For high-end analog audio gear that combines vinyl playback flexibility with practical digital integration, I rank the Parks Audio Waxwing Phono DSP Preamp as the best overall pick. The Warm Audio WA-MPX is a stronger fit for a single-channel tube recording chain, while the WA73-EQ adds hands-on EQ for shaping sources as they are recorded. These options serve different jobs, so the choice comes down to whether you need a phono preamp, a recording preamp, or a separate tone-shaping tool. Tube circuitry can add character, but it also brings more heat, upkeep, and potential noise than a simpler signal path. Read on for the full breakdown of how each model fits a different system and buyer.
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Key Takeaways
- The Waxwing is the broadest-use pick: its app control and optical output make it more adaptable for vinyl systems that connect to digital equipment than the dedicated microphone preamps.
- Recording and playback gear are not interchangeable: the WA-MPX, WA73-EQ, TPS II, and WA-2MPX serve microphone or studio signal chains, while the Waxwing and Douk T9 are phono-focused.
- Channel count changes the buying logic: the WA-2MPX serves stereo or dual-source recording setups, while the WA-MPX is the more focused choice for one microphone channel.
- Hands-on tone shaping comes with different tradeoffs: the WA73-EQ and Lintec Vintage Program Equalizer suit buyers who want physical EQ controls, while the Waxwing puts more control in an app.
- Value depends on the system, not the feature list: the Douk T9 combines phono and headphone functions, while specialized studio processors make more sense when their role is already clear.
| Waxwing Phono DSP Preamp from Parks Audio with Magic, Optical Out & Full App Control |  | Best for Digital Vinyl Correction | Cartridge compatibility: MM, MI, and MC | Control: Full app control | Processing features: Pop and click reduction; customizable EQ | VIEW ON AMAZON | See Our Full Breakdown |
| Warm Audio WA-MPX Single-Channel Tube Mic Preamp |  | Best for Tape-Era Tube Color | Channels: 1 | Amplifier type: Tube | Maximum gain: 90 dB | VIEW ON AMAZON | See Our Full Breakdown |
| Douk Audio T9 Vacuum Tube Phono Preamp with Headphone Output and Treble/Bass Control for MM/MC Record Players |  | Best All-in-One Tube Listening Preamp | Channels: 2 | Cartridge support: MM and MC | Inputs: Phono and RCA | VIEW ON AMAZON | See Our Full Breakdown |
| Listen LA-117 |  | Best for Buyers with Verified Model Details | Model number: LA-117 | Item weight: 2 pounds | Date first available: April 24, 2014 | VIEW ON AMAZON | See Our Full Breakdown |
| Warm Audio WA73-EQ Microphone Preamp with EQ |  | Best for Flexible Input and EQ Control | Channels: 1 | Preamp type: Microphone, line, and instrument | EQ: 3-band | VIEW ON AMAZON | See Our Full Breakdown |
| ART TPS II Tube Preamplifier System |  | Best for Flexible Sources | Amplifier type: Tube | Channel configuration: Two-channel preamplifier system | Input adjustment: Variable input impedance | VIEW ON AMAZON | See Our Full Breakdown |
| Warm Audio WA-2MPX Dual-Channel Tube Mic Preamp |  | Best for Vintage Tape Character | Model: WA-2MPX | Type: Dual-channel tube microphone preamp | Connectors: XLR | VIEW ON AMAZON | See Our Full Breakdown |
| Lintec Vintage Program Equalizer |  | Best for Analog Tone Shaping | Type: Vintage Pultec-style equalizer | Signal format: Analog | Hardware interface: TRS | VIEW ON AMAZON | See Our Full Breakdown |
More Details on Our Top Picks
Waxwing Phono DSP Preamp from Parks Audio with Magic, Optical Out & Full App Control
The Waxwing takes a different route from the tube tone shaping of the Douk Audio T9: its appeal is digital control over vinyl playback, including tools to reduce pops and clicks and tailor EQ. Support for MM, MI, and MC cartridges makes it a flexible choice when a system or cartridge changes, while app control gives listeners more adjustment options than the simpler analog-focused preamps here. It can also work with an existing preamp as a line-in device, which may suit a system that needs its processing features without replacing every component. The tradeoff is that setup and adjustments depend on a smartphone, and the supplied product details leave key technical specifics unclear. Choose it for correction and customization, not for a strictly all-analog signal path.
