I know that most studios (and most guitarists) put modulation before delay, and so do most multi-effects boxes (unless they have the option to choose), but my theory is that if you don't want to mutate your signal too much: chorus, flange and tremolo should be after delay, so that the modulation waveform is applied to both the direct and delayed signals at the same time and in the same way. You'll hear your original modulation pulse the same with delay on or off. With delay after modulation you'll have two different modulations (and more if you crank up delay feedback), fighting for the same spot in time, partly cancelling each other out, and heard as one (more complex) waveform which indeed will mutate the signal into a mess. The same theory goes for filter sweeps (phase, flanger and wah), but here we have a dilemma, because they are good sometimes before distortion but delay is definately not. Having said that, I actually prefer filters after distortion if I want to hear clearly the full sweep: with wah up front, the distortion tends to ignore it, just as distortion tends to ignore upstream EQ. Filters up front feed the distortion with changing frequencies: this can be good, but you won't hear a nice defined sweep.
guitardr:
WhWhether it's with Bogner Shiva combo, Fuchs combo, Mesa Boogie Lone Star/Lone Star Special combos: I put my M-Factor and T-Factor in the FX loops, putiing any modulation device before delay/time altering device. Delaying & then modulating a signal (for me) bends and mutates the basic signal a bit too much. Most studios I've worked in do that as well, unless you're looking for an unusual sound. Let your ears and taste buds dictate your preference(s).
