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.

Keep Lovepedal Echo Baby Powder Blue's analog warmth voice out front: Walrus Audio Lillian goes after Lovepedal Echo Baby Powder Blue in the signal chain so its bright voice doesn't muddy it — 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 Visual Sound GarageTone Axle Grease in the signal chain, where it won't crowd Visual Sound GarageTone Axle Grease — 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 J. Rockett Alien Echo in the signal chain, where it won't crowd J. Rockett Alien 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 Walrus Audio Lillian after Walrus Audio ARP-87 in the signal chain, where it won't crowd Walrus Audio ARP-87 — 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.

Keep Death By Audio Echo Master Black Plate's analog warmth voice out front: Walrus Audio Lillian goes after Death By Audio Echo Master Black Plate in the signal chain so its bright voice doesn't muddy it — 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 Ibanez AD Mini in the signal chain — it's not there to compete with Ibanez AD Mini's own analog warmth 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.

Keep Benson Amps Tall Bird Plus's spring voice out front: Walrus Audio Lillian goes after Benson Amps Tall Bird Plus in the signal chain so its bright voice doesn't muddy it — 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.

Keep Old Blood Noise Endeavors Black Fountain's warm voice out front: Walrus Audio Lillian goes after Old Blood Noise Endeavors Black Fountain in the signal chain so its bright voice doesn't muddy it — 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.

Keep Walrus Audio Lillian after EarthQuaker Devices Special Cranker V1 in the signal chain, clear of EarthQuaker Devices Special Cranker V1's own gain stage

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 Electro-Harmonix Deluxe Memory Man in the signal chain, where it won't crowd Electro-Harmonix Deluxe Memory Man — 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 EarthQuaker Devices Blumes V1 Low Signal Shredder in the signal chain, clear of EarthQuaker Devices Blumes V1 Low Signal Shredder's own gain stage

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 - Vintage Distortion's harmonically rich voice out front: Walrus Audio Lillian goes after Orange - Vintage Distortion in the signal chain so its bright voice doesn't muddy it

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 Mad Professor MP-Aod in the signal chain, clear of Mad Professor MP-Aod's own gain stage

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 Fuzzrocious Dark Driving in the signal chain, clear of Fuzzrocious Dark Driving's own gain stage

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 Lillian's subtle analog phase sweep after the Amnesia Delay, so the modulation moves the dark repeats instead of getting lost ahead of 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.

Run Walrus Audio Lillian after Dunlop Way Huge WHE702 Echo Puss Analog in the signal chain, where it won't crowd Dunlop Way Huge WHE702 Echo Puss Analog — 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 Binson Echorec Delay in the signal chain, where it won't crowd Binson Echorec 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 Fairfield Circuitry Meet Maude in the signal chain, where it won't crowd Fairfield Circuitry Meet Maude — 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.

Lillian's subtle analog phase colors the Optimist's organic, jfet-driven drive after the gain stage rather than stacking onto it.

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 Maxon AD10 Analog Delay in the signal chain, where it won't crowd Maxon AD10 Analog 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.

Walrus Audio Lillian's bright voice goes after Greer Soma in the signal chain — it's not there to compete with Greer Soma'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.

Put Walrus Audio Lillian after Electro-Harmonix Pico ReRun in the signal chain, where it won't crowd Electro-Harmonix Pico ReRun — 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 Old Blood Noise Endeavors Obne Dark Star in the signal chain, where it won't crowd Old Blood Noise Endeavors Obne Dark Star — 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.

Keep Mojo Hand FX Speakeasy's warm voice out front: Walrus Audio Lillian goes after Mojo Hand FX Speakeasy in the signal chain so its bright voice doesn't muddy it

Comes later in the signal chain