Pros:- Supports MM, MI, and MC cartridge types.
- DSP features can reduce pops and clicks during playback.
- App control allows customizable EQ and playback adjustments.
- Can be used with an existing preamp as a line-in device.
Cons:- App setup and smartphone control are part of the operating experience.
- The available product details do not specify key technical performance figures.
- Digital processing may not suit listeners committed to an all-analog chain.
Best for: Vinyl listeners with varied cartridge types who want app-based control and tools for reducing audible record noise.
Not ideal for: Listeners seeking a strictly analog signal path, or buyers who want detailed published technical specifications before choosing a preamp.
- Cartridge compatibility:MM, MI, and MC
- Control:Full app control
- Processing features:Pop and click reduction; customizable EQ
- Additional use:Can be used with an existing preamp as a line-in device
- Package dimensions:6.69 x 5.35 x 2.24 inches
- Item weight:1.01 pounds
- Manufacturer:Parks Audio LLC
- Warranty:Product warranty available
Our verdict“Choose the Waxwing if app-controlled vinyl cleanup and broad cartridge support matter more to you than an all-analog signal path.”
Warm Audio WA-MPX Single-Channel Tube Mic Preamp
The WA-MPX is the most deliberately colored recording preamp in this group. Its 90 dB of tube gain, custom CineMag transformers, and selectable tape saturation are aimed at adding weight and harmonic character, while the 80 Hz high-pass and 2 kHz low-pass filters offer basic tone shaping at the input stage. Compared with the Warm Audio WA73-EQ, this model favors tube-and-transformer coloration over a built-in three-band EQ; it is a better fit for shaping the source’s character than for broad frequency sculpting. The single-channel layout is a real limit for stereo or multi-microphone recording, and its analog-only connectivity leaves computer interfacing to other equipment. This is a focused studio tool, not a general-purpose interface.
Pros:- Selectable analog tape saturation adds a distinct coloration option.
- Up to 90 dB of tube gain suits sources that need substantial gain.
- Three tubes per channel and custom USA CineMag transformers shape its vintage-inspired sound.
- Built-in high-pass and low-pass filters provide practical input-stage tone control.
Cons:- Single-channel design limits stereo recording and multi-microphone sessions.
- No digital or USB connectivity is specified.
- High-voltage tube circuitry calls for careful setup and handling.
Best for: Recording engineers who want a single-channel tube preamp for adding tape-style saturation and warm low-mid character to microphones.
Not ideal for: Stereo tracking engineers or home-recording buyers who need USB connectivity or a multi-channel recording interface.
- Channels:1
- Amplifier type:Tube
- Maximum gain:90 dB
- Power:Up to 300 V
- Filters:80 Hz high-pass; 2 kHz low-pass
- Saturation:Selectable analog tape saturation
- Transformer:Custom USA CineMag
- Warranty:1 year manufacturer warranty
Our verdict“Pick the WA-MPX for single-channel tube gain and tape-inspired color, but choose the WA73-EQ if onboard three-band EQ matters more.”
Douk Audio T9 Vacuum Tube Phono Preamp with Headphone Output and Treble/Bass Control for MM/MC Record Players
The Douk T9 combines phono gain, tube presentation, tone controls, and a headphone output in one chassis, making it the most self-contained listening option here. It accepts MM and MC cartridges plus RCA line input, whereas the Waxwing Phono DSP Preamp puts more emphasis on app-based correction and record-noise reduction. The T9’s dedicated headphone amplifier and adjustable bass and treble let listeners tailor a personal setup without adding separate tone-control hardware. Its tube display and metal enclosure add a tactile, component-style feel, but the listed 250 mW output may not suit every demanding headphone, and the description gives no wireless connection options. Choose this for a compact analog listening chain rather than studio recording features or DSP-based cleanup.
Pros:- Accepts both MM and MC phono inputs as well as RCA line input.
- Dedicated headphone output reduces the need for a separate headphone amplifier.
- Adjustable bass and treble provide straightforward listening adjustments.
- All-metal chassis with a CNC-machined aluminum panel offers a sturdy enclosure.
Cons:- Listed maximum output power is 250 mW, which may not suit every demanding headphone.
- No Bluetooth or wireless connectivity is specified.
