
When David Myka says he’s ready to take on any project, no matter how out-there or customized, you know he means it: He built his first guitars out of throwaway parts—including radio guts and nut-and-bolt tuning keys—and wound his first pickups out of reclaimed transformer wire and 6-penny nails.
The term “custom guitar” means different things to different people. To some it means slapping cool Duncan pickups, a Hipshot bridge, and Sperzel tuners on a Warmoth body and neck. To others it means a guitar put together by a name builder with a body shape, neck profile, components, and wood chosen from a menu of options. However, to David Myka of Myka Custom Guitars, custom means custom—as in, you can commission a solid, hollow, or semi-hollow guitar in any shape you want. Or, if you’re so inclined, you can design the body shape and the Seattle-based luthier will bring your idea to life and fine-tune it to become the instrument of your dreams. Alternatively, you can choose one of Myka’s existing models as a starting point for a custom guitar. If you’re ultra-picky and have primo access to a good stash, you can even supply your own woods.
Myka is driven by a desire to push the envelope with guitar design. A self-taught luthier, he started building guitars in his teens using old 6-strings he found in the trash and gathering what he could from broken radios for parts. He took wire from transformers and wrapped it around 6-penny nails to make crude pickups. The first guitar he built had nuts and bolts for tuning keys.
Then, Myka purchased Steel-String Guitar Construction by Irving Sloane. The book’s last chapter showed James D’Aquisto building an archtop guitar, and that image got Myka hooked—as you can tell by the homage-paying contours in the latter’s single-cutaway archtops. After digesting the D’Aquisto chapter, Myka started making carvedtop guitars. Many years later, in 2001, he took a class from Harry Fleishman to learn more about acoustic guitars.
Currently Myka guitars have a waiting period of six to 12 months (or more, depending on the level of customization). To get the inside story on these extraordinary instruments, we asked Myka to share his perspective and philosophy of guitar making.
What type of players are drawn to Myka guitars?
I tend to attract people who are looking for something very specific they haven’t been able to find elsewhere. It could be something completely custom or something that is inspired by a classic, but built to the highest standards. The truth is, I love a good challenge, and when I get a napkin sketch or a wild concept, I won’t hesitate to build it.
Do you have standard offerings as well, or is everything custom?
The core of my work is custom construction. However, I do have a standard set of about five body shapes to choose from, as well as custom design services. Each guitar shape can be made into a solidbody, archtop electric, or acoustic instrument. Quite often, it’s a hybrid of these construction styles. Every guitar includes a custom scale length, neck carve, and pickup and electronics layout, with the option of any binding and trim woods available. I also offer acoustic flattop and archtop designs, as well as any custom designs that can be made into an instrument without breaking the known laws of physics. So I guess that covers everything!
Have you ever turned away work before?
Yes. I do not build replica guitars. My goal is to expand the concept of the guitar, to refine and evolve it into something new. I certainly take inspiration from classics, but I prefer to work with my own designs.
How many guitars do you build a year?
Currently, I build about 16 to 20 guitars a year. That number is growing, and my plan is to build about 60 guitars next year, including my personal custom work. The standard work is done more efficiently, but the full-on custom work always takes extra time, so I manage it on a separate schedule.
What’s the ordering process?
Typically, there is an initial conversation about what type of guitar you want to have built. This leads into the design phase, which can last for a few weeks or more as every detail is pored over until a design emerges. For new shapes and guitar concepts, this phase can take months. I actually had one design phase—the fretless Dragonfly #071—last over a year. But, in the end, the design was nearly perfect—at least in my mind. The design phase ends with a spec. Then I work out a rough idea of the building timeline and I start when the time slot opens up in my schedule. During construction, I update my clients with photos and emails to keep them in the loop.
Who are some of your favorite players, and do they influence your designs?
Jimmy Page and Alex Lifeson are the first two guitarists whose tone I noticed. Throughout middle school I was into heavy metal and hard rock, and in high school I got my first taste of improvisational fusion music with Jerry Garcia and the Grateful Dead. This led me to guitarists like John McLaughlin and Pat Metheny, and on to David Torn, Terje Rydpal, David Fiuczynski, John Abercrombie, Paco de Lucia, and Fareed Haque. Frank Zappa was another revelation for me. These musicians influence my work as a luthier in ways I can’t begin to describe, since I often have them playing while I work. Tonally, I use them as references and will sometimes investigate their guitars and setups as a concept to work toward. But, honestly, the most influential guitarists are my clients, since the design process can be fairly intense.
