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NAMM 2025: Guitar Amps and Effects Pedals

NAMM 2025: Guitar Amps and Effects Pedals
Michael Molenda

Another “Happy New Year” of new gear is on target to be debuted at NAMM 2025 from January 21 through January 25 in Anaheim, California.

As with past NAMM shows, some manufacturers like to offer early sneak peeks at upcoming releases, while others prefer to embargo new product information until the convention officially opens. But we’ve got you covered. From previews to updates and more, the Guitar Center team will be posting the news as it happens to ensure you’re in the know about all the gear coming your way in 2025. Let’s take a look at some of the hottest launches in guitar amps and effects pedals from the NAMM show floor.

Table of Contents

New Guitar Amplifiers at NAMM 2025
New Guitar Effects Pedals at NAMM 2025

New Guitar Amplifiers at NAMM 2025

Bad Cat Era 30 Amp Head

Part of the big news about the Era 30 is that it heralds the return of boutique amp designer Mark Sampson (Matchless) to Bad Cat after a 20-year absence. The handwired Era 30 amplifier head features 30 watts of tube power, two independent channels, master volume (post phase inverter), 6-position Depth control for tailoring bass response, buffered effects loop, EF86 and 12AX7 preamp tubes, EL84 power tubes, 5AR4 rectifier tube, an included footswitch and more.

Bad Cat Era 30 30W Tube Guitar Amp Head

Shop Now: Bad Cat Era 30 30W Tube Guitar Amp Head

The Era 30 head can be plugged into a matching 1x12 or 2x12 cabinet, both loaded with British-made Celestion Bad Cat Custom speakers.

Bad Cat Era 1x12 Guitar Speaker Cabinet

Shop Now: Bad Cat Era 1x12 Guitar Speaker Cabinet

Why the Bad Cat Era 30 Is a NAMM Standout: Sampson’s reputation in the boutique amp industry is as solid as it comes, so the Era 30 promises to be a firebreather of an amp with matchless versatility, toughness and tone.

BOSS Waza Tube Amp Expander Core 

Well, funnily enough, this new amp product isn’t an amplifier. However, the BOSS Waza Tube Amp Expander Core is a pretty awesome amp enhancer. On one hand, it’s a reactive load box that lets you safely plug your chosen tube amp directly into DAWs, reamping devices and even speaker cabinets. Core eliminates the need for loud, revved-up combos and stacks captured with microphones. But it also delivers an abundance of features for making your amp all that it can be and more. You can meticulously dial in the sound of your amp rig with Core’s 32 cabinet emulations, five microphone types (with a dual-mic position option), onboard signal processing (compression, EQ, delay, reverb, etc.), external effects loop and more. BOSS Waza Expander Core is like simultaneously giving your tube amp a regimen of vitamins and health supplements, and putting it through extreme sports training.

Why the BOSS Waza Tube Amp Expander Core Is a NAMM Standout: The Core is a full-service amp-tweaking workstation that lets you tailor an amplifier you already love to fit right into any track or production scenario. Even hipper, you can use it to bring processed and refined “studio-production sound” to your live performances.

EVH 5150 Iconic EL34 Series 15W 1x10 Combo Amp

Designed by acclaimed amp engineer James Brown, the 5150 Iconic EL34 combo brings the epic Eddie Van Halen sound to small clubs and home studios. Weighing in at 30 pounds and offering a manageable 15 watts—and mated with a 1/4-power reduction switch to let the amp rage at even lower volumes—the 5150 Iconic includes two channels with an added voicing for each (Clean/Overdrive and Lead/Burn), two ECC83S preamp tubes, EL84 power tube, 10" EVH/Celestion Custom speaker, one-button footswitch and more.

EVH 5150 Iconic EL34 Series 15W 1x10 Combo Amp

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Why the EVH 5150 Iconic EL34 Combo Is a NAMM Standout: Brown has been behind the 5150 platform since Eddie Van Halen decided to launch a signature amp in 1992. The EVH Iconic EL34 version is both a homage and an update to the original, and while this 15-watter may be enthusiastically deployed as a small club amp, it has the toughness and tone to rock stadiums.