- Unlike the Waxwing, it does not list DSP tools for reducing pops and clicks.
Best for: Vinyl listeners who want MM/MC phono support, physical tone controls, and a headphone output in one analog-oriented component.
Not ideal for: Headphone owners whose models need more than the listed 250 mW output, or buyers seeking wireless playback or digital record-noise processing.
- Channels:2
- Cartridge support:MM and MC
- Inputs:Phono and RCA
- Tubes:Two 6E2 and two 6A2 vacuum tubes
- Headphone output:Dedicated headphone amplifier
- Tone controls:Adjustable treble and bass
- Maximum output power:250 mW
- Power supply:12 V DC
- Mounting:Freestanding
Our verdict“Choose the T9 if you want a tube-based phono and headphone setup with physical tone controls in one component.”
Listen LA-117
The LA-117 is the hardest product in this roundup to recommend on sound or system fit because the supplied information identifies it mainly by model number and two-pound weight. That is a sharper limitation than the other picks: the Douk Audio T9 specifies cartridge compatibility, headphone output, and tone controls, while the WA-MPX lists its gain, filters, and tube design. The LA-117 may appeal to a buyer who already knows the model and values a lightweight device, but the available description does not establish whether it is a phono preamp, microphone preamp, or another kind of audio component. I would verify its connections and intended use before buying. Without those details, it is difficult to judge compatibility with high-ticket analog gear.
Pros:- Listed weight of two pounds may suit buyers seeking a lightweight component.
- Simple product identification may work for buyers already familiar with the model.
- The listing supplies a model number and availability date for identification.
Cons:- The available description does not specify the device’s audio function or intended signal path.
- No connection, cartridge, gain, or output specifications are supplied.
- Its fit for a high-ticket analog system is difficult to evaluate against detailed options such as the Douk T9.
Best for: Buyers who already recognize the LA-117 model and can independently confirm its connections and intended role in their audio system.
Not ideal for: Listeners choosing a phono or recording preamp by cartridge support, gain, inputs, or output specifications; those details are not provided here.
- Model number:LA-117
- Item weight:2 pounds
- Date first available:April 24, 2014
- ASIN:B0029L3LRC
- Audio function:Not specified in the supplied product details
- Connectivity:Not specified in the supplied product details
Our verdict“Consider the LA-117 only if you can verify its function and connections, since the supplied details do not establish how it fits an analog audio system.”
Warm Audio WA73-EQ Microphone Preamp with EQ
The WA73-EQ is the most straightforward choice here for a recording setup that needs one preamp to handle microphone, line, and instrument sources. Its built-in three-band EQ gives it a different strength from the WA-MPX: rather than focusing on tube gain and selectable tape saturation, the WA73-EQ offers frequency shaping alongside its input-stage role. That versatility can reduce the need to route a signal through a separate EQ, but the product details do not describe its circuitry, gain range, filters, or connection options, so I would not assume capabilities beyond those listed. Like the WA-MPX, it is limited to one channel, which narrows its usefulness for stereo recording. It makes the most sense as a flexible single-channel recording tool, not a fully specified centerpiece for a complex studio.
Pros:- Supports microphone, line, and instrument inputs.
- Three-band EQ enables tonal adjustment within the preamp.
- Combines preamp and EQ functions in a single-channel unit.
Cons:- Single-channel design does not provide a matched stereo preamp pair.
- The supplied details do not specify gain range, circuitry, or connection options.
- Compared with the WA-MPX, no tube design or selectable tape saturation is listed.
Best for: Solo recording musicians who want one preamp for microphone, line, and instrument sources with built-in three-band EQ.
Not ideal for: Engineers recording stereo sources or needing detailed published information about gain, circuitry, and connections before choosing a preamp.
- Channels:1
- Preamp type:Microphone, line, and instrument
- EQ:3-band
- Intended applications:Recording and live sound
- Microphone input support:Yes
- Line input support:Yes
- Instrument input support:Yes
Our verdict“Choose the WA73-EQ if you need a single-channel preamp for different source types and want onboard three-band EQ.”