Are you involved in all aspects of the building?
Yes. Currently, I’m working with apprentices who will eventually assist me in producing a range of standard designs that will be fully customizable. This will be done under my supervision, and I’ll personally complete the final details to ensure these are true Myka guitars. I’ll continue to build the fully custom guitars completely by myself.
Would you consider using CNC machines?
Well, there is a lot of controversy about CNC machines. Like all tools, they are limited, and the skill in using them lies in understanding what they can and cannot do—just like my Dupli-Carver. I have no issue with using any available technology, so long as there is a distinction in the processes between what is automated and what must be done by hand. What makes my guitars unique in the marketplace are the processes of selecting the woods, tuning the bodies to work together with the necks, and carving and tuning the tops and backs. Regardless of whether the instrument is acoustic or electric, these tasks will always be done with the skill and knowledge that can only come from an appreciation of what is pleasing to the human ear and the experience of enjoying music. The only machine capable of that is the human body. A machine can certainly help get to the point where this important work begins.
What do you think about the Plek fret-leveling machine?
Actually, I think extensive fretwork is unnecessary on a new instrument. After reading the many chapters on leveling frets in every guitar- making book, it occurred to me that the problem was not with the frets, but with the generally accepted way that necks are built. Over the last six years, I have spent my time perfecting my neck processes and have achieved zero fret buzz without ever leveling the fret surfaces. I simply dress the fret ends and polish them. When this is done, the fretboard is stable and straight and is predictable under string tension. So, the Plek machine seems redundant.
What are your favorite woods and why?
For electrics and archtop electrics, I love to use claro walnut for the tops. It is such a gorgeous wood and has this dark tonality that appeals to me musically. Another favorite is korina, because of its rich midrange tones that are perfect for that classic carved-top sound. Paired with a nice set of humbuckers or a good P-90, korina just sings. I also love to use rosewood necks for my electrics. Matched with a resonant body, a rosewood neck brings a complexity of tone that is hard to describe. I recently acquired some Brazilian Kingwood that was imported in 1929, and this wood is fast becoming one of my favorites.
What is it about the Kingwood that you’re digging so much?
I have a collection of Brazilian rosewood fingerboards, and I hear the same complexity of tone during my tap test. The deep low end is there, along with excellent sustain and that crisp, glassy top end that Brazilian is known for. In a blind tap test, I am not sure I could tell the difference—it’s that good!
Which components are outsourced?
I outsource hardware and electronic components, such as tuning keys, pickups, and electronic switches. Oh, and cases. In the future, I will be machining more of my own hardware. But all of the woodworking is done in-house and always will be.
How do you go about selecting and mating pickups for your guitars?
That really depends on the design and tonal goals of the project, but my clients tend to drive this decision based on what they want from the guitar. I am fortunate that we have Jason Lollar nearby. I use his pickups in most of my guitars because they are well made and they bring out the nuances of my guitars quite well. His ability to nail a custom design is uncanny. If I have a selection I need to choose from, I use my ears.
How has your approach to building guitars evolved or changed over the years?
My approach has always been experimental, and that has allowed me to explore construction concepts and theories that are unorthodox and somewhat radical. I also get to design and build some pretty out-there stuff. I still believe the guitar is an acoustic instrument, and this has shaped the way I design and work. But my craft continues to evolve due to the fact that I am constantly learning about what makes a great guitar. What I’m building today I feel is light-years ahead of where I started. I hope to look back in five years and think the same thing about today.
What do you consider to be your most unorthodox and radical theories and approaches?
From a theoretical perspective, I do not differentiate between acoustics and electrics. I see them at opposite ends of the same spectrum. The concept of a solidbody acoustic allows me to incorporate ideas from both ends of the spectrum. Without giving too much away, I will say that I have developed acoustic designs that allow characteristics of a solidbody to shine through, and vice versa. The design and construction techniques play out more in my semi- and full-hollowbody and acoustic-style guitars, which are much more complex structurally. Being self-taught, I design bracing systems to fit the design I am working with. So the “out-there” construction concepts relate to blocking and tonal-structural bracing designs that are very different than the typical X- and parallel-bracing systems employed by the vast majority of guitars today, both acoustic and electric. Just take a look at the Flaretone design or my Hollow Dragon to see some of these concepts at work.
