Lillian's subtle analog phasing follows the Fuzz Factory's unpredictable germanium gating for textured movement.

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.

Run Walrus Audio Lillian after Dunlop EP103 Echoplex Delay in the signal chain, where it won't crowd Dunlop EP103 Echoplex Delay — 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.

Run the Lillian's subtle phase before the DD-3, not after — modulating the delay's own echoes gets murky fast. — 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.

The Lillian's subtle analog phasing adds movement into the SFT's thick, compressed British drive.

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.

Let the Lillian's subtle analog phasing ride on top of the Memory Toy's warm, organic echoes. — goes in the amp's FX loop (or last, into a clean amp)

Comes later in the signal chain

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

Run the Lillian's subtle phase before the Green Russian's huge, muddy fuzz — modulating first keeps the sweep from vanishing into the wall of gain.

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.

Walrus Audio Lillian's bright voice goes after Beetronics Overhive Custom Cross Path in the signal chain — it's not there to compete with Beetronics Overhive Custom Cross Path's own medium gain character

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.

Walrus Audio Lillian's bright voice goes after Red Witch Titan in the signal chain — it's not there to compete with Red Witch Titan's own ambient character — 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.

Run Walrus Audio Lillian after Chandler DDL Delay in the signal chain, where it won't crowd Chandler DDL Delay — 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.

Put Walrus Audio Lillian after Universal Audio Starlight Echo Station in the signal chain, where it won't crowd Universal Audio Starlight Echo Station — 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.

Put Walrus Audio Lillian after EarthQuaker Devices Blumes in the signal chain, clear of EarthQuaker Devices Blumes's own gain stage

Comes earlier in the signal chain