ART TPS II Tube Preamplifier System
The ART TPS II is the most adaptable choice here for recording different microphones and instruments through one two-channel tube preamp. Its variable input impedance and V3 Variable Valve Voicing let you adjust how sources respond, while the analog meters make level checks visible without relying only on software. Compared with the Warm Audio WA-2MPX, which leans into vintage tape character and selectable saturation, the TPS II puts more emphasis on source matching and adjustable voicing. That flexibility can help in a mixed recording setup, but it also means more settings for a new engineer to learn. Its rack-style size and 8.1-pound weight make it less convenient to move than a compact interface accessory, and the supplied specifications list one output channel quantity despite the two-channel description, so buyers should confirm routing needs before purchase.
Pros:- Variable input impedance helps accommodate different microphones and instruments.
- V3 Variable Valve Voicing offers more tonal adjustment than a fixed-character preamp.
- Analog level meters provide a clear visual check of signal level.
- XLR and 6.35 mm connections support microphone and instrument sources.
Cons:- Its 19-inch-wide, 8.1-pound chassis is awkward for portable recording.
- The range of controls may add setup complexity for beginners.
- The listed output channel quantity is one, which may not match expectations from the two-channel description.
Best for: Home and project-studio engineers who regularly switch between microphones and instruments and want adjustable tube voicing plus visible level monitoring.
Not ideal for: Beginners seeking a simple plug-and-play preamp, or mobile recordists who need a lightweight unit that is easy to pack.
- Amplifier type:Tube
- Channel configuration:Two-channel preamplifier system
- Input adjustment:Variable input impedance
- Voicing:V3 Variable Valve Voicing
- Connectors:XLR, 6.35 mm jack
- Sound profile:Warm
- Power source:Corded electric
- Dimensions:6.5 × 19 × 19 inches
- Weight:8.1 pounds
Our verdict“Choose the TPS II if you need one tube preamp to adapt to varied sources; choose the WA-2MPX instead if tape-inspired saturation is your main tonal goal.”
Warm Audio WA-2MPX Dual-Channel Tube Mic Preamp
The Warm Audio WA-2MPX is the pick for engineers who want two channels of tube microphone preamplification with deliberate tape-era color. Its selectable tape saturation and tone-shaping filters offer a more focused route to vintage-inspired density than the ART TPS II, whose variable impedance and voicing make it the more source-flexible option. Against the single-channel Warm Audio WA-MPX, this model’s dual-channel design is better suited to stereo recording or tracking two sources at once. The tradeoff is a substantial 15.15-pound build and a strong commitment to colored tone; it is less compelling if you want a portable or neutral front end. This is specialized studio hardware, so its feature set makes the most sense when the recording chain and workflow can put both channels and saturation controls to work.
Pros:- Dual channels support stereo recording or simultaneous capture of two sources.
- Selectable tape saturation adds a dedicated way to shape harmonic density.
- Tone-shaping filters offer more character control than a fixed-voicing preamp.
- Hand-assembled construction uses metal, steel, and plastic materials.
Cons:- At 15.15 pounds, it is cumbersome for portable recording setups.
- Its vintage coloration may be a poor fit when a neutral preamp is preferred.
- The feature set and format are aimed at professional studio workflows rather than simple setups.
Best for: Studio engineers recording stereo sources or two microphones at once who specifically want tube warmth, tape-style saturation, and hands-on tone shaping.
Not ideal for: Budget-conscious or mobile recordists, and engineers who need a compact, clean-sounding preamp without vintage coloration.
- Model:WA-2MPX
- Type:Dual-channel tube microphone preamp
- Connectors:XLR
- Compatible equipment:Audio interfaces, mixing consoles, and field recorders with XLR input and phantom power
- Tone features:Selectable tape saturation and tone-shaping filters
- Power source:AC adapter
- Materials:Metal, steel, and plastic
- Dimensions:24.7 × 13.1 × 5.6 inches
- Weight:15.15 pounds
Our verdict“Pick the WA-2MPX for dual-channel vintage tape character; choose the ART TPS II if source flexibility matters more than saturation-focused tone.”
Lintec Vintage Program Equalizer
The Lintec Vintage Program Equalizer stands apart from the two tube preamps because it shapes recorded tone rather than adding microphone gain. Its Pultec-style low-frequency controls and separate high-frequency boost and attenuation make it suited to broad tonal moves, including the familiar low-end shaping approach associated with this EQ style. Transformer-coupled inputs and hand-wound inductors point toward an analog signal path, while the TRS interface places it naturally in a studio chain. Compared with the ART TPS II or WA-2MPX, the LinTec cannot serve as a microphone preamp; it is a dedicated processing choice for sources that already have suitable gain. Its large, 12.3-pound chassis and limited digital connectivity also make it less practical for mobile or computer-only workflows, and its controls reward users comfortable making frequency-based adjustments.