I understand you burned a guitar you deemed a “tonal dud.” Others might have passed it off as a factory second.
The guitar that I burned was a simple case of catharsis. It was a very early guitar for me—my seventh—and I was exploring the concept of solidbody acoustics. I was looking for the sweet spot, in terms of chambering depth as it relates to the overall resonance. Well, I found it and proceeded to pass it by rather quickly. I routed away too much vital wood and the guitar lacked the vibrancy and liveliness my other guitars had. It sat for two years before I finally got tired of thinking of ways to fix it. So to get it out of my mind, I got together with another builder who also had a problem guitar, and we took them out back and had a burning.
What amps do you use for testing guitars?
I use a Siegmund Midnight Special, which I like because it brings out the acoustic qualities of electric guitars. It gives me insight into how the small choices add up in the finished instruments.
Tell us about your full-access, heelless acoustic neck joint.
The full-access neck heel is the most amazing neck joint ever, what else do you need to know? Seriously, this neck joint came out of a year-long design concept to bring electric guitar playability to the acoustic realm. The prototype design was built into a 3"-thick guitar body, and it has the best neck access of anything I have ever built, solidbodies included. I only wish it wasn’t so time consuming to construct. But the success of the design makes it worthwhile, as there are a number of benefits over a traditional acoustic neck joint. Because of the solid coupling, the notes have consistent tone and resonance all the way up to the last fret. Also, the neck geometry is stabilized to an extent that it should never need a neck reset.
What’s in store for you in the future?
Full-sized acoustics with full-access neck heels, of course! It is the culmination of my quest for the perfect acoustic guitar for electric players. And, yes, there will be archtops with the new heel design or some variation. Also, in the next few months I will be introducing an exciting new series of guitars featuring the Skyway tremolo.
What is it about the Skyway that excited you enough to design a whole series around it?
The Skyway takes a new approach to the tremolo that results in a near-frictionless system, with direct acoustic coupling to the body. This results in a trem that has the tuning stability and tone transfer of a hardtail bridge. It is quite incredible actually. In addition, they are very lightwieght, which makes them attractive to me for unconventional usage. I can’t say too much more about the new designs right now except that they will be unique in the marketplace.
Tell us about some of your benchmark guitars.
The first benchmark guitar for me was my own personal solidbody, serial #001. This was the first electric guitar where I deliberately applied all of the acoustic principles I had learned from Harry Fleishman. The result was an electric guitar that had amazing depth, clarity, and a complexity—or, better yet, a musicality—that my instruments had never had before. I realized I was onto something when I got a comment at a guitar show from a gentleman who said he never liked electric guitars before, but found mine to be very musical. The next benchmark is the Dragonfly design, starting with #015. This guitar blended the framework of an electric guitar with an archtop to produce an acoustically rich, electric-fusion guitar. It is still my most popular model and one of the most flexible, in terms of tonal variety and design. I have built several versions with different levels of hollowness, and each one is a successful design in its own right. The Falcon #066 and the Hollow Dragon #082 both follow in this series, as the design becomes more acoustic in nature, yet remains firmly rooted in electric guitar.
Which guitars are personal favorites?
A while back, I built an all-Madagascar-rosewood electric that was just amazing. That guitar could do anything, and it was beautiful and smelled so good! Recently, I built a fantastic Dragonfly (#092) that’s simply stunning. The tones were beautiful and the guitar just felt so good to play. But my true favorite is always the one I’m going to build next—it’s an obsession.
Do you ever have a hard time letting go of a guitar?
Oh yeah, it can be tough. I sometimes wish I could keep one for myself. But my chosen path is to provide the tools. The best thing is to hear the music played with these instruments. That makes it worthwhile.
MayFly Le Habanero Review
Great versatility in combined EQ controls. Tasty low-gain boost voice. Muscular Fuzz Face-like fuzz voice.
Can be noisy without a lot of treble attenuation. Boost and fuzz order can only be reversed with the internal DIP switch.
$171
May Fly Le Habanero
A fuzz/boost combo that’s as hot as the name suggests, but which offers plenty of smoky, subdued gain shades, too.