EVH 5150 Hypersonic FRFR 1x12 Cab

EVH looks to bring some hard rock and metal appeal to Full-Range Flat-Response (FRFR) cabinet design. The 5150 Hypersonic FRFR cab has a cool name, a streamlined look and the sharp, monogramed logo of one of the greatest guitarists of all time. Built for advocates of all types of digital amp modelers, the Hypersonic is also an obvious choice for the Fender Tone Master Pro created by EVH’s parent company. Fortified with an integrated 1,000-watt amp and 3-band active EQ, the 5150 Hypersonic not only looks the part, but it can deliver ferocious metal onslaughts.

IK Multimedia TONEX FRFR Cab

This 350-watt RMS Full-Range Flat-Response (FRFR) cabinet promises to reproduce every nuance of digital (and analog) modeling processors with vintage-amp-like sound. Comfortably portable at 28 pounds, the TONEX Cab features 3-band EQ, eight onboard presets, dedicated Cab Control software (for preset and IR loading), TONEX SE software (with 200 premium tone models), Custom Celestion 12" speaker and 1" compression driver, tilt-back legs, optional swappable grille cloths and more.

IK Multimedia TONEX 700-Watt 1x12 FRFR Guitar Cabinet

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Why the IK Multimedia TONEX CAB Is a NAMM Standout: The TONEX CAB does everything you want an FRFR cabinet to do—which is accurately reproduce and amplify the sounds of your digital amp rig—but it’s onboard software component also lets you make changes in the field. For example, if there are some last-minute set modifications at sound check, and you realize you need to swap out four of the TONEX CAB presets from clean amps to wailing furies, some quick work with TONEX SE from the stage will ensure your sounds are up to the (new) task.

Marshall Modified 1959HW Amplifier Head

A dynamo of clean power, the original Marshall 1959—which debuted in 1965—was soon battered and abused by rockers such as Jimi Hendrix and Eric Clapton, who cranked up the volume to achieve the distorted tones they craved. Not surprisingly, the pushed-to-the-limit amps often broke down, requiring repairs and/or modifications to keep them singing on stage. Eventually, many repair techs started adding features such as preamp-gain controls and master volumes to relieve the 1959’s brutalized circuits. Time travel to the Los Angeles glam and metal scene of the 1980s, and shedders and other tone-obsessed guitarists sought out modded Marshalls as required gear. The Marshall Modified 1959HW pays homage to the best mods of the era, providing players with a vintage-style sound that is also flexible and invulnerable.

Why the Marshall Modified 1959HW Is a NAMM Standout: C’mon—it’s the celebrated and badass plexi Marshall modified to deliver features demanded by a generation of rockers delightfully predisposed to sonic excess.

Marshall Modified JCM800 Amplifier Head

Perhaps due to the evolving needs of metal guitarists, the prevalence of circuitry mods and the wisdom of not running constantly “full up” at crushing levels, Marshall launched the JCM800 2203 in 1975 as the company’s first official master volume amplifier. Like the original, the Modified JCM800 can unleash the roar at low volumes, and it also includes some savvy tone options (Tight, OD I/II, Mid Boost, etc.) to ensure today’s guitar players can best achieve the sounds they hear in their heads.

Marshall JCM800 Modified 100W Guitar Amp Head

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Why the Marshall Modified JCM800 2203 Is a NAMM Standout: While the JCM800 2203 was famously deployed by metal bands such as Slayer, Mötley Crüe and Judas Priest, it also enjoyed a cleaner persona in the hands of players such as Jeff Beck, Andy Summers and Buddy Guy. With its “modded” tone options, the Marshall Modified 2203 gives guitarists the option to easily shift between the sweet and the savage.

Marshall Studio 900 Amplifier Head and Combo Amp

Bring the authentic Marshall sound to home studio and small-venue gigs with the compact and portable Marshall Studio 900 combo or Studio 900 amp head. These 20-watt amps offer power reduction to 5W and 1W to achieve huge sound in any low-volume setting.

The tube component for each amp is three ECC83 preamp tubes and two 5881 power tubes, and a compensated D.I. output is onboard, as well. The SN20C 1x12 combo includes a Celestion G12T-74 speaker.

