
George Alessandro, SG in hand, stands in front of his 1/2 AZZ v2 prototype, which runs through an exquisite pair of vintage Marshall 4x12s.
A shop visit with the legendary amplifier wizard who has helped shape the tones of Derek Trucks, David Gilmour, John Mayer, and so many of your favorite guitarists.
“Once the first one’s done, I lose all interest,” George Alessandro tells me. A classic problem solver’s reaction to a challenge—in this case, designing some of the world’s most high-profile boutique amps.
Standing in his workshop, I see the evidence of the legendary amp guru’s current puzzle, the AZZ line. Alessandro is working out the finer details of some updates on the 100-watt AZZ head. His 50-watt 1/2 AZZ—fractions designate the power of the model, with the 1/4 and 2/5 also available, and plans for a 1/8 in the works—is probably the most visible these days, accompanying Derek Trucks around the country onstage.
“George has been working on my amps for years,” Trucks says, “and has always been willing to experiment and help us chase down our sound.”
Like Leo Fender and Jimmy Bryant—or whichever builder/player pair you choose—these two masters of their crafts share a mutually beneficial relationship. “Trucks is one of the best examples of how, when I do my job right, I can literally watch the artist in real-time, the first time they’re playing it live, open up and go places I’ve never seen before,” Alessandro says.
Alessandro’s Tweedle A—a tweed-inspired combo named in homage to Dumble—sits at left, next to a custom-order tweed Deluxe build.
Photo by Nick Millevoi
The 1/2 AZZ is, in part, a result of their collaboration. The slide maestro, whose Super Reverbs have spent time on Alessandro’s bench, helped the builder guide the development of the amp. “He’s been a guinea pig for some of the designs—the ones that he needed,” Alessandro elaborates. “I was developing it around him. With the tier that [Tedeschi Trucks Band] are on right now, they’re trying to push the envelope. Developing the 1/2 AZZ for him, we were finding limitations of the platform. He helped me find a couple things that I, as a mortal human being, could never find. But for him, as one of the gods, it took us a while to find all the boundaries. If I can make it a limitless journey, then I did my job right.”
Hanging out in Alessandro’s Bucks County, Pennsylvania, workshop is an immersive thing, an opportunity to experience the whole story. Here, I get the chance to take the AZZ v2 for a spin. Loaded with four 5881s and running through a pair of vintage Marshall cabs, this thing is a true powerhouse.
Plugging into the amp using a pair of vintage SGs—to say something like “expertly set up” wouldn’t even tell the story; both of these things just really, really rip—my head is exploding. And that’s not because it’s loud, which, of course, it is. But this rig is extraordinarily dynamic and sensitive to every little pick and finger nuance I offer it. It’s a lithe beast, ready to amplify and accentuate anything I give it. And it’s quiet at idle, so I can sit here and intermittently chat while I pick lightly and have a normal conversation, and then dig in and I’m back at full volume, practically levitating on a bed of gain, always with a vibrant, full-bodied tone that makes me want to sell all my other amps and commit to this rig for life. If only I thought any gig I ever play would allow me to throw a full stack on their stage….
One corner of Alessandro’s workshop, where the 1/2 AZZ v2 is warming up near a pile of transformers.
Photo by Nick Millevoi
Next to the AZZ, I plug into Alessandro’s take on a tweed Deluxe. He figured that circuit out long ago, but he’s still excited about the classic designs. While he doesn’t typically build these, this one is a custom order from a client—I get the feeling he can’t say no to digging into an old circuit—and it’s loaded with the Eminence Eric Johnson EJ1250 that Alessandro co-designed. Just like a 5E3, it’s louder than it looks. And just like a 5E3, it does the saggy Neil Young thing everyone playing this circuit should aspire to. Basically, this sounds exactly like a 5E3, with—just maybe, because I’m not A/B-ing—a little more punch. In fact, I’d venture that this is probably how a new tweed Deluxe sounded back in the ’50s.
So, that thing he told me up at the top, about losing interest once he’s built an amp? It’s simply not true. I mean, I’m not calling George a liar—he’s a forward-thinking dude, and that’s what he’s imparting. But he essentially has the AZZ line figured out, and definitely learned everything there is to learn about the tweed Deluxe long ago, and he’s still thrilled about both, and much more.