Generally speaking, I avoid combo effects. If I fall out of love with one thing, I don’t want to have to ditch another that’s working fine. But recent fixations with spatial economy find me rethinking that relationship. MayFly’s Le Habanero (yes, the Franco/Spanish article/noun mash-up is deliberate) consolidates boost and fuzz in a single pedal. That’s far from an original concept. But the characteristics of both effects make it a particularly effective one here, and the relative flexibility and utility of each gives this combination a lot more potential staying power for the fickle.
“Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof.”
The fuzz section has a familiar Fuzz Face-like tone profile—a little bit boomy and very present in that buzzy mid-’60s, midrangey kind of way. But Le Habanero’s fuzz circuit has a deep switch that adds a little extra desert-rock woof (especially with humbuckers) and an effective filter switch that enhances the fuzz’s flexibility—especially when used with the boost. The boost is a fairly low-gain affair. Even at maximum settings, it really seems to excite desirable high-mid harmonics more than it churns out dirt. That’s a good thing, particularly when you introduce hotter settings from the boost’s treble and bass controls, which extend the boost’s voice from thick and smoky to lacerating. Together, the boost and fuzz can be pushed to screaming extremes. But the interactivity between the tone and filter controls means you can cook up many nuanced fuzz shades spanning Jimi scorch and Sabbath chug with tons of cool overtone and feedback colors.
Significantly smaller and lighter than original TAE. Easy to configure and operate. Great value. Streamlined control set.
Air Feel Level control takes the place of more surgical and realistic resonance controls. Seventy watts less power in onboard power amp. No Bluetooth connectivity with desktop app.
$699
Boss Waza Tube Amp Expander Core
Boss streamlines the size, features, and price of the already excellent Waza Tube Expander with little sacrifice in functionality.
Many of our younger selves would struggle to understand the urge—indeed, the need—to play quieter. My first real confrontation with this ever-more-present reality arrived when Covid came to town. For many months, I could only sneak into my studio space late at night to jam or review anything loud. Ultimately, the thing that made it possible to create and do my job in my little apartment was a reactive load box (in this case, a Universal Audio OX). I set up a Bassman head next to my desk and, with the help of the OX, did the work of a gear editor as well as recorded several very cathartic heavy jams, with the Bassman up to 10, that left my neighbors none the wiser.
Boss’ firstWaza Tube Amp Expander, built with an integrated power amp that enables boosted signal as well as attenuated sounds, was and remains the OX’s main competition. Both products have copious merits but, at $1,299 (Boss) and $1,499 (Universal Audio), each is expensive. And while both units are relatively compact, they aren’t gear most folks casually toss in a backpack on the way out the door. The new Waza Tube Expander Core, however, just might be. And though it sacrifices some refinements for smaller size, its much-more accessible price and strong, streamlined fundamental capabilities make it a load-box alternative that could sway skeptics.
Micro Manager
The TAE Core is around 7 1/2" wide, just over 7 " long, and fewer than 4 " tall, including the rubber feet. That’s about half the width of an original TAE or OX. The practical upside of this size reduction is obvious and will probably compel a lot of players to use the unit in situations in which they’d leave a full-size TAE at home. The streamlined design is another source of comfort. With just five knobs on its face, the TAE Core has fewer controls and is easier to use than many stompboxes. In fact, the most complicated part of integrating the TAE Core to your rig might be downloading the necessary drivers and related apps.