Marshall Studio 900 20W 1x12 Guitar Combo Amplifier

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Why the Marshall Studio 900 Is a NAMM Standout: Small-wattage amps have been a staple in home studios for years now. It seems that only rockers desperately seeking eviction would unleash 100 watts of Marshall power in their personal studio space. (It’s likely also a bad idea to position “room mics” in your neighbor’s backyard.) But, more and more, guitarists seeking to reduce volume—as well as save their backs—are depending on compact amps for onstage use. So, yeah, the wattage of the Studio 900s is nicely manageable, and they still say “Marshall.” Best of both worlds?

MESA/Boogie '90s Dual Rectifier Amplifier Head

When the MESA/Boogie Dual Rectifier erupted onto the scene in 1992, it caused a seismic shift in aggro guitar tone that not only delighted heavy guitarists such as Metallica’s James Hetfield and Kirk Hammett, but also effectively “owned” the hard rock and alternative charts, commercial recording studios and concert stages. The MESA/Boogie 90s Dual Rectifier brings back the iconic scooped mids, feral lows and razor-sharp highs of the OG, and everything is still designed, handmade and torture tested in the company’s Petaluma, California, workshop. Updates to the new 90s Dual Rectifier include enhanced clean tones, a Channel Style switch that lets you reconfigure the tonal character of each channel and more.

Why the MESA/Boogie 90s Dual Rectifier Is a NAMM Standout: It’s only a legendary amp that has been lovingly improved by much the same team that designed and built the original in a “one-big family” boutique workshop near California’s wine country. And, yeah, this amp still roars.

Orange Baby 100 Series Amp Heads

While the massive Orange stacks of yore were thrilling and impressive for players and audiences, they probably weren’t towers of happiness for roadies or anyone else tasked with transporting them. Obviously, all amp companies—including Orange—have been downsizing their behemoths the past few years, but the Baby series of amp heads is just so, um, cute, and also quite serviceable. All Baby models are rackmountable 100-watt heads with a solid-state Class AB power stage and a JFET preamp. Each Baby weighs just eight pounds, includes a buffered effects loop and a direct output, and comes with a gig bag. The Gain Baby 100 offers two footswitchable channels (Clean/Dirty), built-in compression (Clean channel only) and a tight switch on the Dirty channel. The Tour Baby 100 has much the same features but adds a second footswitchable volume on the Dirty Channel. The Dual Baby 100 provides a dedicated 3-band EQ for each channel (the other Babys offer 2-band EQ on the Clean channel and 3-band on the Dirty channel). Dual Baby identifies the footswitchable dual channels as A (for clean to dirty sounds) and B (for crunch to high-gain tones).

Orange Amplifiers Dual Baby 100W Guitar Amp Head

Shop Now: Orange Amplifiers Dual Baby 100W Guitar Amp Head

Why the Orange Baby 100 Series Is a NAMM Standout: The Babys aren’t mini-amp setups such as some of the analog and digital devices designed for those who travel to gigs by air. These Baby 100s are absolutely wonderful high-volume rigs for those who need the power, but don’t want cartage struggles. You could, for example, pack a gig-bagged, eight-pound Baby 100 and a compact 1x12 cabinet into an Uber—along with a guitar and pedalboard—and not break much of a sweat (even during an Arizona summer).

Orange O Tone 40W Combo Amp

The vivid, goldfish-hued “Voice of the World” amp company offers a less planetary-sized combo with its compact, 26-pound Orange O Tone. Since its founding in a West End, London, music store in 1968, Orange’s whimsical style and unique sound have captivated artists from Jimmy Page and Paul Kossoff to Noel Gallagher and Orianthi. The O Tone is a 40-watt, Class AB solid-state amp with digital reverb, footswitchable tremolo and a 12" speaker.

Orange Amplifiers O Tone 40W 1x12 Guitar Combo Amp

Shop Now: Orange Amplifiers O Tone 40W 1x12 Guitar Combo Amp

Why the Orange O Tone Is a NAMM Standout: Orange amps have always been a popular option for players seeking slightly different clean and overdrive tones than the usual suspects. The Orange O Tone brings hefty power to small and medium-sized venues without the punishing weight. You could even waltz comfortably into a club gig with the O Tone in one hand, a pedalboard in the other and your guitar strapped to your back in a gig bag.