Tedeschi Trucks Band - Layla (Live at LOCKN' / 2019) (Official Music Video)
Derek Trucks and Doyle Bramhall II reach for the sky with a pair of Alessandro 1/2 AZZs close at hand during Tedeschi Trucks Band’s Layla Revisited (Live at LOCKN’) concert.
High-End Reputation
“Buy my amps before I die!” Alessandro jokingly exhorted as I entered his workshop. He’d just gotten off a call where he learned about the recent astronomical sale price of a Trainwreck amp built by his late friend and mentor, the legendary Ken Fisher.
Alessandro is sensitive about not overstating his relationship with Fisher. “He saw something in me,” he says. “I don’t want to say took me under his wing, but he was very kind and gracious. It was an opportunity I relish and I appreciate having him in my life.” As Alessandro tells it, their meeting came at just the right time, and it was Fisher who gave Alessandro the push he needed.
Growing up in the Philadelphia burbs during the ’80s as an SRV-obsessed teenager, Alessandro purchased a ’59 Bassman that “just wasn’t happening.” He took it to a few area techs, all returning it with the same result. But “I was just getting into learning electronics,” he remembers, so he opened it up and realized that a broken capacitor had eluded each of the techs. “I changed that one part out and the amp came to life.”
An example of one of Alessandro’s handwired Twin Reverbs, with visibly meticulous wiring and Alessandro-branded components.
Photo by Nick Millevoi
That was all Alessandro needed to catch the bug, and he started tinkering with old amps, soon doing repairs for local players. This experience served as a deep educational phase, and the timing was kismet. “There’s a whole learning curve on how amps age,” he observes. “What happens to a ’59 Bassman at year 20, at year 40, at year 60? I was of the generation where I came in on year 25, so I was coming in when it was a perfect time to learn.”
Eventually, one of his early clients inspired him to build an amp of his own. The request was to put an extra gain stage into a black-panel Bassman. After trying it in his client’s amp, Alessandro decided to build this circuit from scratch in the chassis of a Sunn Solarus. This build became his first prototype, which he called the Hound Dog Redbone.
A pre-med student working on amps in his free time, Alessandro took the amp to Fisher’s house for their first meeting, and they hit it off. It wasn’t long before Fisher gave him his first taste of hype. “He got me my first press,” he remembers. “He was writing for Vintage Guitar and basically said this Hound Dog is the closest thing to a Trainwreck. And from that point, my phone never stopped ringing for two years. I had orders coming in from all over the world before I was even a company.”
As he graduated from college, he looked at his potential spend on medical school and compared it to the auspicious start of his fledgling amp business, and decided to make a go at the latter. When he developed his second Hound Dog model—another “brutal 50-watter”—Alessandro tipped his cap to the elder builder, naming it the Bloodhound, after Fisher’s dog. He soon developed a full line, also including high-end low-power heads.
Somewhere along the way there was a cease-and-desist for the Hound Dog name, but Alessandro got some sage advice. “Bob Benedetto took me aside,” he explains. “He was like, ‘George, you’re Italian, you have a great last name, why don’t you use it?’” Thus, Alessandro High-End Products was born, reflecting his growing interest in hi-fi audio.
“When I started hearing what high-end audio sounded like, it was a mind-opening experience.”
“When I started hearing what high-end audio sounded like,” he explains, “it was a mind-opening experience. By utilizing better materials properly, you could elevate the product.” That included everything from building hi-fi style transformers, to eventually using his own Alessandro-branded components.
He developed a reputation for meticulously building amps at the highest level that quickly spread to the most elite circles in the guitar universe. Early adopters included Sammy Hagar, Billy Gibbons, and Eric Johnson. Just above his workshop desk hangs a photo of the builder and B.B. King, who he says was a good friend, both holding up an Alessandro catalog at his 30th birthday party. And at this point, the list has grown to be quite extensive. It’s not hard to find one of Alessandro’s amps onstage or in the studio with any number of rock stars, from Joe Perry to John Mayer to David Gilmour. And when I ask George about Gilmour’s very visible use of his Bluetick and Redbone Special, he shows me another photo on his desk of the Pink Floyd guitarist and his Alessandros sitting in with Jeff Beck.