Connectivity is straightforward, though there are some limitations. You can use TAE Core wirelessly with an iOS or Windows tablet or smartphone, as long as you have the BT-DUAL adaptor (which is not included and sets you back around 40 bucks). However, while desktop computers recognize the TAE Core as a Bluetooth-enabled device, you cannot use the unit wirelessly with those machines. Instead, you have to connect the TAE Core via USB. In a perfectly ordered world, that’s not a big problem. But if you use the TAE Core in a small studio—where one less cable is one less headache—or you prefer to interface with the TAE Core app on a desktop where you can toggle fast and easily between large, multi-track sessions and the app, the inability to work wirelessly on a desktop can be a distraction. The upside is that the TAE Core app itself is, functionally and visually, almost identical in mobile and desktop versions, enabling you to select and drag and drop virtual microphones into position, add delay, reverb, compression, and EQ effects, choose various cabinets with different speaker configurations and sizes, and introduce new rigs and impulse responses to a tone recipe in a flash. And though the TAE Core app lacks some of the photorealistic panache and configuration options in the OX app, the TAE Core’s app is just as intuitive.Less Is More
One nice thing about the TAE Core’s more approachable $699 price is that you don’t have to feel too bad on nights that you “underutilize” the unit and employ it as an attenuator alone. In this role, the TAE Core excels. Even significantly attenuated sounds retain the color and essence of the source tone. Like any attenuator-type device, you will sacrifice touch sensitivity and dynamics at a certain volume level, yielding a sense of disconnection between fingers, gut, guitar, and amp. But if you’re tracking “big” sounds in a small space, you can generate massive-sounding ones without interfacing with an amp modeler and flat-response monitors, which is a joy in my book. And again, there’s the TAE Core’s ability to “expand” as well as attenuate, which means you can use the TAE Core’s 30-watt onboard power amp to amplify the signal from, say, a 5-watt Fender Champion 600 with a 6" speaker, route it to a 2x12, 4x12, or virtual equivalent in the app, and leave your bandmate with the Twin Reverb and bad attitude utterly perplexed.
The Verdict
Opting for the simpler, thriftier TAE Core requires a few sacrifices. Power users that grew accustomed to the original TAE’s super-tunable “resonance-Z” and “presence-Z” controls, which aped signal-chain impedance relationships with sharp precision, will have to make do with the simpler but still very effective stack and combo options and the “air feel level” spatial ambience control.The DC power jack is less robust. It features only MIDI-in rather than MIDI-in/-through/-out jacks, and, significantly, 70 watts less power in the onboard power amp. But from my perspective, the Core is no less “professional” in terms of what it can achieve on a stage or in a studio of any size. Its more modest feature set and dimensions are, in my estimation, utility enhancements as much as limitations. If greater power and MIDI connectivity are essentials, then the extra 600 bones for the original TAE will be worth the price. For many of us, though, the mix of value, operational efficiencies, and the less-encumbered path to sound creation built into the TAE Core will represent a welcome sweet spot that makes dabbling in this very useful technology an appealing, practical proposition.
IK Multimedia is pleased to announce the release of new premium content for all TONEX users, available today through the IK Product Manager.
The latest TONEX Factory Content v2 expands the creative arsenal with a brand-new collection of Tone Models captured at the highest quality and presets optimized for live performance. TONEX Tone Models are unique captures of rigs dialed into a specific sweet spot. TONEX presets are used for performance and recording, combining Tone Models with added TONEX FX, EQ, and compression.
Who Gets What:
TONEX Pedal
- 150 crafted presets matched to 150 Premium Tone Models
- A/B/C layout for instant access to clean, drive, and lead tones
- 30 Banks: Amp & cab presets from classic cleans to crushing high-gain
- 5 Banks: FX-driven presets featuring the 8 new TONEX FX
- 5 Banks: Amp-only presets for integrating external IRs, VIR™, or amps
- 5 Banks: Stompbox presets of new overdrive/distortion pedals
- 5 Banks: Bass amp & pedal presets to cover and bass style
TONEX Mac/PC
- 106 new Premium Tone Models + 9 refined classics for TONEX MAX
- 20 new Premium Tone Models for TONEX and TONEX SE
TONEX ONE
- A selection of 20 expertly crafted presets from the list above
- Easy to explore and customize with the new TONEX Editor
Gig-ready Tones
For the TONEX Pedal, the first 30 banks deliver an expansive range of amp & cab tones, covering everything from dynamic cleans to brutal high-gain distortion. Each bank features legendary amplifiers paired with cabs such as a Marshall 1960, ENGL E412V, EVH 412ST and MESA Boogie 4x12 4FB, ensuring a diverse tonal palette. For some extremely high-gain tones, these amps have been boosted with classic pedals like the Ibanez TS9, MXR Timmy, ProCo RAT, and more, pushing them into new sonic territories.
Combined with New FX
The following 5 banks of 15 presets explore the depth of TONEX's latest effects. There's everything from the rich tremolo on a tweed amp to the surf tones of the new Spring 4 reverb. Users can also enjoy warm tape slapback with dotted 8th delays or push boundaries with LCR delay configurations for immersive, stereo-spanning echoes. Further, presets include iconic flanger sweeps, dynamic modulation, expansive chorus, stereo panning, and ambient reverbs to create cinematic soundscapes.
