Yeah, that is a broad question! (Or two!)
I'm guessing you're wanting to play Blues-Rock, because you're posting these questions on the JB Forum.
And I think you should consider your Amp as the primary component in your sound(s). Even moreso than what guitars you use.
So, I guess it really boils down to a "Marshall", a "Fender" or a "Vox" type of Tone.
Marsahll types are like the Bluesbreaker, the Plexi or the JCM Series. Fender types are like the Tweed or the BlackFace models. And Vox types run from the AC series amps, to the many "Boutique" variations; from Matchless to Budda, etc.
Also, the primary use of the amp will be for home, band rehearsals, small (Bookstires, etc.) gigs, church services or club gigs?
This one aspect is probably the most important, for you to get the maximum enjoyment from your equipment.
Pedals may come or go. But, there are some basic ideas you can use to set your signal chain up.
With the pedals you have now, I would suggest this chain:
Guitar>Wah>BD-2>DL4>Univibe>Deluxe Reverb>Amp
Usually, Wahs go first. Then, Dirt boxes (OD, Distortion, Fuzz), then Modulation boxes (Delay, Chorus, Vibes, etc.).
Also, if you get a Pedal Tuner there are a couple of ways to use them. Either first, even before the Wah. Or last, after all the other pedals.
Many Tuners have a Buffered output. And this can help restore some signal loss from using a bunch of pedals. However, many players don't like Buffers.
Saturday night I played a gig at a Biker Bar out in the sticks. Here's the pedalchain I used:
Guitar>KORG Pedal Tuner> Mo'D Clone (Kinda like a Modded RAT)>MI Audio Blues Pro>Eternity Clone (Modded Tube Screamer)>Timmy>TC SCF (Chorus/Flanger)>Amp
So, Tuner> 4 Dirt Boxes>Chorus.
I like to run Dirt Boxes Higher Gain into Lower Gain. This allows me to get the lower Gained Pedals to set up some Crunch/Light OD, and then push that over the top with the Higher Gain Pedals.
I use the Timmy to "Push" the Amp into that "on the edge" type of place. This is a great Pedal for that application. Sometimes, I can't turn the Amp all the way to the "Sweet Spot", and the Timmy helps me to approximate that Tone and Response.
Then, I use one of the Higher Gained Pedals to boost Volume and Overdrive for Leads. Each one of the ODs I use has a distinct personality. And I use these different flavors to help cover the variety of styles I need to cover at the drop of a hat.
The Eternity Clone is smooth and warm.
Blues Pro is brighter, and sounds a lot like a Tweed type of sound.
Mo'D Clone is a pretty rockin' Tone! Most Gain of all my pedals. More of a Fuzz/Distortion than an OD.
So, by "Stacking" 2 ODs, I get a lot of versatility.
No OD: Basic Clean Tone.
Timmy: Light OD, edgy breakup.
Eternity: Smooth OD. Warm Lead Tones.
Eternity into Timmy: Nice, Blues-Rock Lead Tone. Smooth, Warm and Fat.
Like having each OD as a different "Channel" of an Amp.
Anyway, I hope some of this information is useful to you.
Happy Hunting!
Early 80's 1957 U.S. Vintage Reissue Stratocaster (Surf Green)-Warmouth Soloist Pearly Gates Neck, Pearly Gates Bridge- Larrivee D-03 (Mahogany/ Spruce)
Carmen Ghia Head- Marshall 112 Cab W/G12H 30 or Custom 4 X 6v6 Head or Budda Twinmaster Plus Head-Traynor 212 Cab w/Eminence Texas Heats.
Mo'D-Eternity-Blues Pro- Timmy-BYOC Chorus/Vibrato- TC SCF- Korg DT 10 Pedal Tuner