Peavey Josh Homme Decade Too Combo Amp

It’s no secret that Queens of the Stone Age guitarist Josh Homme is typically cagey about his tone recipes. So, it was quite the shocker when Homme revealed a component of his huge overdrive tone is a small, 10-watt Peavey Decade solid-state practice amp from the ’80s. “This is the secret weapon,” Homme said during Apple TV’s Watch the Sound with Mark Ronson in 2021. “This thing is incredible.” (St. Vincent was so floored by the revelation, she had guitar tech Jason Moser build the amp into a stompbox for her.) The new Peavey Decade Too offers 10-watts of the company’s TransTube tech, a speaker-simulated direct out (with dedicated level control) and a footswitchable Saturation feature. A 1x8 extension cabinet is also available to compliment your new Decade Too.

Peavey Josh Homme Decade Too 10W 1x8 Guitar Combo Amplifier

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Why the Peavey Josh Homme Decade Too Is a NAMM Standout: Most guitarists have gleefully followed the mysteries of tone creation—especially if tips and techniques come from players they love and respect. Whether Josh Homme is your sonic benchmark or not—or whether the Peavey Decade is completely responsible for the guitar sounds heard on QOTSA tracks such as “No One Knows”—the Decade Too still represents a path to some pretty badass crunch and distortion tones.

VOX AC10 and AC15 Combo Amps

These two new VOX amps are offered in a limited-edition blue and cream Tolex—a Guitar Center exclusive. It’s a gorgeous and rare colorway, which should entice fans of VOX amplification to [1] crave and [2] acquire. The 10-watt VOX AC10C1 offers two 12AX7 and two EL84 tubes, a 10" Celestion VX10 speaker and onboard reverb. The larger, 15-watt AC15C1 includes three 12AX7 and two EL84 tubes, a 12" Celestion G12M Greenback speaker, Normal and Top Boost inputs, reverb, and tremolo depth and speed. Keen-eyed VOX devotees will notice that both of these amps carry the distinctive VOX insignia, inspired by Thomas Organ-designed US amps from the '60s, that adorned VOX amps from 1968 to 1973.

VOX AC15 Custom 15W Limited Edition Tube Guitar Combo Amplifier in Blue/Cream

Shop Now: VOX AC15 Custom 15W Limited Edition Tube Guitar Combo Amplifier in Blue/Cream

Why the VOX AC10 and AC15 Are NAMM Standouts: The iconic VOX AC30 is a goliath of shimmering tone, but, at approximately 70 pounds, it’s also a beast to transport. That you can get almost exactly the same chime from the AC10C1 (27 lb.) and AC15C1 (48.5 lb.) is, well, brilliant. In addition, all of your fans and fellow guitar players will totally adore that blue hue.

New Guitar Effects Pedals at NAMM 2025

Blackstar AIRWIRE i58 Wireless System

The AIRWIRE i58 transmitter and receiver are enclosed in two small “blocks” that can interface with any 1/4" audio outputs. Simply plug the i58 transmitter in your guitar or bass, and the receiver into an amp (or the first pedal on your pedalboard signal chain), and you can take the show to the audience and beyond—up to a transmission distance of 115'. The Blackstar AIRWIRE i58 operates at the “roomier” 5.8GHz range (less chance for Wi-Fi and other interference) and offers nine hours of play time. Recharging the system’s lithium-ion battery takes 2.5 hours via USB-C cable (included). A switchable CABLE TONE feature emulates the sound of an instrument cable, latency is less than 6ms and frequency response is 20Hz–20kHz.

Blackstar AIRWIRE i58 Wireless Guitar System

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Why the Blackstar AIRWIRE i58 Is a NAMM Standout: The perennial scuffle between players who love wireless systems and those who adore conventional cables shows no signs of waning. But with compact, plug-in-and-play systems such as the AIRWIRE i58, jettisoning the wire can be painless and trouble-free. So many professional bands are cable-free, so perhaps take the hint and unleash your feet from that imaginary force field surrounding your pedalboard.

