I can't remember a time when I wasn't concerned about power quality. I grew up around finicky, home-brew ham-radio gear and labs full of instruments, and with both, power-conditioning gear was standard fare. When I moved into high-end audio, it seemed obvious that power quality was important. As a result, I've experimented with a wide range of power-conditioning equipment, from simple ferrite loops to huge isolation transformers, and even exotic laboratory power supplies that could vary the voltage, frequency spectrum, and shape of the AC signal.

I can't remember a time when I wasn't concerned about power quality. I grew up around finicky, home-brew ham-radio gear and labs full of instruments, and with both, power-conditioning gear was standard fare. When I moved into high-end audio, it seemed obvious that power quality was important. As a result, I've experimented with a wide range of power-conditioning equipment, from simple ferrite loops to huge isolation transformers, and even exotic laboratory power supplies that could vary the voltage, frequency spectrum, and shape of the AC signal.

I can't remember a time when I wasn't concerned about power quality. I grew up around finicky, home-brew ham-radio gear and labs full of instruments, and with both, power-conditioning gear was standard fare. When I moved into high-end audio, it seemed obvious that power quality was important. As a result, I've experimented with a wide range of power-conditioning equipment, from simple ferrite loops to huge isolation transformers, and even exotic laboratory power supplies that could vary the voltage, frequency spectrum, and shape of the AC signal.

Taken together, these unusual interconnect, loudspeaker, and AC cables brought a new measure of spaciousness, scale, smoothness, heretofore unimagined detail, and overall musical ease and naturalness to my music system. And they did it while sounding neither dull nor bright—just right.

Taken together, these unusual interconnect, loudspeaker, and AC cables brought a new measure of spaciousness, scale, smoothness, heretofore unimagined detail, and overall musical ease and naturalness to my music system. And they did it while sounding neither dull nor bright—just right.

Taken together, these unusual interconnect, loudspeaker, and AC cables brought a new measure of spaciousness, scale, smoothness, heretofore unimagined detail, and overall musical ease and naturalness to my music system. And they did it while sounding neither dull nor bright—just right.

Taken together, these unusual interconnect, loudspeaker, and AC cables brought a new measure of spaciousness, scale, smoothness, heretofore unimagined detail, and overall musical ease and naturalness to my music system. And they did it while sounding neither dull nor bright—just right.

Almost immediately on entering the analog marketplace in 1982, Franc Kuzma, a mechanical engineer based in Slovenia, then part of the former Yugoslavia, established a reputation for manufacturing finely engineered, high-performance products that sold at reasonable prices. Kuzma's early industrial designs, however, while serviceable, looked less than distinguished.

Almost immediately on entering the analog marketplace in 1982, Franc Kuzma, a mechanical engineer based in Slovenia, then part of the former Yugoslavia, established a reputation for manufacturing finely engineered, high-performance products that sold at reasonable prices. Kuzma's early industrial designs, however, while serviceable, looked less than distinguished.

Almost immediately on entering the analog marketplace in 1982, Franc Kuzma, a mechanical engineer based in Slovenia, then part of the former Yugoslavia, established a reputation for manufacturing finely engineered, high-performance products that sold at reasonable prices. Kuzma's early industrial designs, however, while serviceable, looked less than distinguished.