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"A switch? Why do I need a switch?" That was my response to Meredith Gabor, head of marketing and PR for cable and accessories manufacturer Nordost, after she dropped the news. She had just arranged with Jim Austin for me to write a shorter, "ancillary" review of the new Nordost QNet Network Switch ($3199.99) with its optional QSource linear power supply ($2749.99) and premium QSource DC umbilical interface cables ($339.99 for 1m). Why did I need an expensive QNet switch when my router was functioning reliably? Good question.

Founded in 1926 by Guy R. Fountain in London as the Tulsemere Manufacturing Company, Tannoy—a portmanteau (footnote 1) of "tantalum" and "alloy," after a tantalum-lead alloy used in rectifiers—took on its current commercial identity in 1928. Through the war years and beyond, the company specialized in public-address (PA) systems. Indeed, today, "tannoy" is a widely recognized generic term for a PA system in the UK; there's an entry for "tannoy" in the Oxford English Dictionary.

My late father-in-law used to say that life is like a roll of toilet paper. The closer you get to the end, the quicker it passes. I was reminded of that when I was asked to review Bel Canto's new e1X DAC/Control Preamplifier ($6800). It didn't seem that long ago that I favorably reviewed the Minnesota company's e.One DAC3, but Google told me that it was 15 years ago! "Other than the jitter performance via its USB input, the Bel Canto e.One DAC3 is the best-measuring digital component I have encountered," I wrote in November 2007 (footnote 1), adding that it "offers some impressive audio engineering in both the digital and analog domains."

Has it ever crossed your mind that the reason you like your system more than your friend's or the store's is not because yours is better, even if you think it is, but because you're used to the sound of yours and not of theirs? Welcome to product habituation.

Some people, including some audiophiles, believe that product habituation is what's really behind what some people refer to as product break-in. It's not a mechanical or electronic phenomenon, they contend, but a mental one. Assuming the sound of the new gear is of adequate quality, it's the listener that breaks in to the product, as the product's sound, which was initially strange, grows more familiar and, so, right.