DigiTech MonoNeon Signature Whammy Pedal

As befits Grammy-nominated experimental bass ace MonoNeon, his signature DigiTech Whammy is the company’s most daring, expressive and all-out fun pitch-shifting pedal to date. The MonoNeon Whammy is colored with the artist’s Day-Glo vibe, and it offers a brand-new Hypersonic Mode (three-octave pitch rise), three new Octave Blend Modes, enhanced detune settings, an onboard expression pedal and an amusing “customization kit” (gaffer’s tape and marker) for adding your own touches to the design.

DigiTech WHAMMYMN MonoNeon Signature Whammy Effects Pedal in Yellow and Orange

Shop Now: DigiTech WHAMMYMN MonoNeon Signature Whammy Effects Pedal in Yellow and Orange

Why the DigiTech MonoNeon Whammy Is a NAMM Standout: First, its optimized for bass and guitar, so no stringed player is left out of the pitch party. Second, it’s eye-catching in the extreme. And, finally, this Whammy version—an upgrade from the “V”—offers near-ultimate creative power to inspire both dive-dombing shredders and fearless iconoclasts in the MonoNeon mold.

Marshall 1959, JCM800, JCM900, JVM and DSL Pedals

Marshall appears to be celebrating—and miniaturizing—its iconic legacy of amp tones by simultaneously unleashing a series of five revved-up distortion pedals. The 1959 serves up the sound of the 1959 Super Lead, the JCM800 emulates Lead Series ravers, the JCM900 unchains hi-gain distortion, the JVM matches “JM series” distortion with a noise gate and the DSL lets the fury loose with soaring Dual Super Lead tones.

Marshall 1959 Vintage Overdrive and Crunch Effects Pedal

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Why the Marshall pedals Are a NAMM Standout: In addition to having a pretty comprehensive “history of Marshall amp tone” underfoot—if you simply can’t stop yourself from acquiring all five pedals—each stompbox can also become a ferocious rig saver for those situations when the beat-up backlined rig you were provided is as lame and toneless as a amplified cat box.

MXR Rockman X100 Analog Tone Processor

In the mid 1970s and ’80s, Tom Scholz’s savagely slick guitars on Boston’s smash hits captivated a generation of guitarists—many wishing they had the gear and production chops to duplicate those deliciously saturated sounds. In 1982, Scholz himself gave everyone the keys to the kingdom. His Rockman X100 headphone amp not only delivered the Boston sound for personal enjoyment, but it also let players run the device into a studio mixer (or amp) via its stereo minijack output and a cable with the right adapters. Almost immediately, every pro and personal studio had to have an X100 on hand, and as a result, far too many hit records and demos showcased the Scholz sound. The new MXR Rockman X100 pedal offers the same four presets that made the original famous (Distortion, Edge, Clean 1, Clean 2), interfaces easily to DAWs and sound systems, features optional mode switching and its chassis is tough enough for constant stage and studio use.

Why the MXR Rockman X100 Is a NAMM Standout: It’s primetime for an arena rock revival, and the MXR Rockman X100 is poised to be the tone touchstone of fierce and gargantuan guitar sounds. But the X100 is not solely for rocking stadiums. Its iconic clean and crunch tones can work brilliantly for pop, jazz, country, Americana, EDM and just about any style you can dive into.

Pigtronix Cosmosis 1

Travel to ambient galaxies with the Pigtronix Cosmosis 1. This stereo pedal is designed for crafting expansive, dreamy landscapes of reverb, starting with three color-coded presets. Blue (Theater) offers variably reflective small rooms, Amber (Temple) focuses on large spaces and long reflections, and Purple (Cosmos) opens up to vast spectrums of extraordinary textures. Knobs on the pedal quickly control reverb size, wet/dry blend and tone. The Cosmosis 1 also includes Pigtronix’s Morph feature, which lets you gradually—and mysteriously or dramatically—change reverb parameters in real time by pressing down on the footswitch.