Pros:- Pultec-style controls provide broad low- and high-frequency shaping options.
- Separate high-frequency boost and attenuation support nuanced tonal adjustments.
- Transformer-coupled inputs and hand-wound inductors suit an analog hardware signal path.
- Two-year warranty is specified.
Cons:- It is an equalizer, not a substitute for the microphone preamps in this roundup.
- TRS hardware connectivity offers limited fit for digital-only setups.
- Its 12.3-pound, full-size format is better suited to a studio than portable use.
Best for: Recording and mix engineers with an analog or hybrid studio who want hands-on, Pultec-style tonal shaping after suitable preamplification.
Not ideal for: Buyers who need microphone gain, digital connectivity, or a portable processor for a compact mobile rig.
- Type:Vintage Pultec-style equalizer
- Signal format:Analog
- Hardware interface:TRS
- Low-frequency controls:20, 30, 60, 100, and 150 Hz
- High-bandwidth control:0–10 kHz
- High-frequency boost:Selectable frequencies from 1 to 19 kHz
- High-frequency attenuation:4, 8, 12, 16, and 20 kHz
- Weight:12.3 pounds
- Warranty:2 years
Our verdict“Choose the LinTec if your studio needs a dedicated analog EQ for Pultec-style shaping, not another microphone preamp.”
How We Picked
I ranked these products by job fit first: a phono stage should be judged on record-player compatibility and system connections, while a microphone preamp or equalizer should be judged on its place in a recording chain. I also weighed usability, channel needs, control style, build purpose, and how readily each product could fit into a wider setup. I did not treat tube circuitry or vintage styling as automatic signs of better sound; those traits matter only when they serve the buyer’s workflow and preferred sound.
The Waxwing ranks first for versatility because its phono role, app control, and optical output serve a wider range of playback systems than the studio-focused options. The WA-MPX and WA73-EQ follow as more specialized recording choices, with the latter earning its place for onboard EQ. The remaining products rank by how clearly they address a particular need, such as dual-channel tube recording, headphone listening, or program equalization. Buyers should compare each option only against gear meant for the same part of the signal chain.
Factors to Consider When Choosing Highticket Analog Audio Gear
Before choosing high-end analog gear, I would map the device to a specific point in the signal path. A feature-rich component can still be the wrong purchase if it duplicates equipment you own or cannot connect to the rest of your system. These factors help separate useful upgrades from attractive but mismatched additions.
Start With the Signal-Chain Job
Write down the source and destination before comparing products: a turntable needs a phono stage, while a microphone needs a mic preamp before it reaches an interface or recorder. An equalizer shapes tone but does not replace either of those jobs. A common mistake is buying a studio preamp for a turntable or expecting a phono preamp to provide microphone gain. Check what your existing receiver, interface, or mixer already includes, since a built-in stage may make a separate unit redundant. Spend on the component that fixes a real limitation in your chain, not simply the one with the most appealing construction.
Match Inputs, Outputs, and Compatibility
Compatibility is a system question, not a minor spec detail. Confirm cartridge type support for a phono stage and check the input, output, and connection formats for every studio device. A digital output can help a vinyl setup connect to equipment that accepts a digital signal, but it will not help if the rest of the system lacks a matching input. Also check whether the unit’s output level works with the next device and whether you need balanced connections or a particular cable length. Leave room for the cables and any extra conversion hardware the full chain requires.
Choose Channel Count for the Work You Do
One channel may be enough for a solo vocal or a single instrument, while stereo recording and simultaneous sources can call for two channels. Buying more channels than your workflow uses can leave you paying for capacity that sits idle; buying too few can add routing steps or force a later replacement. Think about whether you record two sources at once, capture stereo instruments, or need matched controls across channels. Channel count alone does not guarantee that two channels behave identically, so check whether the design suits linked or independent use. Plan for your regular sessions rather than a rare recording scenario.
