Redid my small board recently. Packed in pretty tightly now but it all still fits on a little Metro 20, very portable.
Been using it this way happily for a month or so. Actually kinda surprised I hadn't posted here about it already.
[Not using the two back-row character drives; they're only there in case of clean backline amps]
signal path:
Lovepedal Fuzz 50
Lovepedal Bonetender (Tonebender variant)
Lovepedal Pickle Vibe
VFE Pale Horse (TS variant)
Rowin mini tuner
Lovepedal Beardsman bi-chorus
Lovepedal JMP Eleven (British-flavored dual OD)
Joyo Blue Rain (Bluesbreaker clone)
Lovepedal Echophonic
[Lovepedal Blackface Deluxe]
[RambleFX Marvel Drive]
Henretta Emerald Prince (tiny green EP preamp sweetener)
Bearfoot Pale Green (soft compressor/EQ)
Also a Deadbat voltage box starving the Bonetender to 7.5 Volts.
There's a OneSpot Pro CS6 underneath powering it all.
Two fuzzes are set very differently (normally, but not in this pic): Bonetender for unruly fuzz madness as a momentary special effect.
Fuzz 50 gives me classic 60s Fuzzface tone* with iconic Jimi-style cleanup. It can stay on through a whole tune or jam.
Fuzzes are up front, of course, then vibe - I prefer vibe before drives for that old school Trower-type tone.
Pale Horse runs just at moderate gain, for smooth blues leads or for pushing other drives with its liquid mids.
Tuner is kept well downstream from the fuzzes; vintage Bender circuit doesn't like a buffer nearby, even after it.
Chorus before most gain, I like the wild organic whorl that way. But it's after the TS in case I want 80s style drive-before-chorus.
First half of the JMP Eleven is low-gain, the Church Of Tone. Stacks beautifully for a bit of extra smoothness through certain sections.
Second half is my hot-button drive for solos and/or feedback, serving in place of an amp's lead channel.
Blue Rain is right next to the echo, where I can kick both on at once for pick drags. But that's really the only time I use the Joyo..
Echophonic is warm & vintagey sounding. Adjustable modulation for some warble, and it can do the spaceship runaway effect.
Two character drives - one Fender-voiced, one Marshall-voiced - available just in case I have to play through a totally clean amp.
They don't get used under normal circumstances. But either could serve as a spare if one of the other drives died.
Tiny little Emerald Prince adds richness and a special 3D quality to the mids. I have a Chase Secret Pre in this slot on the big board.
Pale Green last in line, sweet gentle compression to give high-volume tube amp feel even when playing at low volumes.
Also offers nice musical treble & bass EQ for tweaking the overall tone to suit various different amps.
On the big board it's a Unit 67 for end-of-the-line compression, with another comp (Tone Press) earlier in line for audible squeezing.
The big one uses Neunaber Immerse reverb, Inspire chorus & a Strobostomp as tuner. Also has a FreQout and an extra character drive.
But I like this small board so much that the big one remains partially disassembled; it's getting a revamp too. Eventually.
*I love the Fuzz 50; it has the wonderful cleanup of a Fuzzface without the FF's major handicaps: Fuzz 50's bass doesn't get woofy, and it also has enough mids not to get lost in a mix. I have different variants of several classic pedals (FF, TS, Bender) made by various builders. Fuzz 50 is the only instance where I've bought another of exactly the same circuit for the small board.