 Good seeing you again, John. It's been a few months. I think you came and saw us halfway through development and when we was at crucial stages, so it was really quite useful. So you've kind of seen some development, literally development of the product as it's moved along. And, well, I suppose the reason why we wanted to do this was one really was to start with we didn't have an acoustic range before. These are our first products to go into that market. This is the first one and it was obviously crucial for Blackstar to get it right. Hence why it was very important to get the players like yourself involved, because as you can probably prove time and time again acoustic guitar playing isn't just strumming. Yeah, no, it really, really isn't. I mean, what I, you know, I was really keen to see happen is that you didn't start with like what acoustic amps already are and then just come up with your own version of that. It really started from scratch. And for me that was very promising and made me want to be involved in it because it meant that I could have some influence on it and also because all the existing amps that I've ever tried, which must be most of them or a lot of them, certainly, they don't really work very well, I guess, for my kind of playing. But in general, they really squash the sound down. They can't do the full frequency range of the instrument. That's right, yeah. So many, so many problems. So the fact that you started from scratch using completely, you know, fresh ideas and design meant not, you know, to create something that actually works. Yeah, so of course, your style incorporates an extremely wide range, especially down at the bottom end, because you are your own percussionist as well. And often, I mean, we noticed on some of the the competitive parts that, as you say, that anything below about 80 hertz is not really fun. And that's where all the good stuff is. I mean, people think 80 hertz is sort of the lowest note on the on the guitar. So we don't need we can get rid of all that. It is the lowest note, but even if you're not, even if you're just strumming and finger picking, there's still so much sound that's coming out of the guitar that's below that lowest note. That's right. And I'll say all the percussion as well, but the bass drum sound. So we were very keen to try to include all of that, like it'd be by playing for a studio monitor. But I must admit, there was a certain amount of months of tweaking and developing, but it was when you came in that we thought, ah, okay, now we are convinced we are going down the right road, because you can easily do things sort of in isolation, even within the team. But you needed, you know, it was really helpful when you came in, was it some months ago, and then did your stuff. And we thought, right, okay. And I must admit, I was nervous that day, because it's like, oh, what is John going to think? But it was it was good, the feedback that he gave us. No, it was, you know, it was really, I couldn't believe it that day when I plugged it in. I couldn't believe that that sound was coming from one tiny little combo amp, you know, it's just like something I hadn't heard before. Yeah. Obviously, we've applied a bass reflex technology in speaker design, and the actual robustness of the cabinet as well to ensure that it can reproduce those kind of frequencies. And we had to go through many changes even since then to ensure that the quality was right throughout the production, because you know, you build one, you build it perfect. And then the other ones built and they're not so perfect. And it's not until you hear them and you realize, ah, these things are really important to get right. So we've had to be very, really careful on how things are sealed up in there. The porting we've moved to the side is something you noticed earlier. The actual tuning is partly done with test equipment, but then ultimately it's still always done with our ears. Right. Because I've always found no matter how much you try to predict what the porting is going to be like, you always end up having to refine it slightly and tune the actual port itself, which is obviously the bit in the side, the length of it or the diameter of it, you end up having to tune it to get it just right. And that did go through probably about a dozen permutations before we even decided on that. So it's been, it's been months and months really of of increment by increment, just trying to get it better and better. And not, you know, the thing is a blast. We were never really satisfied with just putting something together. And that I do. That's it. It kind of plug it, it sounds like an acoustic, doesn't it? Yeah, sell it. We never, we'd never do that. So it feels that time zones were going round and round in circles. But at the end of a project, it's always more pleasing to think, I'm glad we put in that extra time, you know, so hopefully it shows. So there's one problem that I've always had with acoustic guitar amps that you've managed to avoid. So the problem is that when I would be playing a chord and letting that ring, for example, and then I would tap the guitar for like a percussion hit, or it could even not be a because of thing. I could be singing a note because, you know, I'll sing through these as well. Plug my mic into them. So I could be singing a note. And then I strum a loud chord and it all dips down because of the compression in the amps because it's obviously, you know, acoustic amps are fairly small compared to a PA system. I've always thought this is just a problem that can't be avoided with acoustic amps. So in order to protect the amp, they squash the sound down when you do anything loud. And it completely kind of kills the playing and you've managed to avoid that. Well, yeah, it's a combination of making sure there's enough headroom to start with so that there is enough clean linear part of the actual dynamic range. But then there is compression applied, but it's done in a very musical way. These actually use studio quality VCA compression, which is the kind of thing you'd find, you know, in studio racks. But then fine-tuned so the user doesn't have to worry about it. And it's also set so that the fresh hold is very high. So it allows through as much as your dynamic range as possible before, you know, grabbing hold of it and squashing it down, like you say. And also it's soft knee compression as well. So it's not this abrupt, you know, sudden, you know, I can hear this squashing going on. It is very gentle. It also means that you can basically plug anything in. You can set the AQ how you want, and it won't go into clip. So it's very well controlled. Again, which is particularly important for modern guitar styles, I should say. The frequency range is much wider than what people have been doing before. The transient is much more extreme. So it's important to better handle anything that could be put into it. Yeah. Well, it really does, you know. So it's great for me because it means I'm able to monitor my own sound without having to just use. Because I've always, up until now, when I'm playing live, I'll just use the stage monitors in the venue because I've never been able to find an amp that would work. But now I've got one, I can use that. And it means I can, you know, mix my vocal and my guitar myself. I want it. I can EQ them how I want them. Yeah. And then, of course, use the DI outputs to go into wherever you want. And, yeah, you have your little kickstand underneath there to elevate it a little bit. Yeah. And it can be adjusted to pretty much any angle you want as well. It's really easy. It's embarrassingly simple. But sometimes the best things are. Yeah. It's really, really handy that you don't lose any bass I've noticed when you use it. Because I thought maybe if the amp wasn't flushed to the floor, you might lose a bit of bass, but it doesn't make any difference. And, yeah, it means I can point it into my ears, which are what I use for hearing things. So, yeah. It's helpful. Yeah. And you said it had studio quality compressors in it. Yeah. Yeah. So, so wait a minute. So, because the amp, you know, it's quite reasonably priced and obviously the compressor is only a very small part of it. So when I pay three grand for a studio compressor, what am I paying for then, Paul? Can you tell me? What did I pay for? When I say that, what I mean is the technology of the VCA is the same kind of technology as what you'd find in a studio compressor. But obviously a studio compressor will have all the knobs on there, two channels usually, and a load of other bells and whistles and lights and, you know, needles and stuff. It's a diplomatic answer. So, yeah, you'll get all that. But this is all, this is all, it's got all that stuff. But it's all pre-set. So the user doesn't have to worry about it. It is, because I mean, I've always felt that a compressor is often the most misunderstood thing in a studio rack. You know, people can't, they don't realise how interactive all the controls can be and they find them hard to set up. Whereas, you know, if you turn on the chorus pedal, you hear it immediately. Compressor isn't like that. Yeah. I mean, you don't want to be able to hear the compression. That's it. That's the point. I see it. It's only, it's meant to be just gently controlling things. So we've worked through these to adjust the ratios, the threshold, the attack and release, and all those features that people look at and go, oh, what does that do? They're all pre-set, so that all the user has to worry about is the gain control. And then how they set the EQ. Yeah. I think you nailed it. I'm really happy with them. And, yeah, I just, it's a revelation for me. I just had given up on acoustic guitar amps. I really, really had. So I'm very glad that somebody has given amp designers who do this, and this is what they do, the opportunity to really go back to the drawing board and create something. We did spend longer than we thought, but it's been, it's been worthwhile. No, it really is.