Pigtronix Cosmosis 1 Stereo Ambient Reverb Pedal

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Why the Pigtronix Cosmosis 1 Is a NAMM Standout: Many professional sound designers know the risk of losing yourself in multiple parameters when inventing cinematic atmospheres with vibe and precision. The Cosmosis 1 isn’t a comprehensive reverb workstation, but it still provides a bounty of creative possibilities with just a couple of knobs and some savvy controls. This is a great pedal for diving into the unknown and quickly discovering unique and personal realms of ambient majesty.

Walrus Audio Qi Etherealizer

Covet’s Yvette Young is one of today’s most creative guitarists for conjuring textural atmospherics and cagey riffs—be sure to check out her Crafting Guitar Tones discussion on our YouTube channel. Young’s collaboration with Walrus Audio on the Qi Etherealizer means this multi-effects pedal is a wildly expressive tool for extreme and otherworldly sonic explorations. At its core, the Qi Etherealizer offers chorus, delay, reverb and granular effects, but you can mix and blend everything, as well as dig deep into controls such as five playback modes (including reverse and randomize), rhythmic phrase sampling, momentary grain freeze, and series or parallel operation.

Why the Walrus Audio Qi Etherealizer Is a NAMM Standout: Sonic adventurers typically need “new mountains” to climb, and, in this case, the genius of Yvette Young and the inspired soundscape radicals at Walrus Audio are brilliant guides for traversing the beauty of the tonal unknown.

Walrus Audio Canvas Rehearsal Pedal

Practicing with a band is obviously an essential exercise for becoming a flexible, unflappable, sensitive and improvisational musician. But why spend significant time sitting on a couch and jamming to television commercials when you could be refining and tightening your chops? The Canvas Rehearsal Pedal gives you a clever, dedicated practice tool you can integrate into your pedalboard, play with your favorite sounds, monitor everything through headphones and tighten up by referencing a metronome, Bluetooth audio and/or tracks via 1/8" input.

Walrus Audio Canvas Rehearsal Pedal

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Why the Walrus Audio Canvas Rehearsal Pedal Is a NAMM Standout: Kudos to Walrus Audio for devising its own take for helping musicians attain rhythmic excellence. Studio legend Steve Lukather has always maintained playing locked-in rhythm guitar is far more critical to career and musical development than shredding like a demon (of course, he can do both, so there’s that). In addition, the Canvas Rehearsal Pedal offers an easy way for musicians to craft rough mixes of whatever tunes they are working on, and practice and create riffs, solos, counterpoint lines and sweetening parts through their own rigs without having to fire up their DAWs or go through the hassle of setting up studio gear.

Zoom MS-90LP+ MultiStomp Looper Pedal

A small, space-saving looping station enclosed in a stompbox, the MS-90LP+ is nonetheless filled with goodies. Its 32-bit float processing pretty much ensures you can’t overload the audio by, say, hitting a totally raging fuzz box when engrossed in loop creation. The MS-90LP+ also provides 90 minutes of recording per loop, storage for 100 loops, easy footswitches for essential functions, eight effects (reverb, half-speed, etc.), colored LCD alerts (for recording, playback, loop effects), onboard quantization, 68 internal rhythm patterns, MIDI and USB connections and more.

ZOOM MS-90LP+ Looper Pedal

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Why the Zoom MS-90LP+ Is a NAMM Standout: Two things are running together here—the continuing expansion of the looping arts and the desire to enclose more and more processing power in conventionally sized pedals. The MS-90LP+ delivers the goods to create multi-faceted textures, expansive instrumental arrangements and more. In addition, its looping operations aren’t intimidating to beginners, yet the Zoom MS-90LP+ is powerful enough to give experienced loopers an bountiful creative palette.

Michael Molenda

Michael Molenda is a content strategist, editor and writer for Guitar Center, where he has worked since 2022. He is the longest-serving Editor in Chief of Guitar Player (1997-2018), and former Editorial Director of Bass Player, EQ, Keyboard, Electronic Musician, Gig and Modern Drummer. A guitarist, drummer, bassist and producer, Mike co-owned three pro recording studios in San Francisco, and performs with Surf Monster and The Trouble With Monkeys.

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