Decide How You Want to Shape Tone
Some buyers want a fixed, straightforward gain stage, while others want EQ or tone controls available during tracking or listening. Physical knobs can make adjustments immediate and repeatable; app-based controls may offer broader adjustment without adding a large hardware panel. Neither approach is automatically better, and extra processing can make a signal chain harder to troubleshoot. If you already own a reliable equalizer or software tools, paying for another EQ section may add little. Choose onboard tone shaping when it supports a routine task you actually perform.
Account for Tube Upkeep and Noise
Tube equipment can appeal to buyers who want its particular response and hands-on character, but tubes also add heat and may need replacement over time. Noise and hum matter especially in quiet recording or headphone listening, so a tube label alone says little about whether a device suits a sensitive chain. Check placement, ventilation, and how close the unit will sit to other electrical equipment. Avoid assuming that a tube circuit will improve every source; coloration is a preference, not a universal upgrade. A simpler design may be the better fit when low-maintenance operation and a clean signal path take priority.
Compare Total System Cost and Future Flexibility
The component itself is only part of the decision: compatible cables, a suitable interface, a headphone setup, or a separate EQ can change what the complete system requires. A multifunction unit may reduce the number of boxes, but a dedicated processor can be easier to integrate when you already have the other pieces. Consider whether you expect to expand from mono recording to stereo, add a digital connection, or change your monitoring setup. Avoid paying for flexibility that has no likely use, but do not overlook a connection or channel limit that could block a planned upgrade. A good purchase fits today’s chain and leaves a sensible path for the next one.
Frequently Asked Questions
Can I use a microphone preamp as a phono preamp?
No. A microphone preamp is designed to amplify microphone-level signals, while a phono stage also handles the specific signal requirements of a turntable cartridge. Connecting a turntable directly to a mic preamp will not provide the proper phono equalization. Use a dedicated phono stage or a receiver with a suitable phono input. Before adding a separate unit, check whether your turntable or existing receiver already includes one.
Should I choose the Waxwing or the Douk T9 for vinyl?
Choose based on how you listen and what the rest of your system accepts. The Waxwing is the stronger match when app control and an optical output are useful parts of the setup. The Douk T9 combines phono playback with a headphone output and treble and bass controls, which can suit a simpler listening chain. Check cartridge compatibility and your preferred connections before deciding; the two products do not serve identical workflows.
Is a dual-channel preamp necessary for recording?
Not for every recording setup. A single-channel model can be a sensible choice for one microphone at a time, while two channels matter for simultaneous sources, stereo recording, or a paired recording chain. Consider how often those tasks occur rather than buying channels for a rare possibility. Also check whether linked control or independent operation better fits your sessions. If you already have another suitable preamp, that may cover occasional second-channel needs.
Does buying a tube preamp guarantee warmer or better sound?
No. Tube circuitry describes part of a design, not a guaranteed result for every microphone, source, or listener. The audible effect depends on the whole chain and the way the unit is operated, and some buyers may prefer a more neutral signal. Tube models also bring heat and possible maintenance needs that simpler gear may avoid. Choose one for a sound and workflow you want, not because the tube label promises an automatic improvement.
When does an onboard equalizer make more sense than a separate EQ?
An onboard EQ can make sense when you want to shape a signal as it enters the recording chain or adjust a listening source without adding another box. A separate equalizer may suit a studio that needs to move processing between sources or already has a preferred control layout. The main tradeoff is convenience versus routing flexibility. Check whether the EQ sits in the right place in your signal path and whether its controls match the adjustments you expect to make. If you rarely shape tone, a built-in section may go unused.
Conclusion
For the best overall, I recommend the Parks Audio Waxwing because its phono focus, app control, and optical output give it the broadest role in this lineup. The best value for a compact vinyl chain is the Douk Audio T9 when its combined phono and headphone functions fit your needs. For best premium recording flexibility, choose the Warm Audio WA73-EQ if onboard EQ matters, or the WA-2MPX if two tube-preamp channels better match your sessions. The best choice for beginners is the component that solves one clear gap in an existing setup; the T9 may suit a simple headphone-based vinyl system, while a first-time recording setup should start with a preamp matched to its microphone and interface. For specific needs, look to the Listen LA-117 or Lintec Vintage Program Equalizer when their dedicated studio roles match your chain, and choose the ART TPS II when its tube-preamp-system approach fits your workflow. I would decide by signal-chain fit first, then weigh tone controls, channel count, connections, and upkeep.
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