Versatile Control
The TONEX Pedal's A, B, and C footswitches make navigating these presets easy. Slot A delivers clean, smooth tones, Slot B adds crunch and drive, and Slot C pushes into high-gain or lead territory. Five dedicated amp-only banks provide a rich foundation of tones for players looking to integrate external IRs or run directly into a power amp. These amp-only captures span clean, drive, and high-gain categories, offering flexibility to sculpt the sound further with IRs or a real cab.
Must-have Stompboxes
TONEX Pedals are ideal for adding classic effects to any pedalboard. The next 5 banks focus on stompbox captures, showcasing 15 legendary overdrive, distortion, and fuzz pedals. This collection includes iconic models based on the Fulltone Full-Drive 2, Marshall DriveMaster, Maxon OD808, Klon Centaur, ProCo RAT, and more.
For Bass Players, Too
The last 5 banks are reserved for bass players, including a selection of amp & cab Tone Models alongside a few iconic pedals. Specifically, there are Tone Models based on the Ampeg SVT-2 PRO, Gallien-Krueger 800RB, and Aguilar DB750, alongside essential bass pedals based on the Tech21 SansAmp, Darkglass B7K and EHX Big Muff. Whether it's warm vintage thump, modern punch, or extreme grit, these presets ensure that bassists have the depth, clarity and power they need for any playing style.For more information and instructions on how to get the new Factory
Content v2 for TONEX, please visit:
www.ikmultimedia.com/products/tonex
Alongside Nicolas Jaar’s electronics, Harrington creates epic sagas of sound with a team of fine-tuned pedalboards.
Guitarist Dave Harrington concedes that while there are a few mile markers in the music that he and musician Nicolas Jaar create as Darkside, improvisation has been the rule from day one. The experimental electronic trio’s latest record, Nothing, which released in February on Matador, was the first to feature new percussionist Tlacael Esparza.
Taking the record on tour this year, Darkside stopped in at Nashville’s Brooklyn Bowl, where Harrington broke down his complex signal chains for PG’s Chris Kies.
Brought to you by D’Addario.
Express Yourself
Harrington bought this mid-2000s Gibson SG at 30th Street Guitars in New York, a shop he used to visit as a kid. The headstock had already been broken and repaired, and Harrington switched the neck pickup to a Seymour Duncan model used by Derek Trucks. Harrington runs it with D’Addario NYXL .010s, which he prefers for their stretch and stability.
The standout feature is a round knob installed by his tech behind the bridge, which operates like an expression pedal for the Line 6 DL4. Harrington has extras on hand in case one breaks.
Triple Threat
Harrington’s backline setup in Nashville included two Fender Twin Reverbs and one Fender Hot Rod DeVille. He likes the reissue Fender amps for their reliability and clean headroom. Each amp handles an individual signal, including loops that Harrington creates and plays over; with each amp handling just one signal rather than one handling all loops and live playing, there’s less loss of definition and competition for frequency space.
Dave Harrington’s Pedalboards
Harrington says he never gives up on a pedal, which could explain why he’s got so many. You’re going to have to tune in to the full Rundown to get the proper scoop on how Harrington conducts his three-section orchestra of stomps, but at his feet, he runs a board with a Chase Bliss Habit, Mu-Tron Micro-Tron IV, Eventide PitchFactor, Eventide H90, Hologram Microcosm, Hologram Chroma Console, Walrus Monument, Chase Bliss Thermae, Chase Bliss Brothers AM, JHS NOTAKLÖN, two HexeFX reVOLVERs, and an Amped Innovations JJJ Special Harmonics Extender. A Strymon Ojai provides power.
At hip-level sits a board with a ZVEX Mastotron, Electro-Harmonix Cathedral, EHX Pitch Fork, Xotic EP Booster, two EHX 45000 multi-track looping recorders, Walrus Slöer, Expedition Electronics 60 Second Deluxe, and another Hologram Microcosm. A Live Wire Solutions ABY Box and MXR DC Brick are among the utility tools on deck.
Under that board rest Harrington’s beloved Line 6 DL4—his desert-island, must-have pedal—along with a controller for the EHX 45000, Boss FV-50H volume pedal, Dunlop expression pedal, Boss RT-20, a Radial ProD2, and another MXR DC Brick.