Onstage with the Tedeschi Trucks Band, Derek Trucks rocks a 1/2 AZZ and Crossbreed. Both Derek and Susan Tedeschi are running Super Reverbs that have spent time on the builder’s bench and are loaded with Alessandro’s signature Eminence speakers.
Photo by Stuart Levine
Handwired Access
My field trip to the Alessandro workshop wasn’t my first exposure to George’s work. Growing up in Philly, I was lucky enough to count hanging out at a small, family-owned guitar store as one of my first jobs. A few select customers would come in and talk about a guy a few towns over who was doing work for Gilmour and Eric Johnson, and who would put an amp in a gold-plated chassis for the price of a small sedan. My curiosity was piqued. When he introduced his old Working Dog line, targeted at gigging musicians, the amps came through the store and I plugged into the first boutique models I’d ever tried. Despite their reasonable prices, they were still out of my reach, but I never forgot that first taste.
As I got deeper into amps, and vintage amps specifically, I cycled through all the local techs—just like George did in the ’80s. I’d always known he was there, but the high-end Alessandro clientele led me to assume he was off limits for repairs, or at least prohibitively expensive. It was only recently, when I became a client myself, that I learned how wrong I was.While it’s partially Alessandro’s love of vintage amps that keeps him available for repairs and restorations, he also wants to work for working musicians at all levels, including those who can’t afford or justify a high-end amp (or at least one that commands five figures). “I definitely want to be approachable for any level of musician to purchase our product,” he tells me. “Because I do want to be able to inspire and get a good product into the hands of younger musicians or working musicians.”
To do so, he’s come up with a clever way to make his work more accessible, and that’s his handwire service.
The concept is simple: A customer brings Alessandro a modern consumer-grade amp—a reissue Fender or Marshall—and he’ll rebuild it by hand. He explains that his goal is “to at least equal what Fender was doing in 1964 and ’65. But if I can, what would happen if they continued to evolve it?”
And while he could build that from scratch easily, the rebuild concept is pragmatic. “I can’t build from scratch what we offer with the handwire service.”
So, he’s designed a circuit board that’s easily reproducible. “We gut the whole thing. The only thing left in there is the transformers and tube sockets—it’s very efficient.” And it keeps costs down. So, starting at $525 for a Princeton Reverb—you can, of course, keep upgrading beyond that—you can have a handwired amp that Alessandro says he’ll “put up against a vintage Princeton Reverb any day.”
“I definitely want to be approachable for any level of musician to purchase our product. Because I do want to be able to inspire and get a good product into the hands of younger musicians or working musicians.”
David Gilmour - Time/Breathe (Reprise) (Live At Pompeii)
Is there really any better way to make a case for a great amp than seeing a video of David Gilmour playing it at Pompeii? Here he is from 2017’s Live at Pompeii with a pair of Alessandro heads behind him in the hazy distance.
And that’s not sales talk. Frankly, George doesn’t have time for that. Just talking to him, it’s clear he only spends time on stuff he’s into, and lets his reputation do the rest. Take a look at his website, for example. It’s a sparse landing pad, featuring some information about most of what Alessandro High-End Products has to offer. If it feels like maybe there’s more available than you see, that just might be the case.
The Alessandro social media pages are a better way to see what he’s up to, but their long scroll of amp demo videos still maintain the mystique around his work. Of course, we, as tone hunters, absolutely love our elite-level amp builders to have mystique around their work, and that’s the level Alessandro is working on.
If you really want to know what George can offer and maybe find out if you can afford one of his amps, or even just talk about whether that’s right for you, you’ll have to go right to the source and have a conversation.
And how does someone do that?
He says, simply, “The people who need to know me find me.”
- Everything You Ever Wanted to Know About Output Tubes ›
- How Tube Amps Work ›
- 8 Guitar-Amp Mods for Newbies ›
- Win Bohlinger's Broadway T-Style Partscaster! - Premier Guitar ›
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.